Ventes d'œuvres le 1819.04.24

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  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[View of Hyde Park, with the Serpentine River, &c. From the style of the cattle, as well as the colouring of the landscape, this picture is most probably by Voglesang, who was thought a tolerably good painter in his day. It is rendered interesting on account of its topographical information; but the insertion of the figures by Hogarth, was the only inducement for placing it among the works of that great master. Among the group of figures to the left, the painter has given a most compleat character in miniature, of the celebrated Italian singer Carestini, whom he has also introduced in the fourth plate of his "Marriage A-la-Mode" (William Hogarth)|View of Hyde Park, with the Serpentine River, &c. From the style of the cattle, as well as the colouring of the landscape, this picture is most probably by Voglesang, who was thought a tolerably good painter in his day. It is rendered interesting on account of its topographical information; but the insertion of the figures by Hogarth, was the only inducement for placing it among the works of that great master. Among the group of figures to the left, the painter has given a most compleat character in miniature, of the celebrated Italian singer Carestini, whom he has also introduced in the fourth plate of his "Marriage A-la-Mode"]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [1]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Portrait of Dilsworth, the Schoolmaster. This portrait appears to have been painted for a sign to some bookseller's shop, it being performed upon a very thick elm plank, sufficiently stout to admit of the frame which surrounds it, being carved out of the same (the whole being solid); it is also painted with a much greater body of colour, than Hogarth usually employed, as if for the purpose of rendering it weather proof (William Hogarth)|Portrait of Dilsworth, the Schoolmaster. This portrait appears to have been painted for a sign to some bookseller's shop, it being performed upon a very thick elm plank, sufficiently stout to admit of the frame which surrounds it, being carved out of the same (the whole being solid); it is also painted with a much greater body of colour, than Hogarth usually employed, as if for the purpose of rendering it weather proof]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [2]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Viscount Boyne. This portrait is well known among the collectors of Hogarth's engravings, from the etching made from it by J. Ireland. This nobleman, was an early patron of Hogarth; and is also introduced by him in Lord Castlemain's assembly. (See No. 18 in plate of reference.) (William Hogarth)|Viscount Boyne. This portrait is well known among the collectors of Hogarth's engravings, from the etching made from it by J. Ireland. This nobleman, was an early patron of Hogarth; and is also introduced by him in Lord Castlemain's assembly. (See No. 18 in plate of reference.)]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [3]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Henrietta-Maria, Queen of Charles I. One of Hogarth's early attempts at imitation (in something of Sir Peter Lely's manner), done probably from recollection of some picture he had seen. It is well known to collectors of his graphic works, that he painted some of his portraits in the manner of Vandyke; that of Mr. Pine he executed in the style of Rembrandt, in which (if we may judge from the engraving made from it) he was very successful. In fact, there is scarcely any master whose style and manner Hogarth could not have given, had he chosen to have fettered his genius by imitations. The few instances in which he has condescended, appear to have emanated from the playfulness of his fancy (William Hogarth)|Henrietta-Maria, Queen of Charles I. One of Hogarth's early attempts at imitation (in something of Sir Peter Lely's manner), done probably from recollection of some picture he had seen. It is well known to collectors of his graphic works, that he painted some of his portraits in the manner of Vandyke; that of Mr. Pine he executed in the style of Rembrandt, in which (if we may judge from the engraving made from it) he was very successful. In fact, there is scarcely any master whose style and manner Hogarth could not have given, had he chosen to have fettered his genius by imitations. The few instances in which he has condescended, appear to have emanated from the playfulness of his fancy]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [5]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Thomas Pellet, M.D. Praeses Col. Med. Lond. This portrait is well known to the collectors of Hogarth's works, by the etching made from it, and published by the late Mr. Thane, (from whom the proprietor procured the original). This picture affords an excellent specimen of Hogarth's great abilities in the portrait department, being painted in his finest manner, with all that spirit and masterly freedom, for which he is so justly admired (William Hogarth)|Thomas Pellet, M.D. Praeses Col. Med. Lond. This portrait is well known to the collectors of Hogarth's works, by the etching made from it, and published by the late Mr. Thane, (from whom the proprietor procured the original). This picture affords an excellent specimen of Hogarth's great abilities in the portrait department, being painted in his finest manner, with all that spirit and masterly freedom, for which he is so justly admired]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [6]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Rosamond's Pond. This view of Saint James's Park, with the introduction of that celebrated piece of water, known by the name of Rosamond's Pond (as it stood in Hogarth's time), would have been highly interesting, even had it been presented by the hand of an indifferent painter; but here we have all that can render the subject gratifying, not only with respect to the well known faithfulness of this great master, in all his representations of nature; but as a picture, uniting with it, such an astonishing proof of his unlimited powers; presenting to our view, by a management, entirely his own, a chaste, and faithful piece of true English scenery; full of harmony, depth, and richness of colouring. As to the sunshine effect produced, perhaps none but Hogarth could have given it! From the number of persons promenading, the clergyman appearing in his robes, &c. it is evident the painter intended it as a Sunday scene (William Hogarth)|Rosamond's Pond. This view of Saint James's Park, with the introduction of that celebrated piece of water, known by the name of Rosamond's Pond (as it stood in Hogarth's time), would have been highly interesting, even had it been presented by the hand of an indifferent painter; but here we have all that can render the subject gratifying, not only with respect to the well known faithfulness of this great master, in all his representations of nature; but as a picture, uniting with it, such an astonishing proof of his unlimited powers; presenting to our view, by a management, entirely his own, a chaste, and faithful piece of true English scenery; full of harmony, depth, and richness of colouring. As to the sunshine effect produced, perhaps none but Hogarth could have given it! From the number of persons promenading, the clergyman appearing in his robes, &c. it is evident the painter intended it as a Sunday scene]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [7]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[The Constancy of Portia. This little picture affords a striking proof of Hogarth's very early predilection to the painting of historic subjects, little suspecting his want of every requisite for that department of the art. Probably having heard, or read of that instance of Roman virtue, exemplified in the daughter of Portius Cato, and wife of Brutus; who contemplated her own destruction upon hearing of her husband's overthrow and death, which she effected (being deprived of every other means), by swallowing burning coals! -- Our artist, wishing to make this difficult subject clearly understood, has represented the Roman matron, in modern English costume, holding a pair of tweezers, charged with the fatal coal, which she has just taken from a chafing dish! This idea of the subject is perhaps too ludicrous to have emanated from any other that Hogarth. It was, however, in all probability, painted during his apprenticeship, or soon after; and as there is a sort of interest that attaches to the juvenile performances of great men, it is presumed no other apology will be necessary for introducing it in this collection of his works (William Hogarth)|The Constancy of Portia. This little picture affords a striking proof of Hogarth's very early predilection to the painting of historic subjects, little suspecting his want of every requisite for that department of the art. Probably having heard, or read of that instance of Roman virtue, exemplified in the daughter of Portius Cato, and wife of Brutus; who contemplated her own destruction upon hearing of her husband's overthrow and death, which she effected (being deprived of every other means), by swallowing burning coals! -- Our artist, wishing to make this difficult subject clearly understood, has represented the Roman matron, in modern English costume, holding a pair of tweezers, charged with the fatal coal, which she has just taken from a chafing dish! This idea of the subject is perhaps too ludicrous to have emanated from any other that Hogarth. It was, however, in all probability, painted during his apprenticeship, or soon after; and as there is a sort of interest that attaches to the juvenile performances of great men, it is presumed no other apology will be necessary for introducing it in this collection of his works]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [8]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[The Return of Edward I. from the Holy Wars. This is evidently one of Hogarth's early productions, and was probably intended for some bookseller's publication. There is something good in the colouring, but its merits, as an historic composition, are but slender. It is generally admitted that Hogarth, that giant in his art (in other respects), possessed no talents for the historic department; and, notwithstanding, his repeated efforts, and high notions of skill in that superior walk, his reputation would certainly not have suffered had he never attempted it. Hogarth, however, was not the only great man who had the misfortune of being blind to his own deficiencies (William Hogarth)|The Return of Edward I. from the Holy Wars. This is evidently one of Hogarth's early productions, and was probably intended for some bookseller's publication. There is something good in the colouring, but its merits, as an historic composition, are but slender. It is generally admitted that Hogarth, that giant in his art (in other respects), possessed no talents for the historic department; and, notwithstanding, his repeated efforts, and high notions of skill in that superior walk, his reputation would certainly not have suffered had he never attempted it. Hogarth, however, was not the only great man who had the misfortune of being blind to his own deficiencies]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [9]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[A Midnight Modern Conversation. Of all the productions of Hogarth's pencil, none have been more sought after than this celebrated composition, and that principally on account of its having been the picture that first established the reputation of that unrivalled genius. Those who are acquainted with the engraving which Hogarth made of this subject, will probably be surprised on finding a figure introduced in the picture, which he omitted in the plate, viz. that on the right applying a lighted match to the nose of one of his sleeping companions; and which the artist was afterwards well aware, produced an unpleasant uniformity in the grouping. There are other material alterations in the plate, which the curious will readily discover. This picture, although slightly painted, possesses much harmony and depth of colouring; and exhibits a fine specimen of the great abilities of its author, in his delineation of character (William Hogarth)|A Midnight Modern Conversation. Of all the productions of Hogarth's pencil, none have been more sought after than this celebrated composition, and that principally on account of its having been the picture that first established the reputation of that unrivalled genius. Those who are acquainted with the engraving which Hogarth made of this subject, will probably be surprised on finding a figure introduced in the picture, which he omitted in the plate, viz. that on the right applying a lighted match to the nose of one of his sleeping companions; and which the artist was afterwards well aware, produced an unpleasant uniformity in the grouping. There are other material alterations in the plate, which the curious will readily discover. This picture, although slightly painted, possesses much harmony and depth of colouring; and exhibits a fine specimen of the great abilities of its author, in his delineation of character]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [10]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Gay, the Poet. In this interesting portrait, Hogarth has not only taken more than ordinary pains in the finishing, but has gone out of his usual way in respect to the colouring; in which it is very evident, that he had an eye to the beauties of the Venetian school (William Hogarth)|Gay, the Poet. In this interesting portrait, Hogarth has not only taken more than ordinary pains in the finishing, but has gone out of his usual way in respect to the colouring; in which it is very evident, that he had an eye to the beauties of the Venetian school]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [11]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[A Musical Assembly.* footnote: For a list of the portraits (as far as they have been ascertained) see plate of reference at the end of the catalogue. This fine picture appears (by a memorandum found among Hogarth's papers after his death) to have been painted for Lord Castlemain; of course, intended for Wanstead House. But what prevented it from enriching that noble mansion can probably never be known. It remained in the painter's possession to the end of his days; and with several others in this collection, was purchased at the sale of his effects, by an ardent admirer of his great talents; who preserved them as so many jewels, until within these few years, when they came into the hands of the proprietor. In this most interesting picture, Hogarth has introduced the father of our venerable Sovereign, Frederick Prince of Wales, his royal consort, and two of his sisters, with many of the most distinguished of the nobility, and literary characters of his day. As a picture (independent of the valuable portraits it contains), this is one of the choicest specimens of Hogarth's pencil; and in respect to composition, drawing, colouring, and delicate finishing, can only be equalled by those celebrated performances of his "Marriage A-la-Mode" (William Hogarth)|A Musical Assembly.* footnote: For a list of the portraits (as far as they have been ascertained) see plate of reference at the end of the catalogue. This fine picture appears (by a memorandum found among Hogarth's papers after his death) to have been painted for Lord Castlemain; of course, intended for Wanstead House. But what prevented it from enriching that noble mansion can probably never be known. It remained in the painter's possession to the end of his days; and with several others in this collection, was purchased at the sale of his effects, by an ardent admirer of his great talents; who preserved them as so many jewels, until within these few years, when they came into the hands of the proprietor. In this most interesting picture, Hogarth has introduced the father of our venerable Sovereign, Frederick Prince of Wales, his royal consort, and two of his sisters, with many of the most distinguished of the nobility, and literary characters of his day. As a picture (independent of the valuable portraits it contains), this is one of the choicest specimens of Hogarth's pencil; and in respect to composition, drawing, colouring, and delicate finishing, can only be equalled by those celebrated performances of his "Marriage A-la-Mode"]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [13]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[His own Portrait. This is presumed to be the youngest likeness extant of our favourite Hogarth; and exhibits a fine specimen of his firm, free, and masterly pencil. Of the scar, so visible on his forehead, it is said (by a writer of Hogarth's life) that he was fond of exhibiting it, and always wore his hat in the most favourable position for that purpose (William Hogarth)|His own Portrait. This is presumed to be the youngest likeness extant of our favourite Hogarth; and exhibits a fine specimen of his firm, free, and masterly pencil. Of the scar, so visible on his forehead, it is said (by a writer of Hogarth's life) that he was fond of exhibiting it, and always wore his hat in the most favourable position for that purpose]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [14]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Portraits of his two Sisters, Mary and Anne. These names have been long familiar to the collectors of Hogarth's prints, by the shop-bill he engraved for them when they were established in a considerable business in the mercery line. At what period Hogarth painted these portraits, is uncertain; it is, however, very evident, from the style and colouring, that he endeavoured to imitate the manner of the Venetian school, in which he has been very successful. A strong family resemblance, between Hogarth and his sisters, is very observable. These portraits were purchased after the death of the artist, at the sale of his effects (William Hogarth)|Portraits of his two Sisters, Mary and Anne. These names have been long familiar to the collectors of Hogarth's prints, by the shop-bill he engraved for them when they were established in a considerable business in the mercery line. At what period Hogarth painted these portraits, is uncertain; it is, however, very evident, from the style and colouring, that he endeavoured to imitate the manner of the Venetian school, in which he has been very successful. A strong family resemblance, between Hogarth and his sisters, is very observable. These portraits were purchased after the death of the artist, at the sale of his effects]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [15]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Portraits of his two Sisters, Mary and Anne. These names have been long familiar to the collectors of Hogarth's prints, by the shop-bill he engraved for them when they were established in a considerable business in the mercery line. At what period Hogarth painted these portraits, is uncertain; it is, however, very evident, from the style and colouring, that he endeavoured to imitate the manner of the Venetian school, in which he has been very successful. A strong family resemblance, between Hogarth and his sisters, is very observable. These portraits were purchased after the death of the artist, at the sale of his effects (William Hogarth)|Portraits of his two Sisters, Mary and Anne. These names have been long familiar to the collectors of Hogarth's prints, by the shop-bill he engraved for them when they were established in a considerable business in the mercery line. At what period Hogarth painted these portraits, is uncertain; it is, however, very evident, from the style and colouring, that he endeavoured to imitate the manner of the Venetian school, in which he has been very successful. A strong family resemblance, between Hogarth and his sisters, is very observable. These portraits were purchased after the death of the artist, at the sale of his effects]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [16]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[The Painting Room. This representation of Hogarth's study, will (it is presumed) be viewed with increasing pleasure by the admirers of his work, not only as it displays the laboratory of that great artist; but, also, as it imparts a sort of personal association with himself and family. We see him taking the portrait of Lady Thornhill (his mother-in-law); that of Sir James's being already finished, is presented in the right-hand corner. The scarcely half-seen portrait, in the oval frame on the left, represents his wife; placed there, probably, by the impulse of that humour that sought and extracted satire from almost every source. It may indicate a spirit of family pride, or a glow of honest triumph, slightly reflecting upon that disdain with which the knight at first treated him, upon his success in obtaining the affections of his daughter. The young student represented, was the only son of Sir James, who, after the death of his father, was made serjeant-painter to the king. As a picture, this affords a fine specimen of Hogarth's abilities; and, for composition, handling, and richness of colouring, may vie with many of the best productions of the Flemish school (William Hogarth)|The Painting Room. This representation of Hogarth's study, will (it is presumed) be viewed with increasing pleasure by the admirers of his work, not only as it displays the laboratory of that great artist; but, also, as it imparts a sort of personal association with himself and family. We see him taking the portrait of Lady Thornhill (his mother-in-law); that of Sir James's being already finished, is presented in the right-hand corner. The scarcely half-seen portrait, in the oval frame on the left, represents his wife; placed there, probably, by the impulse of that humour that sought and extracted satire from almost every source. It may indicate a spirit of family pride, or a glow of honest triumph, slightly reflecting upon that disdain with which the knight at first treated him, upon his success in obtaining the affections of his daughter. The young student represented, was the only son of Sir James, who, after the death of his father, was made serjeant-painter to the king. As a picture, this affords a fine specimen of Hogarth's abilities; and, for composition, handling, and richness of colouring, may vie with many of the best productions of the Flemish school]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [18]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[The Treasury Gardens, with a View of the Canal, and Part of St. James's Park. Probably there is no specimen from the pencil of this splendid ornament of the British school, which exhibits the great powers he possessed, and the versatility of his genius, more than this extraordinary picture. It is well known that his engagements allowed him but few opportunities, comparatively, of employing his talents in the landscape department: in this instance, we are indebted to his employer, probably his patron, the Right Hon. Arthur Onslow, Speaker of the House of Commons (represented in the brown coat, in conversation with the Duke of Grafton), for affording this opportunity, which Hogarth not only made the most of, but by his wonderful execution, and chaste delineation of nature, has taught us, that his talents, as a painter, would have shone as conspicuously in landscape (had he practised it), as in those works of humour, in which he will, in all probability, for ever remain unrivalled! The tender leafing of the trees, as well as of the plants and shrubs in the garden, highly characterize the loveliness of spring; and with the delicate verdure of the grass, the transparency of the water, and the arial beauty of the sky, are handled in a manner more like Claude, than any other master; and in this instance, it may not be hazarding too much in saying, that Claude himself, (that prince of landscape painters), could not have given this view, with more truth, or a sweeter effect (William Hogarth)|The Treasury Gardens, with a View of the Canal, and Part of St. James's Park. Probably there is no specimen from the pencil of this splendid ornament of the British school, which exhibits the great powers he possessed, and the versatility of his genius, more than this extraordinary picture. It is well known that his engagements allowed him but few opportunities, comparatively, of employing his talents in the landscape department: in this instance, we are indebted to his employer, probably his patron, the Right Hon. Arthur Onslow, Speaker of the House of Commons (represented in the brown coat, in conversation with the Duke of Grafton), for affording this opportunity, which Hogarth not only made the most of, but by his wonderful execution, and chaste delineation of nature, has taught us, that his talents, as a painter, would have shone as conspicuously in landscape (had he practised it), as in those works of humour, in which he will, in all probability, for ever remain unrivalled! The tender leafing of the trees, as well as of the plants and shrubs in the garden, highly characterize the loveliness of spring; and with the delicate verdure of the grass, the transparency of the water, and the arial beauty of the sky, are handled in a manner more like Claude, than any other master; and in this instance, it may not be hazarding too much in saying, that Claude himself, (that prince of landscape painters), could not have given this view, with more truth, or a sweeter effect]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [20]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[The Out-skirts of a Camp. This early production of Hogarth, appears to have been painted as a study of the different military costumes of his time. The Grenadier was probably taken from the same model, which he employed for the one introduced in his famous "March to Finchley" (William Hogarth)|The Out-skirts of a Camp. This early production of Hogarth, appears to have been painted as a study of the different military costumes of his time. The Grenadier was probably taken from the same model, which he employed for the one introduced in his famous "March to Finchley"]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [23]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Portrait of Quin. In this picture, Hogarth has given us a fine specimen of his abilities, in his own favourite style of small whole length's, which, in his time, was rather novel; and has infused into the portrait of that celebrated comedian, so much character and animation, that the spectator can scarcely contemplate it, without reflecting upon the following well-known, instructive, and beautiful lines; inscribed, on his monument, in the cathedral abbey, in the city of Bath, written by his friend Garrick The poem which follows has been omitted (William Hogarth)|Portrait of Quin. In this picture, Hogarth has given us a fine specimen of his abilities, in his own favourite style of small whole length's, which, in his time, was rather novel; and has infused into the portrait of that celebrated comedian, so much character and animation, that the spectator can scarcely contemplate it, without reflecting upon the following well-known, instructive, and beautiful lines; inscribed, on his monument, in the cathedral abbey, in the city of Bath, written by his friend Garrick The poem which follows has been omitted]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [24]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[George the Second, Queen, and Family. It is much to be regretted, that Hogarth left this very interesting picture unfinished, which, in all probability, was owing to the untimely death of his patron, that idol of the nation, Frederick Prince of Wales, the father of our venerable sovereign. The little boy, engaged with a gun and bayonet, is the Duke of Cumberland, so renowned for his military achievements. The artist has introduced all the branches of the family, who survived their royal mother (William Hogarth)|George the Second, Queen, and Family. It is much to be regretted, that Hogarth left this very interesting picture unfinished, which, in all probability, was owing to the untimely death of his patron, that idol of the nation, Frederick Prince of Wales, the father of our venerable sovereign. The little boy, engaged with a gun and bayonet, is the Duke of Cumberland, so renowned for his military achievements. The artist has introduced all the branches of the family, who survived their royal mother]] réalisée par William Hogarth, vendue par [[[Thomas Gwennap]]]. [25]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Portraits of Charles V. of Germany and his Sister, who was Governess of the Netherlands. -- It is highly probable, that these portraits were printed after the emperor had resigned his crown; and that of himself, is very likely to have been the last that was taken of that great man. These portraits were brought from Holland about fourteen years ago (Hans Holbein)|Portraits of Charles V. of Germany and his Sister, who was Governess of the Netherlands. -- It is highly probable, that these portraits were printed after the emperor had resigned his crown; and that of himself, is very likely to have been the last that was taken of that great man. These portraits were brought from Holland about fourteen years ago]] réalisée par Hans Holbein, vendue par [[[Thomas Gwennap]]]. [26]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Portrait of Algernon Sydney, presumed to be the finest likeness extant of that celebrated character. The style of painting, exhibits all that grace, delicacy, and sweetness of colouring (united with strong character) which are the distinguished beauties of Vandyck's pencil. On the picture, is inscribed, AETATIS SVAE. 34. Ao. 1651, C. K. F. from which it is conjectured to be by the hand of Cornelius Kick, an eminent portrait painter of the Dutch school (Cornelius Kick)|Portrait of Algernon Sydney, presumed to be the finest likeness extant of that celebrated character. The style of painting, exhibits all that grace, delicacy, and sweetness of colouring (united with strong character) which are the distinguished beauties of Vandyck's pencil. On the picture, is inscribed, AETATIS SVAE. 34. Ao. 1651, C. K. F. from which it is conjectured to be by the hand of Cornelius Kick, an eminent portrait painter of the Dutch school]] réalisée par Cornelius Kick, vendue par [[[Thomas Gwennap]]]. [44]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Landscape and Cattle, -- a sketch in oil upon paper; done by this favourite of the British school, as a study for his royal pupil, The Princess Mary. -- The proprietor has another in oil, and five pencil drawings, by this artist, executed for the same purpose (Gainsborough)|Landscape and Cattle, -- a sketch in oil upon paper; done by this favourite of the British school, as a study for his royal pupil, The Princess Mary. -- The proprietor has another in oil, and five pencil drawings, by this artist, executed for the same purpose]] réalisée par Gainsborough, vendue par [[[Thomas Gwennap]]]. [45]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[His own Portrait, holding his Pallet, Pencils, and Sketch of a Rose. -- The idea of a portrait from the exquisite pencil of this celebrated flower painter, will naturally excite surprise, there being no account of his having employed his talents in that department of the art. It is, however, presumed, the connoisseur will discover sufficient evidences of the fact, in this extraordinary instance, from the style, colouring, and handling, which are so unlike the work of any portrait painter that can be named. This beautiful, and interesting picture may, very fairly be looked upon, as unique (Van Huysum)|His own Portrait, holding his Pallet, Pencils, and Sketch of a Rose. -- The idea of a portrait from the exquisite pencil of this celebrated flower painter, will naturally excite surprise, there being no account of his having employed his talents in that department of the art. It is, however, presumed, the connoisseur will discover sufficient evidences of the fact, in this extraordinary instance, from the style, colouring, and handling, which are so unlike the work of any portrait painter that can be named. This beautiful, and interesting picture may, very fairly be looked upon, as unique]] réalisée par Van Huysum, vendue par [[[Thomas Gwennap]]]. [57]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Frost Piece, View in Holland. The painter has represented a carnival, or masquerade upon the ice, given (apparently) upon some remarkable occasion; several persons of distinction being seated upon the opposite side of the fortification to witness the diversion. The painter has introduced into this amusing scene, nearly a thousand figures; in which he has shewn extraordinary skill, in disposition and grouping. The attitudes are easy and well chosen. This picture is finely pencilled, and possesses great harmony, as well as beauty and richness of colouring; and, upon the whole, may be justly considered a matchless production (Gonzales)|Frost Piece, View in Holland. The painter has represented a carnival, or masquerade upon the ice, given (apparently) upon some remarkable occasion; several persons of distinction being seated upon the opposite side of the fortification to witness the diversion. The painter has introduced into this amusing scene, nearly a thousand figures; in which he has shewn extraordinary skill, in disposition and grouping. The attitudes are easy and well chosen. This picture is finely pencilled, and possesses great harmony, as well as beauty and richness of colouring; and, upon the whole, may be justly considered a matchless production]] réalisée par Gonzales, vendue par [[[Thomas Gwennap]]]. [62]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Domestic Live Fowl. One of the choicest productions of this admirable painter (who knew no rival!) The feathered tribe, exhibited in this picture, have all the beauty and animation that art could give them; it may be fairly pronounced a chef d'ouvre: formerly in the possession of Lord Grosvenor (Hondekoeter)|Domestic Live Fowl. One of the choicest productions of this admirable painter (who knew no rival!) The feathered tribe, exhibited in this picture, have all the beauty and animation that art could give them; it may be fairly pronounced a chef d'ouvre: formerly in the possession of Lord Grosvenor]] réalisée par Hondekoeter, vendue par [[[Thomas Gwennap]]]. [70]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[This grand composition, intended to represent one of the Battles of the Israelites, is painted much in the manner of Julio Romano. The late Henry Tresham, Esq. R.A. informed the proprietor, that this picture was sent from Rome by Gaven Hamilton, and had been given as a security for the sum of four hundred pounds! Times, however, have so much altered since that period; that less than an eighth of that sum would now purchase it (Italian)|This grand composition, intended to represent one of the Battles of the Israelites, is painted much in the manner of Julio Romano. The late Henry Tresham, Esq. R.A. informed the proprietor, that this picture was sent from Rome by Gaven Hamilton, and had been given as a security for the sum of four hundred pounds! Times, however, have so much altered since that period; that less than an eighth of that sum would now purchase it]] réalisée par Italian, vendue par [[[Thomas Gwennap]]]. [80]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Portrait of Henry VIII. presumed to be the earliest of that monarch, after he ascended the throne. He is represented in the costume of his father's time; viz. having his vest formed for leaving the neck and chest uncovered. It was (no doubt) painted by the best artist, at that time in England (artiste anonyme)|Portrait of Henry VIII. presumed to be the earliest of that monarch, after he ascended the throne. He is represented in the costume of his father's time; viz. having his vest formed for leaving the neck and chest uncovered. It was (no doubt) painted by the best artist, at that time in England]] réalisée par un.e artiste anonyme, vendue par [[[Thomas Gwennap]]]. [81]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[His own Portrait, with a Gorget. This exquisite bijou, from the style of colouring, as well as the apparent youth of the artist, was probably painted while he was in the school of Rembrandt. -- It is supposed to be the youngest likeness extant of this inimitable master (G. Dow)|His own Portrait, with a Gorget. This exquisite bijou, from the style of colouring, as well as the apparent youth of the artist, was probably painted while he was in the school of Rembrandt. -- It is supposed to be the youngest likeness extant of this inimitable master]] réalisée par G. Dow, vendue par [[[Thomas Gwennap]]]. [107]
  • 1819.04.24/ maison de ventes : Gwennap (Thomas). Vente de l'œuvre décrite comme [[Portrait of his Father. -- Those who have never seen any works by this master, except in his very high finished manner, may probably doubt this wonderful piece of animated canvass, to have been by his hand. It is but little known, that he occasionally painted in this firm, free, and masterly style; (specimens being so exceedingly rare). Denner's manner in the colouring, &c. is, however, so very visible, that it cannot well be ascribed to any other pencil; and the artist will probably regret, that so able a master should have employed so much of his time in excessive high finishing; in which, after the most laboured execution, it was impossible for him to exceed that look of real life, which he has so admirably infused into this portrait. It is well known that Denner's excellencies were confined to the head, he rarely attempted the hand; and his draperies have certainly no claim to commendation. -- But the spectator (it is presumed) will readily overlook those deficiencies, while contemplating this wonderful (if not matchless) production of art; which, from the native purity of the carnations, the well expressed hoary locks and beard, and the magic brilliancy of the eye, is so admirable descriptive of vigorous old age (Balthasar Denner)|Portrait of his Father. -- Those who have never seen any works by this master, except in his very high finished manner, may probably doubt this wonderful piece of animated canvass, to have been by his hand. It is but little known, that he occasionally painted in this firm, free, and masterly style; (specimens being so exceedingly rare). Denner's manner in the colouring, &c. is, however, so very visible, that it cannot well be ascribed to any other pencil; and the artist will probably regret, that so able a master should have employed so much of his time in excessive high finishing; in which, after the most laboured execution, it was impossible for him to exceed that look of real life, which he has so admirably infused into this portrait. It is well known that Denner's excellencies were confined to the head, he rarely attempted the hand; and his draperies have certainly no claim to commendation. -- But the spectator (it is presumed) will readily overlook those deficiencies, while contemplating this wonderful (if not matchless) production of art; which, from the native purity of the carnations, the well expressed hoary locks and beard, and the magic brilliancy of the eye, is so admirable descriptive of vigorous old age]] réalisée par Balthasar Denner, vendue par [[[Thomas Gwennap]]]. [124]
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