Ventes d'œuvres le 1821.11.22

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  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Venus and Cupid sleeping; with two Satyrs, who are stealing Cupid's Bow and Arrows, &c. -- Unframed. 1 ft. 6 in. w. -- 1 ft. 4 in. h. The landscape is one of those rural sequestered scenes, which are fabled to have been the haunts of Wood Nymphs, Satyrs, &c. and forms and appropriate and delightful retreat for the figures of the present subject; which are finely drawn and coloured, and the landscape is touched with a vigorous and glowing pencil (Ant. Coypel)|Venus and Cupid sleeping; with two Satyrs, who are stealing Cupid's Bow and Arrows, &c. -- Unframed. 1 ft. 6 in. w. -- 1 ft. 4 in. h. The landscape is one of those rural sequestered scenes, which are fabled to have been the haunts of Wood Nymphs, Satyrs, &c. and forms and appropriate and delightful retreat for the figures of the present subject; which are finely drawn and coloured, and the landscape is touched with a vigorous and glowing pencil]] réalisée par Ant. Coypel, vendue par Richard Rushforth, Esq au prix de 4.0 £. [10]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Head of a Cherubim. 1 ft. 4 in. w. -- 1 ft. 7 in. h. This is probably after a design of this great Painter, rather than by him: it is, however, very Corregiesque in its expression, and is very chastely coloured: -- a beautiful little cabinet picture (Anthony Correggio)|Head of a Cherubim. 1 ft. 4 in. w. -- 1 ft. 7 in. h. This is probably after a design of this great Painter, rather than by him: it is, however, very Corregiesque in its expression, and is very chastely coloured: -- a beautiful little cabinet picture]] réalisée par Anthony Correggio, vendue par Richard Rushforth, Esq, achetée par Baxter au prix de 15.15 £. [13]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Lady and Child: the latter asleep, with a delicate veil thrown over the face. 9 in. w. -- 1 ft. h. This lovely little picture has been designated as the Virgin and Child; but the engraver, who has been copied, has called it as above. There is certainly a strong expression of devotional meekness in the head of the lady; and the attitude is strikingly beautiful, and indicative of much maternal tenderness. It is pencilled with much delicacy, and the colouring is rich and mellow. It has been engraved by Bartolozzi, and is in the present Collection (Sasso Ferrata)|Lady and Child: the latter asleep, with a delicate veil thrown over the face. 9 in. w. -- 1 ft. h. This lovely little picture has been designated as the Virgin and Child; but the engraver, who has been copied, has called it as above. There is certainly a strong expression of devotional meekness in the head of the lady; and the attitude is strikingly beautiful, and indicative of much maternal tenderness. It is pencilled with much delicacy, and the colouring is rich and mellow. It has been engraved by Bartolozzi, and is in the present Collection]] réalisée par Sasso Ferrata, vendue par Richard Rushforth, Esq, achetée par Baxter au prix de 15.15 £. [14]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Landscape, with a Waterfall -- Figures and Cattle. 1 ft. 1 in. w. -- 1 ft. 4 in. h. A most beautiful picture of this much-coveted Master, whose works, whether in Portrait, Landscape, or History, are entitled to equal priase and admiration, and find their way into the first Collections. The Cattle are finely drawn, and the whole is coloured with great force and effect (Dietricy)|Landscape, with a Waterfall -- Figures and Cattle. 1 ft. 1 in. w. -- 1 ft. 4 in. h. A most beautiful picture of this much-coveted Master, whose works, whether in Portrait, Landscape, or History, are entitled to equal priase and admiration, and find their way into the first Collections. The Cattle are finely drawn, and the whole is coloured with great force and effect]] réalisée par Dietricy, vendue par Richard Rushforth, Esq, achetée par Baxter au prix de 17.17 £. [15]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Holy Family; with a beautiful Landscape in the back ground. 1 ft. 2 in. w. -- 1 ft. 4 in. h. The figures are well drawn and composed, the countenances beautiful and animated, and the effect very pleasing. The present is a fine cabinet example of the Master: it is engraved (Peter Mignard)|Holy Family; with a beautiful Landscape in the back ground. 1 ft. 2 in. w. -- 1 ft. 4 in. h. The figures are well drawn and composed, the countenances beautiful and animated, and the effect very pleasing. The present is a fine cabinet example of the Master: it is engraved]] réalisée par Peter Mignard, vendue par Richard Rushforth, Esq, achetée par Hibbert au prix de 13.13 £. [16]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[View in Venice, -- St. Mark's Place, &c. 1 ft. 6 in. w. -- 10 in. h. A most charming and spirited little picture. The perspective is finely managed, and the various groups of figures touched with an infinite deal of freedom and animation; in short, the pictures of this Master are in small, what Canaletti's are in large; whose works they much resemble, and equal, in every respect but their size. Its companion is in the present day's sale, No. 76 (Fran. Guardi)|View in Venice, -- St. Mark's Place, &c. 1 ft. 6 in. w. -- 10 in. h. A most charming and spirited little picture. The perspective is finely managed, and the various groups of figures touched with an infinite deal of freedom and animation; in short, the pictures of this Master are in small, what Canaletti's are in large; whose works they much resemble, and equal, in every respect but their size. Its companion is in the present day's sale, No. 76]] réalisée par Fran. Guardi, vendue par Richard Rushforth, Esq, achetée par Cankrey au prix de 18.18 £. [17]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Numerous Figures of both Sexes; a motley groupe, in a kind of masquerade dress: the Clown, &c. forms the principal figure. -- A scene in a French Pantomime. 2 ft. 6 in. w. -- 2 ft. h. One of his favourite Comic subjects, finely coloured, and possessing all the excellencies of this favourite Master of the French School. Pilkington very justly observes, that although the compositions of Watteau cannot be justly considered as of the first rank, yet they have their particular merit; and, in their way, have a degree of merit which no subsequent Artist has yet equalled; and they seem to advance daily in the esteem of the public (Watteau)|Numerous Figures of both Sexes; a motley groupe, in a kind of masquerade dress: the Clown, &c. forms the principal figure. -- A scene in a French Pantomime. 2 ft. 6 in. w. -- 2 ft. h. One of his favourite Comic subjects, finely coloured, and possessing all the excellencies of this favourite Master of the French School. Pilkington very justly observes, that although the compositions of Watteau cannot be justly considered as of the first rank, yet they have their particular merit; and, in their way, have a degree of merit which no subsequent Artist has yet equalled; and they seem to advance daily in the esteem of the public]] réalisée par Watteau, vendue par Richard Rushforth, Esq, achetée par Potter au prix de 18.10 £. [18]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Musical Party -- Man playing upon the Viol d'Amor at a Window, with various other figures in the back ground. 1 ft. 2 in. w. -- 1 ft. 4 in. h. One of the well known subjects of this admired Painter -- pencilled in a most tender and exquisite manner, and equal, in point of beauty and effect, to the esteemed works of Metzu, Mieris, &c. (Nic. Verkolie)|Musical Party -- Man playing upon the Viol d'Amor at a Window, with various other figures in the back ground. 1 ft. 2 in. w. -- 1 ft. 4 in. h. One of the well known subjects of this admired Painter -- pencilled in a most tender and exquisite manner, and equal, in point of beauty and effect, to the esteemed works of Metzu, Mieris, &c.]] réalisée par Nic. Verkolie, vendue par Richard Rushforth, Esq, achetée par Zanetti au prix de 37.0 £. [19]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Holy Family -- a reposo. Circular. 1 ft. 4 in. diam. This group is remarkable for great suavity and tenderness of expression, and is judiciously composed -- the landscape, as well as the figures, is in a grand style, and the whole is touched with great vividness and harmony of colour, and it may be truly said, that all is repose. There is a fine engraving in the present Collection of Prints, from this beautiful picture, by Corn. Bloemart (Fed. Baroccio)|Holy Family -- a reposo. Circular. 1 ft. 4 in. diam. This group is remarkable for great suavity and tenderness of expression, and is judiciously composed -- the landscape, as well as the figures, is in a grand style, and the whole is touched with great vividness and harmony of colour, and it may be truly said, that all is repose. There is a fine engraving in the present Collection of Prints, from this beautiful picture, by Corn. Bloemart]] réalisée par Fed. Baroccio, vendue par Richard Rushforth, Esq au prix de 12.12 £. [20]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[An Enchanting Landscape, with a Road and Wooden Bridge; three loaded Mules, &c. passing along; Castle in the distance, &c. 2 ft. 6 in. w. -- 1 ft. 8 in. h. The works of this justly celebrated artist, are so universally known and admired, that all description in their praise is rendered unnecessary. The present picture was considered by the late Proprietor to be so very fine and desirable a speciment, that he purchased it at a very large price (John Both)|An Enchanting Landscape, with a Road and Wooden Bridge; three loaded Mules, &c. passing along; Castle in the distance, &c. 2 ft. 6 in. w. -- 1 ft. 8 in. h. The works of this justly celebrated artist, are so universally known and admired, that all description in their praise is rendered unnecessary. The present picture was considered by the late Proprietor to be so very fine and desirable a speciment, that he purchased it at a very large price]] réalisée par John Both, vendue par Richard Rushforth, Esq, achetée par Touchet au prix de 42.0 £. [21]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The Unbelief of Thomas, called Didymus, one of the twelve Disciples. This beautiful cabinet picture is a fine example of the great style and manner of this Master; while it is finished with much care, and the most perfect delicacy; and whether for design, expression, colouring, or general effect, cannot be excelled (Annibal Caracci)|The Unbelief of Thomas, called Didymus, one of the twelve Disciples. This beautiful cabinet picture is a fine example of the great style and manner of this Master; while it is finished with much care, and the most perfect delicacy; and whether for design, expression, colouring, or general effect, cannot be excelled]] réalisée par Annibal Caracci, vendue par Richard Rushforth, Esq, achetée par Revd Mr Mallory au prix de 18.18 £. [22]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Dog sitting amidst dead Game. 2 ft. 9 in. w. -- 2 ft. h. A genuine and fine picture of this well known Painter. Nothing can exceed the natural and easy expression of the dog -- it is life itself. And the dead game merits equal praise for its truth and exactness. It is painted with a firm free touch, peculiar to himself, and which easily distinguishes his works from those of any other Master. It is in the most pure condition (Jan Fyt)|Dog sitting amidst dead Game. 2 ft. 9 in. w. -- 2 ft. h. A genuine and fine picture of this well known Painter. Nothing can exceed the natural and easy expression of the dog -- it is life itself. And the dead game merits equal praise for its truth and exactness. It is painted with a firm free touch, peculiar to himself, and which easily distinguishes his works from those of any other Master. It is in the most pure condition]] réalisée par Jan Fyt, vendue par Richard Rushforth, Esq, achetée par Revd Mr Clowes au prix de 16.16 £. [23]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Landscape, with the Flight into Egypt. 1 ft. 1 in. w. -- 10 in. h. Another little cabinet jewel. -- The figures are designed with great elegance, and are most exquisitely coloured: the scene is beautifully laid -- the country appears rich and varied, intersected with groups of luxuriant trees, whilst the solemn glow of evening, which is thrown over the whole subject, produces a most pleasing and impressive effect (Ad. Elsheimer)|Landscape, with the Flight into Egypt. 1 ft. 1 in. w. -- 10 in. h. Another little cabinet jewel. -- The figures are designed with great elegance, and are most exquisitely coloured: the scene is beautifully laid -- the country appears rich and varied, intersected with groups of luxuriant trees, whilst the solemn glow of evening, which is thrown over the whole subject, produces a most pleasing and impressive effect]] réalisée par Ad. Elsheimer, vendue par Richard Rushforth, Esq au prix de 24.3 £. [24]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The Presentation in the Temple. 2 ft. 8 in. w. -- 2 ft. 2 in. h. This well-composed group contains the Virgin and Child, the devout Simeon and Joseph, with an attendant; the holy Sachrist; together with the prophetess Anna, and another female, with a pair of turtle doves for the sacrifice. The disposition of this picture is good, the pencilling wonderfully fine and free, and the colouring well understood; but it may be thought that his shadows are too deep: it is, however, a capital picture of this great Painter (Jacopo Robusti, called Il Tintoretto)|The Presentation in the Temple. 2 ft. 8 in. w. -- 2 ft. 2 in. h. This well-composed group contains the Virgin and Child, the devout Simeon and Joseph, with an attendant; the holy Sachrist; together with the prophetess Anna, and another female, with a pair of turtle doves for the sacrifice. The disposition of this picture is good, the pencilling wonderfully fine and free, and the colouring well understood; but it may be thought that his shadows are too deep: it is, however, a capital picture of this great Painter]] réalisée par Jacopo Robusti, called Il Tintoretto, vendue par Richard Rushforth, Esq, achetée par Hill au prix de 32.11 £. [25]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The Ascension of Saint Catharine. 1 ft. 2 in. w. -- 1 ft. 5 in. h. The colouring of this lovely little picture is modest, placid, and precious, combining an ivory polish with the most elaborate finish, yet nothing harsh, but full of suavity and harmony, united with the most tender sentiment and gracefulness of action (Carlo Dolci)|The Ascension of Saint Catharine. 1 ft. 2 in. w. -- 1 ft. 5 in. h. The colouring of this lovely little picture is modest, placid, and precious, combining an ivory polish with the most elaborate finish, yet nothing harsh, but full of suavity and harmony, united with the most tender sentiment and gracefulness of action]] réalisée par Carlo Dolci, vendue par Richard Rushforth, Esq au prix de 17.17 £. [26]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Rinaldo in the Garden of Armida. He is represented sleeping, and at the moment of discovery by the fair Enchantress. 1 ft. 6 in. w. -- 1 ft. 3 in. h. The figures are well drawn, particularly the fore-shortened figures; but they want elegance, and partake too much of the Flemish gusto, -- the colouring, however, possesses all that delicacy and transparence for which he was so celebrated, and the roundness and relief of his figures are truly admirable (Adr. Vanderwerf)|Rinaldo in the Garden of Armida. He is represented sleeping, and at the moment of discovery by the fair Enchantress. 1 ft. 6 in. w. -- 1 ft. 3 in. h. The figures are well drawn, particularly the fore-shortened figures; but they want elegance, and partake too much of the Flemish gusto, -- the colouring, however, possesses all that delicacy and transparence for which he was so celebrated, and the roundness and relief of his figures are truly admirable]] réalisée par Adr. Vanderwerf, vendue par Richard Rushforth, Esq, achetée par Potter au prix de 15.15 £. [27]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Landscape, with a Man and Horse. 8 in. w. -- 11 in. h. A charming little picture. The figures, as might be expected, are correctly drawn, the colouring is warm, transparent, and true to nature, and the whole produces a most pleasing and harmonious effect. A fine cabinet example of this valuable Artist (Phil. Wouvermans)|Landscape, with a Man and Horse. 8 in. w. -- 11 in. h. A charming little picture. The figures, as might be expected, are correctly drawn, the colouring is warm, transparent, and true to nature, and the whole produces a most pleasing and harmonious effect. A fine cabinet example of this valuable Artist]] réalisée par Phil. Wouvermans, vendue par Richard Rushforth, Esq, achetée par Hardman au prix de 26.5 £. [28]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Mars and Venus. 1 ft. 9 in. w. -- 1 ft. 4 in. h. Under these characters, it is said, the artist has given us the portraits of himself and his wife; and it is highly probable, for a more beautiful picture never came from the Easel: and yet, if the time of his death, 1604, as given in Pilkington, be correct, it cannot possibly be by him, (to whom it has hitherto been assigned) as the initials I. R. and the date 1613 are to be found very conspicuously placed on the picture. It possesses, however, all the characteristic excellencies of this painter -- a good taste of design, considerable elegance in the airs of his heads, richness of colouring, and a judicious variety in the draperies. Before this elegant picture, (which is shut up from the jaundiced eye of the censorious and the prudish) is another Picture, joined and ingeniously fastened on (with lock and hinges), to act as a screen; a description of which follows; and they will, of course, be sold together. Pether. The Fire of Drury-Lane Theatre: with a distant view of St. Paul's and Westminster Abbey -- by Night. The grand reflected glow of the fire upon the water, contrasted with the moon in full resplendence, forms a correct and sublime representation of this awful conflagration, as witnessed by the Artist (Jo. Rothenamer)|Mars and Venus. 1 ft. 9 in. w. -- 1 ft. 4 in. h. Under these characters, it is said, the artist has given us the portraits of himself and his wife; and it is highly probable, for a more beautiful picture never came from the Easel: and yet, if the time of his death, 1604, as given in Pilkington, be correct, it cannot possibly be by him, (to whom it has hitherto been assigned) as the initials I. R. and the date 1613 are to be found very conspicuously placed on the picture. It possesses, however, all the characteristic excellencies of this painter -- a good taste of design, considerable elegance in the airs of his heads, richness of colouring, and a judicious variety in the draperies. Before this elegant picture, (which is shut up from the jaundiced eye of the censorious and the prudish) is another Picture, joined and ingeniously fastened on (with lock and hinges), to act as a screen; a description of which follows; and they will, of course, be sold together. Pether. The Fire of Drury-Lane Theatre: with a distant view of St. Paul's and Westminster Abbey -- by Night. The grand reflected glow of the fire upon the water, contrasted with the moon in full resplendence, forms a correct and sublime representation of this awful conflagration, as witnessed by the Artist]] réalisée par Jo. Rothenamer, vendue par Richard Rushforth, Esq au prix de 45.3 £. [30]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Mars and Venus. 1 ft. 9 in. w. -- 1 ft. 4 in. h. Under these characters, it is said, the artist has given us the portraits of himself and his wife; and it is highly probable, for a more beautiful picture never came from the Easel: and yet, if the time of his death, 1604, as given in Pilkington, be correct, it cannot possibly be by him, (to whom it has hitherto been assigned) as the initials I. R. and the date 1613 are to be found very conspicuously placed on the picture. It possesses, however, all the characteristic excellencies of this painter -- a good taste of design, considerable elegance in the airs of his heads, richness of colouring, and a judicious variety in the draperies. Before this elegant picture, (which is shut up from the jaundiced eye of the censorious and the prudish) is another Picture, joined and ingeniously fastened on (with lock and hinges), to act as a screen; a description of which follows; and they will, of course, be sold together. Pether. The Fire of Drury-Lane Theatre: with a distant view of St. Paul's and Westminster Abbey -- by Night. The grand reflected glow of the fire upon the water, contrasted with the moon in full resplendence, forms a correct and sublime representation of this awful conflagration, as witnessed by the Artist (Pether)|Mars and Venus. 1 ft. 9 in. w. -- 1 ft. 4 in. h. Under these characters, it is said, the artist has given us the portraits of himself and his wife; and it is highly probable, for a more beautiful picture never came from the Easel: and yet, if the time of his death, 1604, as given in Pilkington, be correct, it cannot possibly be by him, (to whom it has hitherto been assigned) as the initials I. R. and the date 1613 are to be found very conspicuously placed on the picture. It possesses, however, all the characteristic excellencies of this painter -- a good taste of design, considerable elegance in the airs of his heads, richness of colouring, and a judicious variety in the draperies. Before this elegant picture, (which is shut up from the jaundiced eye of the censorious and the prudish) is another Picture, joined and ingeniously fastened on (with lock and hinges), to act as a screen; a description of which follows; and they will, of course, be sold together. Pether. The Fire of Drury-Lane Theatre: with a distant view of St. Paul's and Westminster Abbey -- by Night. The grand reflected glow of the fire upon the water, contrasted with the moon in full resplendence, forms a correct and sublime representation of this awful conflagration, as witnessed by the Artist]] réalisée par Pether, vendue par Richard Rushforth, Esq au prix de 45.3 £. [31]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Two Boys rising in the act of play from a Couch. 1 ft. 5 in. w. -- 2 ft. h. A singular, yet very interesting production, uniting the exquisite feeling and expression of Da Vinci, and the grace of Correggio, with his own peculiar excellencies. The airs of the heads are particularly beautiful, and there is a roundness and relief which gives an air of life itself (Perino del Vaga)|Two Boys rising in the act of play from a Couch. 1 ft. 5 in. w. -- 2 ft. h. A singular, yet very interesting production, uniting the exquisite feeling and expression of Da Vinci, and the grace of Correggio, with his own peculiar excellencies. The airs of the heads are particularly beautiful, and there is a roundness and relief which gives an air of life itself]] réalisée par Perino del Vaga, vendue par Richard Rushforth, Esq au prix de 18.18 £. [32]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The Death of Procris. 10 in. w. -- 9 in. h. This is one of those elaborate and exquisite productions for which the Artist is so universally admired, and allowed to stand without a competitor. The figures of this affecting scene of classic story are designed with great elegance, and coloured with a most magic pencil: whilst the landscape is composed with a corresponding effect, and almost rivals the splendour of Titian in its colouring: add to which, the trees, plants, insects, &c. are marked with the utmost truth, and the most exquisite pencil, and even the minutest objects will bear the most critical inspection. This beautiful picture is engraved by Passe, and will be found in the present collection of prints (Ad. Elsheimer)|The Death of Procris. 10 in. w. -- 9 in. h. This is one of those elaborate and exquisite productions for which the Artist is so universally admired, and allowed to stand without a competitor. The figures of this affecting scene of classic story are designed with great elegance, and coloured with a most magic pencil: whilst the landscape is composed with a corresponding effect, and almost rivals the splendour of Titian in its colouring: add to which, the trees, plants, insects, &c. are marked with the utmost truth, and the most exquisite pencil, and even the minutest objects will bear the most critical inspection. This beautiful picture is engraved by Passe, and will be found in the present collection of prints]] réalisée par Ad. Elsheimer, vendue par Richard Rushforth, Esq au prix de 12.12 £. [33]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[A Landscape, the fore-ground a Wood, through which is viewed a beautiful distance. 1 ft. 9 in. w. -- 2 ft. 2 in. h. This lovely picture conveys a very just and high idea of the Artist's powers in landscape; and whether we look at the crisp and masterly touches of the foliage, -- the lively verdure of the trees, sparkling dew drops with the effect of a morning sun, -- the beautiful plants, shrubs, &c. with which he generally ornamented his foregrounds (and which are here in great profusion), -- or the tenderness and truth of his aërial distances, we must acknowledge that there can be nothing more excellent in landscape, nor approaching nearer to nature (Adam Pynaker)|A Landscape, the fore-ground a Wood, through which is viewed a beautiful distance. 1 ft. 9 in. w. -- 2 ft. 2 in. h. This lovely picture conveys a very just and high idea of the Artist's powers in landscape; and whether we look at the crisp and masterly touches of the foliage, -- the lively verdure of the trees, sparkling dew drops with the effect of a morning sun, -- the beautiful plants, shrubs, &c. with which he generally ornamented his foregrounds (and which are here in great profusion), -- or the tenderness and truth of his aërial distances, we must acknowledge that there can be nothing more excellent in landscape, nor approaching nearer to nature]] réalisée par Adam Pynaker, vendue par Richard Rushforth, Esq, achetée par Hibbert au prix de 47.5 £. [34]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[View of a Street, with various Public Buildings, in some Town in Holland. 2 ft. 4 in. w. -- 1 ft. 9 in. h. A most extraordinary and elaborate production, which the most minute description could not convey an adequate idea of, as to the astonishing finish and amazing patience employed in its execution -- every tile and brick may be distinctly enumerated. The intricate and masterly knowledge of perspective, and his practical use of the chiaro-scuro, are admirably displayed, and yet the objects in his pictures, notwithstanding all this patient detail, form admirable masses of light and shadow, and the union and harmony are not injured, as the present admirable painting is a striking exemplification of. -- It is also in the finest and most desirable state of preservation -- not even a brick or a tile being otherwise than as the Artist left it (John Vander Heyden)|View of a Street, with various Public Buildings, in some Town in Holland. 2 ft. 4 in. w. -- 1 ft. 9 in. h. A most extraordinary and elaborate production, which the most minute description could not convey an adequate idea of, as to the astonishing finish and amazing patience employed in its execution -- every tile and brick may be distinctly enumerated. The intricate and masterly knowledge of perspective, and his practical use of the chiaro-scuro, are admirably displayed, and yet the objects in his pictures, notwithstanding all this patient detail, form admirable masses of light and shadow, and the union and harmony are not injured, as the present admirable painting is a striking exemplification of. -- It is also in the finest and most desirable state of preservation -- not even a brick or a tile being otherwise than as the Artist left it]] réalisée par John Vander Heyden, vendue par Richard Rushforth, Esq, achetée par Hill au prix de 42.0 £. [35]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The Bed-chamber of a Dutch Courtesan. 1 ft. 3 in. w. -- 1 ft. 7 in. h. Nothing can surpass the droll humour of this capital picture, or its exquisite colouring, and which, with more propriety, has been placed in the same situation as No. 77. in this collection -- under lock and key: and it is not to be wondered at, from the character we have of this eccentric Artist, that he should bestow his utmost efforts upon subjects of this objectionable nature, and paint them, as it were, con amore; for they were, unfortunately, his delight, and too frequently employed his hours of recreation, as they did those of his precious and most inimitable pencil. The picture has the advantage of being in the finest state of preservation, and to collectors of works of the first class, with whom such subjects would be no objection, it is a most desirable acquisition. The picture placed before it as a screen, is the following, and they will, of course, be sold together. Gasp. Netscher. The Portrait of an English Ambassador at the Hague. 1 ft. 5 in. w. -- 1 ft. 9 in. h. The lustre of the colouring, and the spirited, yet mellow touch of this fine portrait, render it worthy of the situation and office which have been assigned to it (Jan Steen)|The Bed-chamber of a Dutch Courtesan. 1 ft. 3 in. w. -- 1 ft. 7 in. h. Nothing can surpass the droll humour of this capital picture, or its exquisite colouring, and which, with more propriety, has been placed in the same situation as No. 77. in this collection -- under lock and key: and it is not to be wondered at, from the character we have of this eccentric Artist, that he should bestow his utmost efforts upon subjects of this objectionable nature, and paint them, as it were, con amore; for they were, unfortunately, his delight, and too frequently employed his hours of recreation, as they did those of his precious and most inimitable pencil. The picture has the advantage of being in the finest state of preservation, and to collectors of works of the first class, with whom such subjects would be no objection, it is a most desirable acquisition. The picture placed before it as a screen, is the following, and they will, of course, be sold together. Gasp. Netscher. The Portrait of an English Ambassador at the Hague. 1 ft. 5 in. w. -- 1 ft. 9 in. h. The lustre of the colouring, and the spirited, yet mellow touch of this fine portrait, render it worthy of the situation and office which have been assigned to it]] réalisée par Jan Steen, vendue par Richard Rushforth, Esq, achetée par Revd Jno Clows au prix de 52.10 £. [36]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The Bed-chamber of a Dutch Courtesan. 1 ft. 3 in. w. -- 1 ft. 7 in. h. Nothing can surpass the droll humour of this capital picture, or its exquisite colouring, and which, with more propriety, has been placed in the same situation as No. 77. in this collection -- under lock and key: and it is not to be wondered at, from the character we have of this eccentric Artist, that he should bestow his utmost efforts upon subjects of this objectionable nature, and paint them, as it were, con amore; for they were, unfortunately, his delight, and too frequently employed his hours of recreation, as they did those of his precious and most inimitable pencil. The picture has the advantage of being in the finest state of preservation, and to collectors of works of the first class, with whom such subjects would be no objection, it is a most desirable acquisition. The picture placed before it as a screen, is the following, and they will, of course, be sold together. Gasp. Netscher. The Portrait of an English Ambassador at the Hague. 1 ft. 5 in. w. -- 1 ft. 9 in. h. The lustre of the colouring, and the spirited, yet mellow touch of this fine portrait, render it worthy of the situation and office which have been assigned to it (Gasp. Netscher)|The Bed-chamber of a Dutch Courtesan. 1 ft. 3 in. w. -- 1 ft. 7 in. h. Nothing can surpass the droll humour of this capital picture, or its exquisite colouring, and which, with more propriety, has been placed in the same situation as No. 77. in this collection -- under lock and key: and it is not to be wondered at, from the character we have of this eccentric Artist, that he should bestow his utmost efforts upon subjects of this objectionable nature, and paint them, as it were, con amore; for they were, unfortunately, his delight, and too frequently employed his hours of recreation, as they did those of his precious and most inimitable pencil. The picture has the advantage of being in the finest state of preservation, and to collectors of works of the first class, with whom such subjects would be no objection, it is a most desirable acquisition. The picture placed before it as a screen, is the following, and they will, of course, be sold together. Gasp. Netscher. The Portrait of an English Ambassador at the Hague. 1 ft. 5 in. w. -- 1 ft. 9 in. h. The lustre of the colouring, and the spirited, yet mellow touch of this fine portrait, render it worthy of the situation and office which have been assigned to it]] réalisée par Gasp. Netscher, vendue par Richard Rushforth, Esq, achetée par Revd Jno Clows au prix de 52.10 £. [37]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The Interior of a Dutch Officer's Guard Room, with various Figures sitting round a Table, in conversation, whilst a Trumpeter is standing, as if ready to give the signal. 3 ft. 1 in. w. -- 2 ft/ 9 in. h. This is a beautiful specimen of the Master; and the knowledge displayed of the chiaro-scuro is admirable. The effect of a brilliant sun reflected through the window, and seen also through a door in the back part of the room, produces a most striking illusion, and perfectly illuminates the whole of this very pleasing and fine production (Peter de Hooge)|The Interior of a Dutch Officer's Guard Room, with various Figures sitting round a Table, in conversation, whilst a Trumpeter is standing, as if ready to give the signal. 3 ft. 1 in. w. -- 2 ft/ 9 in. h. This is a beautiful specimen of the Master; and the knowledge displayed of the chiaro-scuro is admirable. The effect of a brilliant sun reflected through the window, and seen also through a door in the back part of the room, produces a most striking illusion, and perfectly illuminates the whole of this very pleasing and fine production]] réalisée par Peter de Hooge, vendue par Richard Rushforth, Esq, achetée par Hibbert au prix de 36.15 £. [38]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Christ with the Woman, at the Well of Samaria. 3 ft. 8 in. w. -- 2 ft. 10 in. h. This picture, which is tastefully composed, may be deemed one of the fine examples of this celebrated Master, in his clear manner, producing a very extraordinary relief. The figure of the woman is elegant and graceful, and the head of the Saviour has a fine character. It has been engraved (Guercino)|Christ with the Woman, at the Well of Samaria. 3 ft. 8 in. w. -- 2 ft. 10 in. h. This picture, which is tastefully composed, may be deemed one of the fine examples of this celebrated Master, in his clear manner, producing a very extraordinary relief. The figure of the woman is elegant and graceful, and the head of the Saviour has a fine character. It has been engraved]] réalisée par Guercino, vendue par Richard Rushforth, Esq, achetée par T au prix de 21.0 £. [39]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[A Cook in his Larder, about to spit a Joint of Meat, and with various Animal and Vegetable Foods scattered about him in great profusion. -- Unframed. 6 ft. 8 in. w. -- 4 ft. 8 in. h. Painted with extraordinary freedom, and great harmony in the colouring. The figure is well drawn, and the various appendages of the larder are delineated with much truth; and the whole is composed with much skill and effect. A very suitable picture for a Hall or Gallery (Jacob Jordaens)|A Cook in his Larder, about to spit a Joint of Meat, and with various Animal and Vegetable Foods scattered about him in great profusion. -- Unframed. 6 ft. 8 in. w. -- 4 ft. 8 in. h. Painted with extraordinary freedom, and great harmony in the colouring. The figure is well drawn, and the various appendages of the larder are delineated with much truth; and the whole is composed with much skill and effect. A very suitable picture for a Hall or Gallery]] réalisée par Jacob Jordaens, vendue par Richard Rushforth, Esq, achetée par Baxter au prix de 10.10 £. [40]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[A Landscape, with Male and Female Figures, in the costume of Pastoral life. 2 ft. 7 in. w. -- 2 ft. 1 in. h. There is great probability that the figures here represented are portraits, from the peculiar dress in which they are exhibited by the Artist, and which, no doubt, was intended, as furnishing him with an opportunity of displaying his extraordinary skill in representing white satin -- the dress of the lady; the glossy richness of which is most inimitably painted, and forms a fine example of his unrivalled talent in this department of his art (Adrian Vanderwerf)|A Landscape, with Male and Female Figures, in the costume of Pastoral life. 2 ft. 7 in. w. -- 2 ft. 1 in. h. There is great probability that the figures here represented are portraits, from the peculiar dress in which they are exhibited by the Artist, and which, no doubt, was intended, as furnishing him with an opportunity of displaying his extraordinary skill in representing white satin -- the dress of the lady; the glossy richness of which is most inimitably painted, and forms a fine example of his unrivalled talent in this department of his art]] réalisée par Adrian Vanderwerf, vendue par Richard Rushforth, Esq, achetée par Jackson au prix de 48.6 £. [41]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Landscape and Figures. 1 ft. 6 in. w. -- 2 ft. h. An enchanting scene, exhibiting the warm glowing tints and effects of an Italian sun, in scenery the most romantic and picturesque, given with a charm of truth, that proves it to have been copied from nature. The environs of Rome are so many living pictures for the contemplative and intelligent Artist; and the beautiful scites of Albano, Tivoli, &c. were naturally the haunts of this delightful Painter, and his master, John Both, and furnished the subjects of most of their pictures. This lovely little picture is enriched with excellent figures, &c. which, though upon a small scale, are elegantly designed, and finished with much spirit and neatness (Will de Heusch)|Landscape and Figures. 1 ft. 6 in. w. -- 2 ft. h. An enchanting scene, exhibiting the warm glowing tints and effects of an Italian sun, in scenery the most romantic and picturesque, given with a charm of truth, that proves it to have been copied from nature. The environs of Rome are so many living pictures for the contemplative and intelligent Artist; and the beautiful scites of Albano, Tivoli, &c. were naturally the haunts of this delightful Painter, and his master, John Both, and furnished the subjects of most of their pictures. This lovely little picture is enriched with excellent figures, &c. which, though upon a small scale, are elegantly designed, and finished with much spirit and neatness]] réalisée par Will de Heusch, vendue par Richard Rushforth, Esq, achetée par Hibbert au prix de 21.0 £. [42]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[William Duke of Aquitaine taking the Religious Habit: in the upper compartment is the Virgin, with Saints and Angels, viewing the act below, with much seeming approbation. 1 ft. 5 in. w. -- 2 ft. h. This is a fine example of the grand and elevated style of this celebrated Painter, whether for composition, drawing, colouring, or expression; the upper part of the picture more especially: and the Angel pointing to something below, is particularly desrving the attention of the Connoisseur, for its striking beauty of form, expression, and colouring. -- It appears that he afterwards painted the same subject upon a larger scale, for the Church of St. Gregory, at Bologna; but it was removed by the French; and though it has been restored to the Pope, it has never been re-conveyed to its original destination, but now forms one of the ornaments of the Vatican. It has been engraved, and is to be found in a work in the present Collection, intituled "Quadri (22) di Maestri eccell. specialmente Bolognese," in folio; and the print is there designated as "Il Guglielmo Duca d'Equitana in atto di prender l'Abito Religioso" (Guercino)|William Duke of Aquitaine taking the Religious Habit: in the upper compartment is the Virgin, with Saints and Angels, viewing the act below, with much seeming approbation. 1 ft. 5 in. w. -- 2 ft. h. This is a fine example of the grand and elevated style of this celebrated Painter, whether for composition, drawing, colouring, or expression; the upper part of the picture more especially: and the Angel pointing to something below, is particularly desrving the attention of the Connoisseur, for its striking beauty of form, expression, and colouring. -- It appears that he afterwards painted the same subject upon a larger scale, for the Church of St. Gregory, at Bologna; but it was removed by the French; and though it has been restored to the Pope, it has never been re-conveyed to its original destination, but now forms one of the ornaments of the Vatican. It has been engraved, and is to be found in a work in the present Collection, intituled "Quadri (22) di Maestri eccell. specialmente Bolognese," in folio; and the print is there designated as "Il Guglielmo Duca d'Equitana in atto di prender l'Abito Religioso"]] réalisée par Guercino, vendue par Richard Rushforth, Esq au prix de 29.8 £. [43]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Interior View of the great Church at Antwerp. 1 ft. 6 in. w. -- 2 ft. 2 in. h. One of his day-light views, painted in his bright and clear manner. The columns, capitals, altars, paintings, chapels, oratories, with the finely receding perspective of this magnificent church, are marked with the utmost precision and truth, and finished with a most exquisite and light pencil. The figures introduced are either by Francks, or Van Tulden; and the effect of the tout-ensemble is striking and grand, and it may be confidently pronounced a chef-d'oeuvre of the Painter (Peter Neefs, called The Old)|Interior View of the great Church at Antwerp. 1 ft. 6 in. w. -- 2 ft. 2 in. h. One of his day-light views, painted in his bright and clear manner. The columns, capitals, altars, paintings, chapels, oratories, with the finely receding perspective of this magnificent church, are marked with the utmost precision and truth, and finished with a most exquisite and light pencil. The figures introduced are either by Francks, or Van Tulden; and the effect of the tout-ensemble is striking and grand, and it may be confidently pronounced a chef-d'oeuvre of the Painter]] réalisée par Peter Neefs, called The Old, vendue par Richard Rushforth, Esq, achetée par Hill au prix de 53.11 £. [44]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[St. Jerome in the Wilderness, in the act of prayer before a Crucifix; his Bonnet fastened to a Tree. 1 ft. w. -- 1 ft. 4 in. h. This fine picture possesses all the grandeur of Mich. Angelo: indeed, he had the good fortune of being his friend, under whom he not only studied, but in a great measure formed his last manner. Like the other Painters of that day, his pencilling possesses an enamel, which may be recognized as peculiar to the works of Raffaelle, L. da Vinci, &c. This is particularly the case with the present picture, which is also one of those subjects which he seems to have studied with great attention. It is painted in a grand and noble manner; and the head of the Saint, in point of character and expression is not unworthy of M. Angelo (Andrea del Sarto)|St. Jerome in the Wilderness, in the act of prayer before a Crucifix; his Bonnet fastened to a Tree. 1 ft. w. -- 1 ft. 4 in. h. This fine picture possesses all the grandeur of Mich. Angelo: indeed, he had the good fortune of being his friend, under whom he not only studied, but in a great measure formed his last manner. Like the other Painters of that day, his pencilling possesses an enamel, which may be recognized as peculiar to the works of Raffaelle, L. da Vinci, &c. This is particularly the case with the present picture, which is also one of those subjects which he seems to have studied with great attention. It is painted in a grand and noble manner; and the head of the Saint, in point of character and expression is not unworthy of M. Angelo]] réalisée par Andrea del Sarto, vendue par Richard Rushforth, Esq au prix de 28.7 £. [45]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The Holy Family. 1 ft. 2 in. w. -- 1 ft. h. A lovely composition, full of that grace and simplicity which particularly distinguish the work of Raffaelle, whose pupil he was, and whose manner he studied very closely, and imitated. There is great elegance in the design, as well as chasteness in the colouring. It is in fine preservation (Benvenuti Tisi, called Il Garofalo)|The Holy Family. 1 ft. 2 in. w. -- 1 ft. h. A lovely composition, full of that grace and simplicity which particularly distinguish the work of Raffaelle, whose pupil he was, and whose manner he studied very closely, and imitated. There is great elegance in the design, as well as chasteness in the colouring. It is in fine preservation]] réalisée par Benvenuti Tisi, called Il Garofalo, vendue par Richard Rushforth, Esq au prix de 21.0 £. [46]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Portrait of an Artist, looking at a Bottle of Varnish, which he is holding up to the light. 3 ft. 8 in. w. -- 2 ft. 9 in. h. Probably the portrait of the Artist himself. It is painted in his first manner, and before he attained and practised that exquisite finish and delicate colouring, by which he triumphed over all the Artists of his time. It is, however, a very fine picture: the head is full of character and spirit, and the cloth covering the table, as well as the other objects in the room, are painted with all that richness of effect, and elaborateness of detail, for which he afterwards became so celebrated (Gerard Douw)|Portrait of an Artist, looking at a Bottle of Varnish, which he is holding up to the light. 3 ft. 8 in. w. -- 2 ft. 9 in. h. Probably the portrait of the Artist himself. It is painted in his first manner, and before he attained and practised that exquisite finish and delicate colouring, by which he triumphed over all the Artists of his time. It is, however, a very fine picture: the head is full of character and spirit, and the cloth covering the table, as well as the other objects in the room, are painted with all that richness of effect, and elaborateness of detail, for which he afterwards became so celebrated]] réalisée par Gerard Douw, vendue par Richard Rushforth, Esq, achetée par Hibbert au prix de 33.12 £. [47]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Diana receiving a Bowl of Water from a Shepherd and Sheperdess. 6 ft. w. -- 5 ft. 8 in. h. This commanding composition is treated with a considerable degree of novelty. Diana, the principal figure, is grand and majestic; the group of figures is judiciously arranged; the grey-hound, sheep, &c. well drawn; while the landscape is noble and appropriate to the subject, and the whole offers a fine example of the splendid and powerful colouring of the Rembrandt School, of which this Artist was one of the most conspicuous and eminent disciples (Ger. vander Eeckhout)|Diana receiving a Bowl of Water from a Shepherd and Sheperdess. 6 ft. w. -- 5 ft. 8 in. h. This commanding composition is treated with a considerable degree of novelty. Diana, the principal figure, is grand and majestic; the group of figures is judiciously arranged; the grey-hound, sheep, &c. well drawn; while the landscape is noble and appropriate to the subject, and the whole offers a fine example of the splendid and powerful colouring of the Rembrandt School, of which this Artist was one of the most conspicuous and eminent disciples]] réalisée par Ger. vander Eeckhout, vendue par Richard Rushforth, Esq, achetée par Cristie au prix de 59.17 £. [48]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Death of Cleopatra. 2 ft. 8 in. w. -- 3 ft. 6 in. h. She is represented in the act of applying the deadly asp to her bosom: the striking expression of the features, strongly displaying a sublime dignity and resigned composure, shew the high and exalted character of this celebrated queen. The hands also are remarkable for their extreme delicacy, roundness, and admirable correctness; and nothing can be more expressive and beautiful, than the manner in which Guido has, with his usual grace and elegance, painted this very touching subject, which is executed in his best time, and in his light, airy, and great style, which has secured to him universal admiration (Guido Reni)|Death of Cleopatra. 2 ft. 8 in. w. -- 3 ft. 6 in. h. She is represented in the act of applying the deadly asp to her bosom: the striking expression of the features, strongly displaying a sublime dignity and resigned composure, shew the high and exalted character of this celebrated queen. The hands also are remarkable for their extreme delicacy, roundness, and admirable correctness; and nothing can be more expressive and beautiful, than the manner in which Guido has, with his usual grace and elegance, painted this very touching subject, which is executed in his best time, and in his light, airy, and great style, which has secured to him universal admiration]] réalisée par Guido Reni, vendue par Richard Rushforth, Esq, achetée par Edenson au prix de 66.3 £. [49]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[Village (Flemish) Festivity. 3 ft. w. -- 1 ft. 7 in. h. This beautiful picture represents one of those subjects in which this celebrated Master was always so successful, and where he bestowed every effort of his superior genius and pencil; being so congenial to his own taste and feelings. It is painted in his clear and argentine manner, and is one of four pictures of same form and dimensions, which he executed for the Dutch Trekschuyt, or passage-boat from Rotterdam; and they were placed in what was called the state-room, the decoration of which, in that country, (where this was the usual conveyance of all ranks from one town to another) was particularly attended to; and they have always been ranked among the most esteemed works of this inimitable Artist. The subject exhibits a very natural, striking, and spirited representation of a kind of Flemish Harvest-home; nor is it possible to give a more just and animated picture of the harmonious and happy assemblage and enjoyments of such a scene of rural felicity, intermixed with some of the concomitants and evils attendant upon such a mirthful celebration. The character, situation, nay, even the thoughts, of each individual, whether joyous or grave, in anger or in good-humour, are admirably expressed in his face and his action; and nothing can be more strongly marked, more just, or more natural; and the various groups are well placed, full of spirit, and highly finished; while the landscape is, in every respect, appropriate to the subject. It is in a fine state of preservation, and has been admirable engraved, as indeed have all the four, by Le Bas (David Teniers, the Young)|Village (Flemish) Festivity. 3 ft. w. -- 1 ft. 7 in. h. This beautiful picture represents one of those subjects in which this celebrated Master was always so successful, and where he bestowed every effort of his superior genius and pencil; being so congenial to his own taste and feelings. It is painted in his clear and argentine manner, and is one of four pictures of same form and dimensions, which he executed for the Dutch Trekschuyt, or passage-boat from Rotterdam; and they were placed in what was called the state-room, the decoration of which, in that country, (where this was the usual conveyance of all ranks from one town to another) was particularly attended to; and they have always been ranked among the most esteemed works of this inimitable Artist. The subject exhibits a very natural, striking, and spirited representation of a kind of Flemish Harvest-home; nor is it possible to give a more just and animated picture of the harmonious and happy assemblage and enjoyments of such a scene of rural felicity, intermixed with some of the concomitants and evils attendant upon such a mirthful celebration. The character, situation, nay, even the thoughts, of each individual, whether joyous or grave, in anger or in good-humour, are admirably expressed in his face and his action; and nothing can be more strongly marked, more just, or more natural; and the various groups are well placed, full of spirit, and highly finished; while the landscape is, in every respect, appropriate to the subject. It is in a fine state of preservation, and has been admirable engraved, as indeed have all the four, by Le Bas]] réalisée par David Teniers, the Young, vendue par Richard Rushforth, Esq, achetée par T au prix de 152.5 £. [50]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[An Italian Sea-port: a Sun-set. 3 ft. 8 in. w. -- 2 ft. 6 in. h. This magnificent picture, from the truly classic pencil of this celebrated Painter, is enriched, as usual, with elegant buildings, vessels, groups of figures, &c. The present subject offers one of those fresh and beautiful scenes, laid on the banks of a noble river, and terminating with the sea in the horizon; which, combined with the brilliant and enchanting effects of a setting sun in that delicious climate, have acquired him such a just and universal reputation. This picture was formerly one of the principal ornaments of the Altieri Palace at Rome, and was purchased by the late Mr. Pybus; after whose death it was sold, and will be found in the Catalogue, described as the "Temple of Vesta, at Tivoli" (Claude Lorraine)|An Italian Sea-port: a Sun-set. 3 ft. 8 in. w. -- 2 ft. 6 in. h. This magnificent picture, from the truly classic pencil of this celebrated Painter, is enriched, as usual, with elegant buildings, vessels, groups of figures, &c. The present subject offers one of those fresh and beautiful scenes, laid on the banks of a noble river, and terminating with the sea in the horizon; which, combined with the brilliant and enchanting effects of a setting sun in that delicious climate, have acquired him such a just and universal reputation. This picture was formerly one of the principal ornaments of the Altieri Palace at Rome, and was purchased by the late Mr. Pybus; after whose death it was sold, and will be found in the Catalogue, described as the "Temple of Vesta, at Tivoli"]] réalisée par Claude Lorraine, vendue par Richard Rushforth, Esq, achetée par Hill au prix de 115.10 £. [51]
  • 1821.11.22/ maison de ventes : Ford (William). Vente de l'œuvre décrite comme [[The celebrated Battle between Constantine and Maxentius, Emperors, and co-rivals for the Roman Empire; fought near Rome, A. D. 312. 9 ft. w. -- 4 ft. 4 in. h. This most splendid and truly sublime picture is from the design of Raffaele; and, having been frequently engraved, is well known to the Connoisseur and Collector of Prints. The best of them, as being the most faithful and spirited copy, is that by P. Aquila, on four large sheets, and will be found in the present collection. -- It is impossible to say any thing of this most splendid effort of art, that could convey an adequate idea of its grandeur and sublimity, in which the Painter has even surpassed the Historian: but the Connoisseur will appreciate the judicious manner in which the varied costume, the draperies, and all the accessorial parts of this truly grand composition, have been arranged and attended to; and it is scarcely going too far, to assert that we have no example of any other painting, comprising that unbounded variety of energetic figures, expressive of every human passion, in the rage of battle, and last pulsation of life; -- of costumes and banners (the ensigns of war and victory of all the countries of the then known world) -- of helmets of iron and steel, pikes and javelins, bows and arrows; -- and not least conspicuous, is the famous Labarum Standard, surmounted by the Cross, the proud ensign of the Christian Emperor, and his trust in victory; together with instruments of music, and all the dreadful appendages of war and destruction. Neither will the eye of taste and sensibility, pass over unnoticed the numberless little interesting traits which are scattered over this waste and havoc of death; and, though forming less prominent parts of the picture, may be considered as so many beautiful and affecting episodes of the Artist, all tending to heighten and encrease the interest and effect of the great leading event, which is one of the most important recorded in Ancient History; and to add, if possible and give the charm of individual truth, to the general interest of this splendid picture, if it may be pointed out, that the heads of the two Emperors are taken from the most genuine likenesses which have been transmitted to us from their coins; all tending to produce, aided by the wonderful powers of the painter in colouring (which, for splendour and varied excellence, has never been surpassed), a picture of amazing grandeur, and a Chef-d'Oeuvre of Art (Julio Romano)|The celebrated Battle between Constantine and Maxentius, Emperors, and co-rivals for the Roman Empire; fought near Rome, A. D. 312. 9 ft. w. -- 4 ft. 4 in. h. This most splendid and truly sublime picture is from the design of Raffaele; and, having been frequently engraved, is well known to the Connoisseur and Collector of Prints. The best of them, as being the most faithful and spirited copy, is that by P. Aquila, on four large sheets, and will be found in the present collection. -- It is impossible to say any thing of this most splendid effort of art, that could convey an adequate idea of its grandeur and sublimity, in which the Painter has even surpassed the Historian: but the Connoisseur will appreciate the judicious manner in which the varied costume, the draperies, and all the accessorial parts of this truly grand composition, have been arranged and attended to; and it is scarcely going too far, to assert that we have no example of any other painting, comprising that unbounded variety of energetic figures, expressive of every human passion, in the rage of battle, and last pulsation of life; -- of costumes and banners (the ensigns of war and victory of all the countries of the then known world) -- of helmets of iron and steel, pikes and javelins, bows and arrows; -- and not least conspicuous, is the famous Labarum Standard, surmounted by the Cross, the proud ensign of the Christian Emperor, and his trust in victory; together with instruments of music, and all the dreadful appendages of war and destruction. Neither will the eye of taste and sensibility, pass over unnoticed the numberless little interesting traits which are scattered over this waste and havoc of death; and, though forming less prominent parts of the picture, may be considered as so many beautiful and affecting episodes of the Artist, all tending to heighten and encrease the interest and effect of the great leading event, which is one of the most important recorded in Ancient History; and to add, if possible and give the charm of individual truth, to the general interest of this splendid picture, if it may be pointed out, that the heads of the two Emperors are taken from the most genuine likenesses which have been transmitted to us from their coins; all tending to produce, aided by the wonderful powers of the painter in colouring (which, for splendour and varied excellence, has never been surpassed), a picture of amazing grandeur, and a Chef-d'Oeuvre of Art]] réalisée par Julio Romano, vendue par Richard Rushforth, Esq, achetée par Cristie au prix de 147.0 £. [52]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion Portrait of a Princess of France, habited in her Royal Robes, with flowers. There is great dignity in this Portrait, with a masterly pencil -- the drapery well thrown. Palm-Branch -- with a striking effect of nature and truth of Painted by Chevalier Hyacinth Rigaud, who was born at Perpignan, 1663, died 1743. (Chevalier Hyacinth Rigaud)|Companion Portrait of a Princess of France, habited in her Royal Robes, with flowers. There is great dignity in this Portrait, with a masterly pencil -- the drapery well thrown. Palm-Branch -- with a striking effect of nature and truth of Painted by Chevalier Hyacinth Rigaud, who was born at Perpignan, 1663, died 1743.]] réalisée par Chevalier Hyacinth Rigaud. [177]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Last Judgment. This is a most rare and curious work of art, being a most elaborate and splendid composition of this most awful and grand subject; containing some thousands of Figures, with elegant and grand architecture -- A chef-d'oeuvre of this old Master, the Preceptor of the celebrated Raphael Durbino, Pietro Perrugino, born at Perusia, 1446, died 1524. (Pietro Perrugino)|The Last Judgment. This is a most rare and curious work of art, being a most elaborate and splendid composition of this most awful and grand subject; containing some thousands of Figures, with elegant and grand architecture -- A chef-d'oeuvre of this old Master, the Preceptor of the celebrated Raphael Durbino, Pietro Perrugino, born at Perusia, 1446, died 1524.]] réalisée par Pietro Perrugino. [180]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Meeting of Jacob and Esau -- by Adam Van Oort. Genesis chap. xxiii. ver. 4: "And Esau ran to meet him, and embraced him, and fell on his neck and kissed him: and they wept. Ver. 5th. And he lifted up his eyes, and saw the women, and the children, and said, Who are those with thee? and he said, The children which God hath graciously given thy servant. Verse 6th. Then the handmaidens came near, they and their children, and they bowed themselves." -- This is painted in the best style of the master, whose works Rubens highly esteemed; it possesses all the warmth and glow of colouring in the Venetian style. The Figures are grouped with judgment and truth, and, as a whole, is true to the text. The character and expression excellent. Painted by Adam Van Oort, who was born at Antwerp 1557, died 1641. (Adam Van Oort)|The Meeting of Jacob and Esau -- by Adam Van Oort. Genesis chap. xxiii. ver. 4: "And Esau ran to meet him, and embraced him, and fell on his neck and kissed him: and they wept. Ver. 5th. And he lifted up his eyes, and saw the women, and the children, and said, Who are those with thee? and he said, The children which God hath graciously given thy servant. Verse 6th. Then the handmaidens came near, they and their children, and they bowed themselves." -- This is painted in the best style of the master, whose works Rubens highly esteemed; it possesses all the warmth and glow of colouring in the Venetian style. The Figures are grouped with judgment and truth, and, as a whole, is true to the text. The character and expression excellent. Painted by Adam Van Oort, who was born at Antwerp 1557, died 1641.]] réalisée par Adam Van Oort. [181]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Baptism of our Saviour by St. John in the River Jordan -- a fine historical Picture, in excellent preservation for an early one. None has ever excelled Raphael D'Urbino for character and fine expression. A real connoisseur will discover that this was executed after he had seen the works of Michael Angelo in the Vatican at Rome. Painted by Raphael, who was born at Urbino, 1483, died 1520. (Raphael)|The Baptism of our Saviour by St. John in the River Jordan -- a fine historical Picture, in excellent preservation for an early one. None has ever excelled Raphael D'Urbino for character and fine expression. A real connoisseur will discover that this was executed after he had seen the works of Michael Angelo in the Vatican at Rome. Painted by Raphael, who was born at Urbino, 1483, died 1520.]] réalisée par Raphael. [182]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Painting, representing different events, &c. recorded in Holy Writ. A very old and curious work of art of the German school, with all the minutia of finish possible. In the foreground will be seen Moses and Aaron, &c. with the Tables -- fine venerable figures; Satan and Death, &c. Painted by Albert Durer, who was born at Nuremburg 1471, died 1528. (Albert Durer)|A Painting, representing different events, &c. recorded in Holy Writ. A very old and curious work of art of the German school, with all the minutia of finish possible. In the foreground will be seen Moses and Aaron, &c. with the Tables -- fine venerable figures; Satan and Death, &c. Painted by Albert Durer, who was born at Nuremburg 1471, died 1528.]] réalisée par Albert Durer. [184]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[An Allegorical Painting of the Spring Season. Spring is represented drawn by oxen and seep in her chariot, and strewing flowers -- with a group of Nymphs, dancing for joy of the returning year, in the distant ground. A very agreeable and excellent Historical Landscape -- a good effect of light and shade, and well coloured. Painted by Michael Carre, (a disciple of the celebrated N. Berghem,) who was born at Amsterdam 1666, died 1728. (Michael Carre)|An Allegorical Painting of the Spring Season. Spring is represented drawn by oxen and seep in her chariot, and strewing flowers -- with a group of Nymphs, dancing for joy of the returning year, in the distant ground. A very agreeable and excellent Historical Landscape -- a good effect of light and shade, and well coloured. Painted by Michael Carre, (a disciple of the celebrated N. Berghem,) who was born at Amsterdam 1666, died 1728.]] réalisée par Michael Carre. [188]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Abraham's servant and Rebecca at the Well, Genesis, Chap 24, Ver. 22. And it came to pass as the Camels had done drinking, that the man took a golden ear ring, of half a shekel weight, and two Bracelets for hands of ten shekels weight of Gold, &c. &c. Painted by Andrew Solareo. Birth and Death unknown (Andrew Solareo)|Abraham's servant and Rebecca at the Well, Genesis, Chap 24, Ver. 22. And it came to pass as the Camels had done drinking, that the man took a golden ear ring, of half a shekel weight, and two Bracelets for hands of ten shekels weight of Gold, &c. &c. Painted by Andrew Solareo. Birth and Death unknown]] réalisée par Andrew Solareo. [209]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Ariadne, with Cupids preparing wine from the grape, &c. This painting is very highly coloured and warm like the works of the Venetian school. The attitude of Ariadne is particularly graceful and easy, and the landscape, &c. well adapted to the subject. Painted by Anthony Coypel, who was born at Paris, 1661, died 1733 (Anthony Coypel)|Ariadne, with Cupids preparing wine from the grape, &c. This painting is very highly coloured and warm like the works of the Venetian school. The attitude of Ariadne is particularly graceful and easy, and the landscape, &c. well adapted to the subject. Painted by Anthony Coypel, who was born at Paris, 1661, died 1733]] réalisée par Anthony Coypel. [210]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Prospective View of the City and Port of Lisbon, with Shipping, &c. An excellent representation of this renowned city -- the scene and situation well chosen, and nature well imitated, the Prospective justly observed, and the Landscape and distances very aerial. Painted by Pietro Dandini, who was born at Florence, 1646, died 1712 (Pietro Dandini)|A Prospective View of the City and Port of Lisbon, with Shipping, &c. An excellent representation of this renowned city -- the scene and situation well chosen, and nature well imitated, the Prospective justly observed, and the Landscape and distances very aerial. Painted by Pietro Dandini, who was born at Florence, 1646, died 1712]] réalisée par Pietro Dandini. [211]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Female figure representing Flora in the Garden. As usual with this artist very highly finished. The figure and Drapery with different flowers of the foreground very exquisitely wrought up. The sculptured Grecian Vase, and Buildings, &c. in the distance gives it a truly clasical air. Painted by Theodore, Netcher, claimed by the Dutch as one of their artists, though he was born at Bourdon 1661, died 1732 (Theodore Netcher)|A Female figure representing Flora in the Garden. As usual with this artist very highly finished. The figure and Drapery with different flowers of the foreground very exquisitely wrought up. The sculptured Grecian Vase, and Buildings, &c. in the distance gives it a truly clasical air. Painted by Theodore, Netcher, claimed by the Dutch as one of their artists, though he was born at Bourdon 1661, died 1732]] réalisée par Theodore Netcher. [212]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Upright Landscape, with Italian Ruins, Figures, reposing, Sportsmen, &c. A beautiful and original Picture, the figures and the magnificent Architecture touched in a bold and free manner. The Composition is elegant and the Chiaro Scuro true to nature. Painted by Zucarillo, born in Italy (Zucarillo)|Upright Landscape, with Italian Ruins, Figures, reposing, Sportsmen, &c. A beautiful and original Picture, the figures and the magnificent Architecture touched in a bold and free manner. The Composition is elegant and the Chiaro Scuro true to nature. Painted by Zucarillo, born in Italy]] réalisée par Zucarillo. [213]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion, Village Scene, Vintage and preparation for the Feast. A pair of curious and rare picutres by the elder Breughel, there has seldom been pictures of less labour and apparently more finished, the colours extremely brilliant, the drawing equal to Teniers, the effect of the distance uncommonly good, light and shade broad and very transparent. Painted by Old Breughel, who was born at Breda, 1510, died 1570 (Old Breughel)|Companion, Village Scene, Vintage and preparation for the Feast. A pair of curious and rare picutres by the elder Breughel, there has seldom been pictures of less labour and apparently more finished, the colours extremely brilliant, the drawing equal to Teniers, the effect of the distance uncommonly good, light and shade broad and very transparent. Painted by Old Breughel, who was born at Breda, 1510, died 1570]] réalisée par Old Breughel. [217]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Village Ale-house Door, Travellers and Horses refreshing themselves. The grouping truly natural, coloured with a rich and mellow pencil, the touching bold and decisive, and possessing all the orinality of character so justly admired in this master's works. Painted by Wouvermans, who was born Haerlem (Wouvermans)|Village Ale-house Door, Travellers and Horses refreshing themselves. The grouping truly natural, coloured with a rich and mellow pencil, the touching bold and decisive, and possessing all the orinality of character so justly admired in this master's works. Painted by Wouvermans, who was born Haerlem]] réalisée par Wouvermans. [218]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Abigail meeting David. 1. Samuel, 25th chap. ver. 20. And it was so as she rode on the Ass, that she came down by the covert of the Hill, behold, David and his men came down against her, and she met them. ver. 23. And when Abigail saw David, she hastened and lighted off her Ass and fell before David on her face, and bowed herself to the ground, &c. This Master painted historical subjects, taken from the old and new Testaments, and was remarkable for introducing a great number of figures into his compositions, which he had the skill to express very distinctly. Vandyk often commended the works of this master, and esteemed him worthy of a place in any collection. Painted by Francis Franks, who was born 1580, died 1642 (Francis Franks)|Abigail meeting David. 1. Samuel, 25th chap. ver. 20. And it was so as she rode on the Ass, that she came down by the covert of the Hill, behold, David and his men came down against her, and she met them. ver. 23. And when Abigail saw David, she hastened and lighted off her Ass and fell before David on her face, and bowed herself to the ground, &c. This Master painted historical subjects, taken from the old and new Testaments, and was remarkable for introducing a great number of figures into his compositions, which he had the skill to express very distinctly. Vandyk often commended the works of this master, and esteemed him worthy of a place in any collection. Painted by Francis Franks, who was born 1580, died 1642]] réalisée par Francis Franks. [221]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Battle of the Amalakites -- Julio Romano. A firm, bold, and free touch, full of fire, and elevation of thought, the colouring has force to add life to every object, the expression and action of man and horse, is truly admirable. The sky is well adapted to the scene, and the whole has a charming effect. The light and shade is well understood, and very transparent colouring. Painted by Julia Romano, who was born at Rome, 1492, died 1546. (Julio Romano)|The Battle of the Amalakites -- Julio Romano. A firm, bold, and free touch, full of fire, and elevation of thought, the colouring has force to add life to every object, the expression and action of man and horse, is truly admirable. The sky is well adapted to the scene, and the whole has a charming effect. The light and shade is well understood, and very transparent colouring. Painted by Julia Romano, who was born at Rome, 1492, died 1546.]] réalisée par Julio Romano. [232]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Achilles in Armour, with his Lance and Shield, from Homer's Illiad. -- Rembrandt acquired that taste for strong oppositions of Light and Shade (it is said) from Jacob Pinas, which he ever after so happily cultivated. He formed his own manner entirely by studying and copying nature, which he copied in its most simple dress, without any apparent attention to the elegance of Choice. But though it was not his talent to select what was most beautiful or graceful in nature, yet had he an amazing power in representing every object that was before his eyes with such Truth, Force, and Life, as nothing but Nature itself can equal. He painted in a strong and bold manner, with a degree of force that astonishes, in which he has not been excelled by any artist. Painted by Rembrandt, who was born in Leyden 1606, died 1674. This Picture has been engraved (Rembrandt)|Achilles in Armour, with his Lance and Shield, from Homer's Illiad. -- Rembrandt acquired that taste for strong oppositions of Light and Shade (it is said) from Jacob Pinas, which he ever after so happily cultivated. He formed his own manner entirely by studying and copying nature, which he copied in its most simple dress, without any apparent attention to the elegance of Choice. But though it was not his talent to select what was most beautiful or graceful in nature, yet had he an amazing power in representing every object that was before his eyes with such Truth, Force, and Life, as nothing but Nature itself can equal. He painted in a strong and bold manner, with a degree of force that astonishes, in which he has not been excelled by any artist. Painted by Rembrandt, who was born in Leyden 1606, died 1674. This Picture has been engraved]] réalisée par Rembrandt. [235]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[An Upright Italian Landscape and Figures. A clear and brilliant Sky, with a fine Classical Gusto, with Landscape, &c. The foliage of the Trees against the Sky, uncommonly well managed. Equal, and much in the style of Both, the figures are painted with spirit, yet subordinate to the whole, in excellent preservation, the Pictures by this hand and very scarce. Painted by Barent Graat, who was born at Amsterdam 1628, died 1709. (Barent Graat)|An Upright Italian Landscape and Figures. A clear and brilliant Sky, with a fine Classical Gusto, with Landscape, &c. The foliage of the Trees against the Sky, uncommonly well managed. Equal, and much in the style of Both, the figures are painted with spirit, yet subordinate to the whole, in excellent preservation, the Pictures by this hand and very scarce. Painted by Barent Graat, who was born at Amsterdam 1628, died 1709.]] réalisée par Barent Graat. [236]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Avenue, &c. of a Garden, with Sculptured Busts, Silver Vases mounted with Gold, of Flowers and Fruit, &c. This picture was from the Collection of the late Duke of Buckingham, by Simon Verelst, his flower and fruit subjects, he handled in a charming manner, and gave them force and relief, by a judicious management of Chiaro scuro. He painted his objects with great truth and resemblance of nature, and his colouring was fresh and clear, his flower and fruit pieces fetch very high prices. He was employed chiefly by the Nobility of England. Painted by Simon Verelst, who was born at Antwerp, 1664, died 1710. (Simon Verelst)|Avenue, &c. of a Garden, with Sculptured Busts, Silver Vases mounted with Gold, of Flowers and Fruit, &c. This picture was from the Collection of the late Duke of Buckingham, by Simon Verelst, his flower and fruit subjects, he handled in a charming manner, and gave them force and relief, by a judicious management of Chiaro scuro. He painted his objects with great truth and resemblance of nature, and his colouring was fresh and clear, his flower and fruit pieces fetch very high prices. He was employed chiefly by the Nobility of England. Painted by Simon Verelst, who was born at Antwerp, 1664, died 1710.]] réalisée par Simon Verelst. [237]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a Dutch collector's office, with Peasants coming to pay their Taxes. The discrimination of the different characters introduced here are strongly marked, and pourtrayed with feeling. The figures are well drawn, and natural, with a very bold and spirited touch, uncommonly well relieved. Painted by Cornelius Dusart, who was born at Haerlem, 1665, died 1704 (Cornelius Dusart)|Interior of a Dutch collector's office, with Peasants coming to pay their Taxes. The discrimination of the different characters introduced here are strongly marked, and pourtrayed with feeling. The figures are well drawn, and natural, with a very bold and spirited touch, uncommonly well relieved. Painted by Cornelius Dusart, who was born at Haerlem, 1665, died 1704]] réalisée par Cornelius Dusart. [238]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Wood Scene, a Party of Pleasure, Swinging, &c. A very agreeable scene and excellent colouring, with great nature and truth. The touch is free and steady. The trees natural and well formed. The party cheerful and easy, with a master tone that runs through the whole. Painted by John Horneman (John Horneman)|A Wood Scene, a Party of Pleasure, Swinging, &c. A very agreeable scene and excellent colouring, with great nature and truth. The touch is free and steady. The trees natural and well formed. The party cheerful and easy, with a master tone that runs through the whole. Painted by John Horneman]] réalisée par John Horneman. [239]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Hercules and Omphale -- changes his Club into a Distaff and learns of her to spin. This subject so often handled by the Great Masters, is here managed with delicacy; the beauty of the female form is finely contrasted with the Muscular proportion of Hercules, the flesh tints have a tender warmth and are finely blended into shadow, the pencilling is very soft, and yet uncommonly bold; an effect that can scarcely be surpassed by nature. Painted by Carache, who was born at Bologna, 1560, died 1609 (Carache)|Hercules and Omphale -- changes his Club into a Distaff and learns of her to spin. This subject so often handled by the Great Masters, is here managed with delicacy; the beauty of the female form is finely contrasted with the Muscular proportion of Hercules, the flesh tints have a tender warmth and are finely blended into shadow, the pencilling is very soft, and yet uncommonly bold; an effect that can scarcely be surpassed by nature. Painted by Carache, who was born at Bologna, 1560, died 1609]] réalisée par Carache. [240]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Portrait of the Duchess of Orleans. A very handsome woman; painted at her request by Vanloo, between two of her domestics. The Waiting Woman and a Black Foot Boy, representing the vain attempt of washing the Blackamoor white, &c. &c. The colouring exceedingly tender and delicate with a beautiful pearly tint in the Carnations. Painted by Chevalier Carlo Vanloo, who was born at Nice, 1705, died 1765 (Chevalier Carlo Vanloo)|Portrait of the Duchess of Orleans. A very handsome woman; painted at her request by Vanloo, between two of her domestics. The Waiting Woman and a Black Foot Boy, representing the vain attempt of washing the Blackamoor white, &c. &c. The colouring exceedingly tender and delicate with a beautiful pearly tint in the Carnations. Painted by Chevalier Carlo Vanloo, who was born at Nice, 1705, died 1765]] réalisée par Chevalier Carlo Vanloo. [241]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Flowers in a Glass, Fruit, Insects, &c. by Baptiste. His pictures are not so exquisitely finished as those of Van Huysum, but his composition and colouring are in a bolder style. His flowers have generally a remarkable freedom and looseness as well in the disposition as in the penciling, together with a tone of colouring that is lively, admirable and nature itself. The disposition of his objects is surprisingly elegant and beautiful; and in that respect his compositions are easily known, and as easily distinguished from the performances of others. This is a very good specimen. Painted by John Baptiste Monneyer, who was born at Lisle, 1635, died 1699 (John Baptiste Monneyer)|Flowers in a Glass, Fruit, Insects, &c. by Baptiste. His pictures are not so exquisitely finished as those of Van Huysum, but his composition and colouring are in a bolder style. His flowers have generally a remarkable freedom and looseness as well in the disposition as in the penciling, together with a tone of colouring that is lively, admirable and nature itself. The disposition of his objects is surprisingly elegant and beautiful; and in that respect his compositions are easily known, and as easily distinguished from the performances of others. This is a very good specimen. Painted by John Baptiste Monneyer, who was born at Lisle, 1635, died 1699]] réalisée par John Baptiste Monneyer. [242]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Arrest of Major Andre. The likeness of Andre was taken from an original miniature painting from life. The scene where the occurrence took place was copied from a sketch of the spot. Painted by T. Sully, Philadelphia. This picture is contemplated to be engraved, and there are already sixty subscribers. We have been informed that in the Portrait of Andre, Mr. Sully has as usual been very happy, the scene is very picturesque and characteristic of the North River, which is allowed by the best judges to be the best scenery in the country. Capture of Major Andre. Vide Bisset's continuation of Smolett and Hume's England. Vol. 2. chap. 25. -- "While Andre was with Arnold, the Vulture sloop of war had shifted her position, in consequence of an attack from some artillery on shore, and was gone down nearer to New-York; thence it being impracticable for Andre to return in the same way he had come, he was obliged to proceed by land. Involved in such circumstances without any fault of his own, necessity compelled him to employ deception for his extrication. Hitherto he had worn his regimentals; now dressing himself in a plain suit, he received a passport under the name of John Anderson, by which he on horseback passed the outposts, conceiving himself in perfect safety, he was well advanced on his return, when three militia men meeting him on the road, suddenly seized the bridle, and interrogated him whence he came. Confused at so unexpected an encounter, he answered, "from below;" he immediately recollected his mistake, but too late; the suspicions of his interrogators were aroused, and they insisted on searching him. He offered his purse and watch, and promised very high rewards, if they would suffer him to depart but all were unavailing" (T. Sully)|The Arrest of Major Andre. The likeness of Andre was taken from an original miniature painting from life. The scene where the occurrence took place was copied from a sketch of the spot. Painted by T. Sully, Philadelphia. This picture is contemplated to be engraved, and there are already sixty subscribers. We have been informed that in the Portrait of Andre, Mr. Sully has as usual been very happy, the scene is very picturesque and characteristic of the North River, which is allowed by the best judges to be the best scenery in the country. Capture of Major Andre. Vide Bisset's continuation of Smolett and Hume's England. Vol. 2. chap. 25. -- "While Andre was with Arnold, the Vulture sloop of war had shifted her position, in consequence of an attack from some artillery on shore, and was gone down nearer to New-York; thence it being impracticable for Andre to return in the same way he had come, he was obliged to proceed by land. Involved in such circumstances without any fault of his own, necessity compelled him to employ deception for his extrication. Hitherto he had worn his regimentals; now dressing himself in a plain suit, he received a passport under the name of John Anderson, by which he on horseback passed the outposts, conceiving himself in perfect safety, he was well advanced on his return, when three militia men meeting him on the road, suddenly seized the bridle, and interrogated him whence he came. Confused at so unexpected an encounter, he answered, "from below;" he immediately recollected his mistake, but too late; the suspicions of his interrogators were aroused, and they insisted on searching him. He offered his purse and watch, and promised very high rewards, if they would suffer him to depart but all were unavailing"]] réalisée par T. Sully. [243]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion, Upright Landscape, Ruins, Figures, &c. This master designed his subjects in a grand style, and his design is always correct, his colouring is bold and full of force; his touch is remarkably free, firm, and spirited, and his scenery is elegantly agreeable. His lights and shades are distributed with peculiar judgment, his figures and Cattle are skilfully grouped and the hair and wool of his animals have a strong look of nature, and a bold effect, by the broad manner of his pencilling. His skies, backgrounds, situations, and distances, shew an elegant choice and a masterly observation as well as execution; and in every one of his compositions we see truth and real nature. As an instance of the incredible power of Roos in execution and invention, it is recorded that the imperial ambassador, Count Martinez, wagered a large sum of money with a Swedish General that Roos would paint a picture, of three quarters' size, while they were playing one Game at Cards; and in less than half an hour the picture was finished, though it consisted of a Landscape, with two or three Sheep and Goats, and one figure. That wonderful proof of his readiness and genius, was amply rewarded by the Ambassador, for he bestowed on the artist one half of the sum that had been won by his dexterity. Painted by Rosa du Tivoli, who was born at Frankfort, 1655, died 1705 (Rosa du Tivoli)|Companion, Upright Landscape, Ruins, Figures, &c. This master designed his subjects in a grand style, and his design is always correct, his colouring is bold and full of force; his touch is remarkably free, firm, and spirited, and his scenery is elegantly agreeable. His lights and shades are distributed with peculiar judgment, his figures and Cattle are skilfully grouped and the hair and wool of his animals have a strong look of nature, and a bold effect, by the broad manner of his pencilling. His skies, backgrounds, situations, and distances, shew an elegant choice and a masterly observation as well as execution; and in every one of his compositions we see truth and real nature. As an instance of the incredible power of Roos in execution and invention, it is recorded that the imperial ambassador, Count Martinez, wagered a large sum of money with a Swedish General that Roos would paint a picture, of three quarters' size, while they were playing one Game at Cards; and in less than half an hour the picture was finished, though it consisted of a Landscape, with two or three Sheep and Goats, and one figure. That wonderful proof of his readiness and genius, was amply rewarded by the Ambassador, for he bestowed on the artist one half of the sum that had been won by his dexterity. Painted by Rosa du Tivoli, who was born at Frankfort, 1655, died 1705]] réalisée par Rosa du Tivoli. [245]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a Chemists' Laboratory, with his assistants, apparatus, utensils, &c. by Hemskirk, a very curious Picture of this master. The composistion and grouping is extremely good and the expression varies according to the different personages, very transparent and good colouring. Painted by Martin Hemskirk, born 1498, died 1574 (Martin Hemskirk)|Interior of a Chemists' Laboratory, with his assistants, apparatus, utensils, &c. by Hemskirk, a very curious Picture of this master. The composistion and grouping is extremely good and the expression varies according to the different personages, very transparent and good colouring. Painted by Martin Hemskirk, born 1498, died 1574]] réalisée par Martin Hemskirk. [246]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Landscape, with Banditti bound and taken prisoners. The present Picture is copied from the celebrated one of Both. The warmth of his skies, the judicious and regular receding of the objects, and the sweetness of his distances, affords the eye a degree of pleasure, superior to what we feel on viewing the works of almost any other artist. The present Picture is full of variety and motion in the sky, and the ground, trees, herbage, &c. are beautifully touched with spirit and truth; the whole forcibly expressive of the subject. A fine copy from John Both, who was born at Utrecht, 1610, died 1650 (John Both)|Landscape, with Banditti bound and taken prisoners. The present Picture is copied from the celebrated one of Both. The warmth of his skies, the judicious and regular receding of the objects, and the sweetness of his distances, affords the eye a degree of pleasure, superior to what we feel on viewing the works of almost any other artist. The present Picture is full of variety and motion in the sky, and the ground, trees, herbage, &c. are beautifully touched with spirit and truth; the whole forcibly expressive of the subject. A fine copy from John Both, who was born at Utrecht, 1610, died 1650]] réalisée par John Both. [247]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Armida in Battle, taking vengeance of Renauld's infidelity -- vide Tasso's Jerusalem Delivered. The representation excellent, the scene and situation beautiful, a very happy and spirited action in the figures and Horses with an excellent expression in the exultation of the victors and the dejection of the vanquished. The composition is full of spirit and well disposed, and is every object, nature is well imitated. Painted by L. Logienne, President of the Academy at Rome (L. Logienne)|Armida in Battle, taking vengeance of Renauld's infidelity -- vide Tasso's Jerusalem Delivered. The representation excellent, the scene and situation beautiful, a very happy and spirited action in the figures and Horses with an excellent expression in the exultation of the victors and the dejection of the vanquished. The composition is full of spirit and well disposed, and is every object, nature is well imitated. Painted by L. Logienne, President of the Academy at Rome]] réalisée par L. Logienne. [248]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Landscapes, Figures, &c. by Salvator Rosa. A woody scene of a beautiful and transparent colouring, bold and free pencilling, the chiaro scuro well understood, in the forms of his trees and in the breakings of his grounds; a grandeur of thought appears through all his compositions; the leafing of his trees is light and admirably touched; the figures have attitudes and actions, that are easy and natural, yet full of dignity; and his expression is excellent. Painted by Salvator Rosa, who was born at Naples, 1614, died 1673 (Salvator Rosa)|Landscapes, Figures, &c. by Salvator Rosa. A woody scene of a beautiful and transparent colouring, bold and free pencilling, the chiaro scuro well understood, in the forms of his trees and in the breakings of his grounds; a grandeur of thought appears through all his compositions; the leafing of his trees is light and admirably touched; the figures have attitudes and actions, that are easy and natural, yet full of dignity; and his expression is excellent. Painted by Salvator Rosa, who was born at Naples, 1614, died 1673]] réalisée par Salvator Rosa. [252]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Madona, reading. This small and beautiful picture is an undoubted copy of this Illustrious Painter's original one. In the carnation there appears an inexpressible delicacy. It is impossible to see any thing more tender, more soft, or more round than this figure, without the least harshness of outline. As to the colouring, it cannot so justly be called a beautiful imitation of nature itself; the light and shade is beautifully distributed. The whole has a very striking and astonishing effect, a fine copy from Corregio (Corregio)|A Madona, reading. This small and beautiful picture is an undoubted copy of this Illustrious Painter's original one. In the carnation there appears an inexpressible delicacy. It is impossible to see any thing more tender, more soft, or more round than this figure, without the least harshness of outline. As to the colouring, it cannot so justly be called a beautiful imitation of nature itself; the light and shade is beautifully distributed. The whole has a very striking and astonishing effect, a fine copy from Corregio]] réalisée par Corregio. [258]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[An Italian Fruit piece These are two grand specimens of Caravaggio. He was the author of that manner in which he painted, which was strong, and had a powerful effect by the bold oppositon of his light and shadows. He took nature for his model of every object that he introduced into his compositions, but wanted judgment either to correct or improve nature, and imitated indiscriminately the beauties and defects of his models. It is reported of him, that he always chose to work in a room where the light descended from above. His style of painting was so new, and so surprising, that most of the great men, his cotemporaries studied to imitate it; among whom were Dominichino, Guido, Guercino, and others. The two former very soon quitted that manner, observing that it wanted variety, the lights being the same in all sorts of subjects, and the taste of the design being very indifferent; but Guercino still adhered to it, as well as Valentino and Manfredi. The chief excellence of Caravaggio consisted in colouring; but many of his pictures are truly fine and admirably finished, with great mellowness of pencil. At first he painted fruit and flowers; but afterwards, in the decline of age, devoted all his application to Historical Compositions and Portraits. -- Painted by Michael Angelo Caravaggio, who was born at Caravaggio, a village in the Milanese, in 1569, died 1609 (Michael Angelo Caravaggio)|An Italian Fruit piece These are two grand specimens of Caravaggio. He was the author of that manner in which he painted, which was strong, and had a powerful effect by the bold oppositon of his light and shadows. He took nature for his model of every object that he introduced into his compositions, but wanted judgment either to correct or improve nature, and imitated indiscriminately the beauties and defects of his models. It is reported of him, that he always chose to work in a room where the light descended from above. His style of painting was so new, and so surprising, that most of the great men, his cotemporaries studied to imitate it; among whom were Dominichino, Guido, Guercino, and others. The two former very soon quitted that manner, observing that it wanted variety, the lights being the same in all sorts of subjects, and the taste of the design being very indifferent; but Guercino still adhered to it, as well as Valentino and Manfredi. The chief excellence of Caravaggio consisted in colouring; but many of his pictures are truly fine and admirably finished, with great mellowness of pencil. At first he painted fruit and flowers; but afterwards, in the decline of age, devoted all his application to Historical Compositions and Portraits. -- Painted by Michael Angelo Caravaggio, who was born at Caravaggio, a village in the Milanese, in 1569, died 1609]] réalisée par Michael Angelo Caravaggio. [259]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion; Italian Fruit piece. These are two grand specimens of Caravaggio. He was the author of that manner in which he painted, which was strong, and had a powerful effect by the bold oppositon of his light and shadows. He took nature for his model of every object that he introduced into his compositions, but wanted judgment either to correct or improve nature, and imitated indiscriminately the beauties and defects of his models. It is reported of him, that he always chose to work in a room where the light descended from above. His style of painting was so new, and so surprising, that most of the great men, his cotemporaries studied to imitate it; among whom were Dominichino, Guido, Guercino, and others. The two former very soon quitted that manner, observing that it wanted variety, the lights being the same in all sorts of subjects, and the taste of the design being very indifferent; but Guercino still adhered to it, as well as Valentino and Manfredi. The chief excellence of Caravaggio consisted in colouring; but many of his pictures are truly fine and admirably finished, with great mellowness of pencil. At first he painted fruit and flowers; but afterwards, in the decline of age, devoted all his application to Historical Compositions and Portraits. -- Painted by Michael Angelo Caravaggio, who was born at Caravaggio, a village in the Milanese, in 1569, died 1609 (Michael Angelo Caravaggio)|Companion; Italian Fruit piece. These are two grand specimens of Caravaggio. He was the author of that manner in which he painted, which was strong, and had a powerful effect by the bold oppositon of his light and shadows. He took nature for his model of every object that he introduced into his compositions, but wanted judgment either to correct or improve nature, and imitated indiscriminately the beauties and defects of his models. It is reported of him, that he always chose to work in a room where the light descended from above. His style of painting was so new, and so surprising, that most of the great men, his cotemporaries studied to imitate it; among whom were Dominichino, Guido, Guercino, and others. The two former very soon quitted that manner, observing that it wanted variety, the lights being the same in all sorts of subjects, and the taste of the design being very indifferent; but Guercino still adhered to it, as well as Valentino and Manfredi. The chief excellence of Caravaggio consisted in colouring; but many of his pictures are truly fine and admirably finished, with great mellowness of pencil. At first he painted fruit and flowers; but afterwards, in the decline of age, devoted all his application to Historical Compositions and Portraits. -- Painted by Michael Angelo Caravaggio, who was born at Caravaggio, a village in the Milanese, in 1569, died 1609]] réalisée par Michael Angelo Caravaggio. [260]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Discovery -- by Velasquez. The pictures of this master are seldom to be met with out of Spain. His composition is remarkable for strong expression, for a freedom of pencil, for a spirited touch, and such a tone of colour, as almost equals nature itself. He was particularly charmed with the colouring of Caravaggio, and made him his model; and his success in that style answered his most sanquine expectations. King Philip the Fourth of Spain was the patron. -- Painted by Don Diego Velasquez, who was born at Seville, 1594, died 1660 flowers; but afterwards, in the decline of age, devoted all (Don Diego Velasquez)|The Discovery -- by Velasquez. The pictures of this master are seldom to be met with out of Spain. His composition is remarkable for strong expression, for a freedom of pencil, for a spirited touch, and such a tone of colour, as almost equals nature itself. He was particularly charmed with the colouring of Caravaggio, and made him his model; and his success in that style answered his most sanquine expectations. King Philip the Fourth of Spain was the patron. -- Painted by Don Diego Velasquez, who was born at Seville, 1594, died 1660 flowers; but afterwards, in the decline of age, devoted all]] réalisée par Don Diego Velasquez. [261]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a cottage, with Figures and a Satyr reposing -- by Jordeans. He had good expression and genius, and noble ideas in his characters. He painted with extraordinary freedom, ease, and expedition; there is a brilliancy and harmony in his colouring, and a good understanding of the Chiaro-Scuro; his composition rich; his pencil free and spirited, in which no painter can be accounted his superior. Painted by Jaques Jordeans, who was born at Antwerp, 1594, died 1678 decline of age, devoted all (Jaques Jordeans)|Interior of a cottage, with Figures and a Satyr reposing -- by Jordeans. He had good expression and genius, and noble ideas in his characters. He painted with extraordinary freedom, ease, and expedition; there is a brilliancy and harmony in his colouring, and a good understanding of the Chiaro-Scuro; his composition rich; his pencil free and spirited, in which no painter can be accounted his superior. Painted by Jaques Jordeans, who was born at Antwerp, 1594, died 1678 decline of age, devoted all]] réalisée par Jaques Jordeans. [262]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Architectural View of a Palace, with the landing of Eneas, with his attendants, by Gisolfi. This is a beautiful and grand subject, the composition and grouping of the figures is equal to Salvator Rosa, to whom he always acknowledged himself deeply indepted for his taste and method of Pencilling, he gave the first proof of his wonderful abilities, by designing and painting the grand triumphal arches for the reception of the Archduchess of Austria, when she was to pass through Milan; and soon after he went to Rome, where, with inexpressible pleasure and industry, he designed all the beautiful remains of antiquity, the edifices, ruins, columns or theatres. Of those sketches he made great use. He studied nature with so nice an observation, that every scene he represented, and every building, might be known at first sight, even with the most cursory view. He was thoroughly skilled in Perspective, and described his subjects with all their rich decorations, and every member of the architecture, -- with such neatness of pencilling, such truth and patience; as may sooner become an object of wonder than imitation. The lightness and grandeur of his buildings, the beauty of the perspective, the judicious disposition of the figures, the correctness and taste of his design, and the truth, nature, and force in his colouring, rendered his works justly precious in every part of Europe; and they maintain their reputation and high value even to this day. Painted by Giovanni Gisolfi, who was born at Milan, 1623, died 1683 (Giovanni Gisolfi)|Architectural View of a Palace, with the landing of Eneas, with his attendants, by Gisolfi. This is a beautiful and grand subject, the composition and grouping of the figures is equal to Salvator Rosa, to whom he always acknowledged himself deeply indepted for his taste and method of Pencilling, he gave the first proof of his wonderful abilities, by designing and painting the grand triumphal arches for the reception of the Archduchess of Austria, when she was to pass through Milan; and soon after he went to Rome, where, with inexpressible pleasure and industry, he designed all the beautiful remains of antiquity, the edifices, ruins, columns or theatres. Of those sketches he made great use. He studied nature with so nice an observation, that every scene he represented, and every building, might be known at first sight, even with the most cursory view. He was thoroughly skilled in Perspective, and described his subjects with all their rich decorations, and every member of the architecture, -- with such neatness of pencilling, such truth and patience; as may sooner become an object of wonder than imitation. The lightness and grandeur of his buildings, the beauty of the perspective, the judicious disposition of the figures, the correctness and taste of his design, and the truth, nature, and force in his colouring, rendered his works justly precious in every part of Europe; and they maintain their reputation and high value even to this day. Painted by Giovanni Gisolfi, who was born at Milan, 1623, died 1683]] réalisée par Giovanni Gisolfi. [263]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Emperor Charles the 5th of Spain, taking leave of his consort, previous to his departure to head his army; by Titian. This is a splendid composition which he has repeated many times in painting. This illustrious painter's reputation rose continually, every new work contributed to extend his fame through all Europe; and he was considered as the principal ornament of the age in which he flourished. When his merit was made known to Charles the V. that Monarch knew how to set a just value on his superior abilities; he enriched him by repeated bounties, allowed him a considerable pension conferred on him the honour of knighthood, and what was still more, honoured him with his friendship. He painted the portrait of that benefactor several times, and it is recorded by Sandrart, that one day, while the emperor sat to him for his picture, a pencil happening to drop from the Painter, he stooped, picked it up, and returned it obligingly, answering to the modest apology of the artist, (who blushed at the condescension of so great a monarch,) that the merit of a Titian was worthy the attendance of an emperor. Titian was one of the greatest colourists that ever lived or ever will be perhaps. Painted by Tiziano Veceli, Cavalier, who was born at Friuli, 1480, died 1576 (Titiano Veceli, Cavalier)|The Emperor Charles the 5th of Spain, taking leave of his consort, previous to his departure to head his army; by Titian. This is a splendid composition which he has repeated many times in painting. This illustrious painter's reputation rose continually, every new work contributed to extend his fame through all Europe; and he was considered as the principal ornament of the age in which he flourished. When his merit was made known to Charles the V. that Monarch knew how to set a just value on his superior abilities; he enriched him by repeated bounties, allowed him a considerable pension conferred on him the honour of knighthood, and what was still more, honoured him with his friendship. He painted the portrait of that benefactor several times, and it is recorded by Sandrart, that one day, while the emperor sat to him for his picture, a pencil happening to drop from the Painter, he stooped, picked it up, and returned it obligingly, answering to the modest apology of the artist, (who blushed at the condescension of so great a monarch,) that the merit of a Titian was worthy the attendance of an emperor. Titian was one of the greatest colourists that ever lived or ever will be perhaps. Painted by Tiziano Veceli, Cavalier, who was born at Friuli, 1480, died 1576]] réalisée par Titiano Veceli, Cavalier. [264]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A beautiful young Lady, perusing a Letter by Candle-light, by Mieris. A truly fine effect of artificial Chiaro scuro, a smilar painting to this of the same hand, is in the Florentine collection, of a Girl holding a candle in her hand, which is accounted inestimable. He had an unusual sweetness of colouring, a neat and wonderfully delicate touch, and the same transparence that characterizes the paintings of Douw. But he is allowed to be superior to that Master, in many respects, being more delicate and extensive in his design and more correct in his Drawing. His pictures are rarely to be purchased, and when they are, the purchase is extremely high, -- besides portraits he painted historical subjects. Painted by Francis Mieris, who was born at Leyden, 1635, died 1681 (Francis Mieris)|A beautiful young Lady, perusing a Letter by Candle-light, by Mieris. A truly fine effect of artificial Chiaro scuro, a smilar painting to this of the same hand, is in the Florentine collection, of a Girl holding a candle in her hand, which is accounted inestimable. He had an unusual sweetness of colouring, a neat and wonderfully delicate touch, and the same transparence that characterizes the paintings of Douw. But he is allowed to be superior to that Master, in many respects, being more delicate and extensive in his design and more correct in his Drawing. His pictures are rarely to be purchased, and when they are, the purchase is extremely high, -- besides portraits he painted historical subjects. Painted by Francis Mieris, who was born at Leyden, 1635, died 1681]] réalisée par Francis Mieris. [265]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Dog attacking a Cat and Kittens, with Dead Game, &c. by Snyders. This artist surpassed all others in his style of painting, this is a very good specimen -- his touch is light, and yet firm, his style of composition is rich and full of variety; his colouring is remarkable for truth, nature, warmth, and force; his animals are designed in grand taste, their actions, attitudes, and all their motions having life, spirit, and expression, and he was so exact, that he made even the skins and hair of his animals appear to be real. He was frequently employed to paint for Rubens. Painted by Francis Snyders, who was born at Antwerp, 1579, died 1637 (Francis Snyders)|Dog attacking a Cat and Kittens, with Dead Game, &c. by Snyders. This artist surpassed all others in his style of painting, this is a very good specimen -- his touch is light, and yet firm, his style of composition is rich and full of variety; his colouring is remarkable for truth, nature, warmth, and force; his animals are designed in grand taste, their actions, attitudes, and all their motions having life, spirit, and expression, and he was so exact, that he made even the skins and hair of his animals appear to be real. He was frequently employed to paint for Rubens. Painted by Francis Snyders, who was born at Antwerp, 1579, died 1637]] réalisée par Francis Snyders. [266]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Cupids as Warriors, in a fight, by Terwesten. With truly infantine lovliness and sweetness of colouring, not to be surpassed by any thing of the kind. He had studied the best masters, Raphael, Titian, Tintoretto, &c. He had a good genius, a lively and prompt invention, and a rapid execution, his colouring is natural, his draperies are well cast, his design is correct; and he is ranked among the principal painters of his time -- he was director of an Academy at Berlin. Painted by Augustin Terwesten, who was born at the Hague, 1649, died 1711 (Augustin Terwesten)|Cupids as Warriors, in a fight, by Terwesten. With truly infantine lovliness and sweetness of colouring, not to be surpassed by any thing of the kind. He had studied the best masters, Raphael, Titian, Tintoretto, &c. He had a good genius, a lively and prompt invention, and a rapid execution, his colouring is natural, his draperies are well cast, his design is correct; and he is ranked among the principal painters of his time -- he was director of an Academy at Berlin. Painted by Augustin Terwesten, who was born at the Hague, 1649, died 1711]] réalisée par Augustin Terwesten. [267]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Engagement of two Fleets at Sea, and Storm, by Salvator Rosa, a very fine specimen of Marine Painting. He had an enlarged and comprehensive genius, a lively, fertile, and poetic imagination. He studied nature with a sagacious attention and exquisitive judgment, and always chose to represent nature in her utmost grandeur, and magnificience; for every Tree, Rock, Vessel, Situation, or even Cloud, that enters his compositions, manifests such an elevation of thought, as extorts our admiration. He composed all his subjects in a grand taste, and was singularly correct in his designs, with that spirit and freedom of Pencil that very few have equalled. Painted by Salvator Rosa, who was born at Naples, 1614, died 1673 (Salvator Rosa)|Engagement of two Fleets at Sea, and Storm, by Salvator Rosa, a very fine specimen of Marine Painting. He had an enlarged and comprehensive genius, a lively, fertile, and poetic imagination. He studied nature with a sagacious attention and exquisitive judgment, and always chose to represent nature in her utmost grandeur, and magnificience; for every Tree, Rock, Vessel, Situation, or even Cloud, that enters his compositions, manifests such an elevation of thought, as extorts our admiration. He composed all his subjects in a grand taste, and was singularly correct in his designs, with that spirit and freedom of Pencil that very few have equalled. Painted by Salvator Rosa, who was born at Naples, 1614, died 1673]] réalisée par Salvator Rosa. [268]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Architectural view of the City of Venice, with the Port, &c. by Canaletti These two Pictures are fine specimens, no master has ever repeated these subjects oftener than this painter; as he confined himself to the views of his native city where he had ample scope he indulged his genius by studying the most superb structures in that city, and performed many admirable works, which astonished every judicious eye that observed the variety, the elegance, the grandeur, and the elevation of his ideas. No painter could possess more extensive knowledge of perspective than him, he was absolute master of the true principles of the art. Painted by Canaletti, who was born at Venice (Canaletti)|Architectural view of the City of Venice, with the Port, &c. by Canaletti These two Pictures are fine specimens, no master has ever repeated these subjects oftener than this painter; as he confined himself to the views of his native city where he had ample scope he indulged his genius by studying the most superb structures in that city, and performed many admirable works, which astonished every judicious eye that observed the variety, the elegance, the grandeur, and the elevation of his ideas. No painter could possess more extensive knowledge of perspective than him, he was absolute master of the true principles of the art. Painted by Canaletti, who was born at Venice]] réalisée par Canaletti. [269]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion, Interior View of Venice, with St. Mark's Palace, by Canaletti. These two Pictures are fine specimens, no master has ever repeated these subjects oftener than this painter; as he confined himself to the views of his native city where he had ample scope he indulged his genius by studying the most superb structures in that city, and performed many admirable works, which astonished every judicious eye that observed the variety, the elegance, the grandeur, and the elevation of his ideas. No painter could possess more extensive knowledge of perspective than him, he was absolute master of the true principles of the art. Painted by Canaletti, who was born at Venice (Canaletti)|Companion, Interior View of Venice, with St. Mark's Palace, by Canaletti. These two Pictures are fine specimens, no master has ever repeated these subjects oftener than this painter; as he confined himself to the views of his native city where he had ample scope he indulged his genius by studying the most superb structures in that city, and performed many admirable works, which astonished every judicious eye that observed the variety, the elegance, the grandeur, and the elevation of his ideas. No painter could possess more extensive knowledge of perspective than him, he was absolute master of the true principles of the art. Painted by Canaletti, who was born at Venice]] réalisée par Canaletti. [270]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Landscape and Buildings, Figures, &c. with the watering place; by N. Berghem, enriched with magnificent buildings, with all the warmth of colouring which appears in his productions, and a happy invention in the disposition of his figures, the Chiaro scuro and the light from the sky very good, the perspective and Architecture excellent, with an air of grandeur to the Landscape, which is excessively pleasing, and captivates the most fastidious. The distinguishing characters of the pictures of Berchem, are the breadth and just distribution of light, the grandeur of his masses of light and shade, the natural ease and simplicity in the attitudes of his figures, expressing their several characters, the just gradation of his distances, the brilliancy and harmony of, as well as the transparence of his colouring, the correctness and true perspective of his design, and the elegance of his compostion. Painted by Nicholas Berghem, who was born at Haerlem, 1624, died 1683 (Nicholas Berghem)|A Landscape and Buildings, Figures, &c. with the watering place; by N. Berghem, enriched with magnificent buildings, with all the warmth of colouring which appears in his productions, and a happy invention in the disposition of his figures, the Chiaro scuro and the light from the sky very good, the perspective and Architecture excellent, with an air of grandeur to the Landscape, which is excessively pleasing, and captivates the most fastidious. The distinguishing characters of the pictures of Berchem, are the breadth and just distribution of light, the grandeur of his masses of light and shade, the natural ease and simplicity in the attitudes of his figures, expressing their several characters, the just gradation of his distances, the brilliancy and harmony of, as well as the transparence of his colouring, the correctness and true perspective of his design, and the elegance of his compostion. Painted by Nicholas Berghem, who was born at Haerlem, 1624, died 1683]] réalisée par Nicholas Berghem. [271]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[An Italian Fort, with vessels blown wrecked on the shore, by Claude. A very grand and terrific subject in which the superior hand of this master predominates, with a light touch and skilful management of the aerial perspective; enriched with vessels, figures, rocks, with an uncommon degree of transparency in the colouring throughout, the beauties of his paintings are derived from Nature herself, which he examined with uncommon assiduity, he worked on his pictures with great care, endeavouring to bring them to perfection by touching them over again frequently, and if any performance did not answer his ideas, it was customary with him to alter, deface, and repaint, several times over, till it corresponded with that image pictured in his mind. Painted by Claude Loraine, who was vorn at Loraine, 1600, died 1682 (Claude Loraine)|An Italian Fort, with vessels blown wrecked on the shore, by Claude. A very grand and terrific subject in which the superior hand of this master predominates, with a light touch and skilful management of the aerial perspective; enriched with vessels, figures, rocks, with an uncommon degree of transparency in the colouring throughout, the beauties of his paintings are derived from Nature herself, which he examined with uncommon assiduity, he worked on his pictures with great care, endeavouring to bring them to perfection by touching them over again frequently, and if any performance did not answer his ideas, it was customary with him to alter, deface, and repaint, several times over, till it corresponded with that image pictured in his mind. Painted by Claude Loraine, who was vorn at Loraine, 1600, died 1682]] réalisée par Claude Loraine. [272]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Emperor Bonaparte, in his imperial Robes of State, by Little David. This is a most exquisite specimen of the French School, it is impossible for the pencil of an artist to exceed the freshness, truth and delicacy of this colouring, the composition and attitude very simple and graceful, the expression good, taken when he first mounted the throne, the drapery is well cast, and the whole is very highly finished. Painted by Little David, president of the Academy at Paris. (Little David)|The Emperor Bonaparte, in his imperial Robes of State, by Little David. This is a most exquisite specimen of the French School, it is impossible for the pencil of an artist to exceed the freshness, truth and delicacy of this colouring, the composition and attitude very simple and graceful, the expression good, taken when he first mounted the throne, the drapery is well cast, and the whole is very highly finished. Painted by Little David, president of the Academy at Paris.]] réalisée par Little David. [273]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior view of the Baths of the Seraglio, by Liotard. This is a very curious and extraordinary picture with very brilliant colouring, he applied himself with so great diligence to make himself entire master of design and colouring, that he bacame an artist of the highest distinction. He understood the principles of perspective thoroughly, and copied the works of the most famous artists. Those English gentlemen who favoured him at Rome, intended to travel to Constantinople, and thither Liotard accompanined them; but it must seem very singular, that on his arrival in the Turkish dominions, he assumed the Levantine Dress and never changed it after his return to Europe, which occasioned his being called the Turk painter. He worked also in Enamel to a surprising perfection, he had an astonishing force and beauty in his tint, with a striking resemblance of his models, and an exact imitation of life and nature, in all the subjects he painted. Painted by John Stephen Liotard, called the Turk -- who was born at Geneva, 1702, died -- (John Stephen Liotard)|Interior view of the Baths of the Seraglio, by Liotard. This is a very curious and extraordinary picture with very brilliant colouring, he applied himself with so great diligence to make himself entire master of design and colouring, that he bacame an artist of the highest distinction. He understood the principles of perspective thoroughly, and copied the works of the most famous artists. Those English gentlemen who favoured him at Rome, intended to travel to Constantinople, and thither Liotard accompanined them; but it must seem very singular, that on his arrival in the Turkish dominions, he assumed the Levantine Dress and never changed it after his return to Europe, which occasioned his being called the Turk painter. He worked also in Enamel to a surprising perfection, he had an astonishing force and beauty in his tint, with a striking resemblance of his models, and an exact imitation of life and nature, in all the subjects he painted. Painted by John Stephen Liotard, called the Turk -- who was born at Geneva, 1702, died --]] réalisée par John Stephen Liotard. [274]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion, Historical Landscape, the flight into Egypt, by Albano. The colouring rich, and at the same time clear and transparent, and the figures full of sweetness and dignity, the expression is very fine, extremely well managed, and the whole of a beautiful effect. Painted by Francesco Albano, who was born at Bologna, 1578, died 1660 (Francesco Albano)|Companion, Historical Landscape, the flight into Egypt, by Albano. The colouring rich, and at the same time clear and transparent, and the figures full of sweetness and dignity, the expression is very fine, extremely well managed, and the whole of a beautiful effect. Painted by Francesco Albano, who was born at Bologna, 1578, died 1660]] réalisée par Francesco Albano. [276]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A landscape and Cattle, &c. by Albert Cuyp. The execution remarkably fine, colouring very mellow, the sky is warm and full of lustre, and finished in such a manner as produces a pleasing and striking effect. Painted by Albert Cuyp, who was born at Dort, 1606 (Albert Cuyp)|A landscape and Cattle, &c. by Albert Cuyp. The execution remarkably fine, colouring very mellow, the sky is warm and full of lustre, and finished in such a manner as produces a pleasing and striking effect. Painted by Albert Cuyp, who was born at Dort, 1606]] réalisée par Albert Cuyp. [277]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[An Alpine Landscape, with a Hermitage and Peasants travelling, by P. Brill. A very beautiful romantic scenery, his manner of painting is true, sweet, and tender, the touchings of his trees is firm and yet delicate, his scenery, his situations and distances are admirable, most of them being taken from nature, and the masses of his light and shadow strong and judicious. It is remarkable of him that in the latter part of his life his Landscapes were of a small size, but they are beautiful and exquisitely finished, and frequently he painted them on copper. The genuine works of this eminent master are now rarely to be met with, especially those of a large size, and they afford prices that are extremely high in every part of Europe where the polite arts are encouraged, and it seems that their intrinsic value is not diminished, since a very few years ago, one of the Landscapes by this master, sold in Holland for £160, and another at an Auction in London for 120 guineas and upwards, and yet they were deemed cheaply purchased. Painted by Paul Brill, who was born at Antwerp, 1554, died 1626 (Paul Bril)|An Alpine Landscape, with a Hermitage and Peasants travelling, by P. Brill. A very beautiful romantic scenery, his manner of painting is true, sweet, and tender, the touchings of his trees is firm and yet delicate, his scenery, his situations and distances are admirable, most of them being taken from nature, and the masses of his light and shadow strong and judicious. It is remarkable of him that in the latter part of his life his Landscapes were of a small size, but they are beautiful and exquisitely finished, and frequently he painted them on copper. The genuine works of this eminent master are now rarely to be met with, especially those of a large size, and they afford prices that are extremely high in every part of Europe where the polite arts are encouraged, and it seems that their intrinsic value is not diminished, since a very few years ago, one of the Landscapes by this master, sold in Holland for £160, and another at an Auction in London for 120 guineas and upwards, and yet they were deemed cheaply purchased. Painted by Paul Brill, who was born at Antwerp, 1554, died 1626]] réalisée par Paul Bril. [278]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion, a Village scene and group, high life, by Molinaer. Touched in a very bold and spirited pencil of bright and transparent colouring, and high finishing. The figures in the foreground which are dancing, have considerable ease, grace, and lively expression, in the other picture all is equally good, and the characters well observed. Painted by Molinaer (Molinaer)|Companion, a Village scene and group, high life, by Molinaer. Touched in a very bold and spirited pencil of bright and transparent colouring, and high finishing. The figures in the foreground which are dancing, have considerable ease, grace, and lively expression, in the other picture all is equally good, and the characters well observed. Painted by Molinaer]] réalisée par Molinaer. [279]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Village Dance, &c Low Life, by Molinaer Touched in a very bold and spirited pencil of bright and transparent colouring, and high finishing. The figures in the foreground which are dancing, have considerable ease, grace, and lively expression, in the other picture all is equally good, and the characters well observed. Painted by Molinaer (Molinaer)|The Village Dance, &c Low Life, by Molinaer Touched in a very bold and spirited pencil of bright and transparent colouring, and high finishing. The figures in the foreground which are dancing, have considerable ease, grace, and lively expression, in the other picture all is equally good, and the characters well observed. Painted by Molinaer]] réalisée par Molinaer. [280]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[An Italian Landscape, a Cascade and Figures fishing, by Vernet. These are two excellent specimens of the famous artist of the French School, he rendered himself famous by his sea pieces, and his Landscapes composed of scenes in Italy; he passed many years in Rome, where his works, which were much sought after by foreigners, were held in estimation by the Italians themselves, who seemed to reckon him among the number of their artists. In his Landscapes, which were moderately diversified, he displayed the beauties of nature without servilely copying her, he united goodness of effect, with what is termed truth of colouring; and gave an animation to his figures which may be said to be a distinguishing mark of his works -- he was employed by Louis XV, to paint views of the Ports of France. Painted by Joseph Vernet, who was born at Avignon, 1712, died 1786 (Joseph Vernet)|An Italian Landscape, a Cascade and Figures fishing, by Vernet. These are two excellent specimens of the famous artist of the French School, he rendered himself famous by his sea pieces, and his Landscapes composed of scenes in Italy; he passed many years in Rome, where his works, which were much sought after by foreigners, were held in estimation by the Italians themselves, who seemed to reckon him among the number of their artists. In his Landscapes, which were moderately diversified, he displayed the beauties of nature without servilely copying her, he united goodness of effect, with what is termed truth of colouring; and gave an animation to his figures which may be said to be a distinguishing mark of his works -- he was employed by Louis XV, to paint views of the Ports of France. Painted by Joseph Vernet, who was born at Avignon, 1712, died 1786]] réalisée par Joseph Vernet. [281]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion, Italian Port and Sea, with fishermen drawing their net, by Vernet. These are two excellent specimens of the famous artist of the French School, he rendered himself famous by his sea pieces, and his Landscapes composed of scenes in Italy; he passed many years in Rome, where his works, which were much sought after by foreigners, were held in estimation by the Italians themselves, who seemed to reckon him among the number of their artists. In his Landscapes, which were moderately diversified, he displayed the beauties of nature without servilely copying her, he united goodness of effect, with what is termed truth of colouring; and gave an animation to his figures which may be said to be a distinguishing mark of his works -- he was employed by Louis XV, to paint views of the Ports of France. Painted by Joseph Vernet, who was born at Avignon, 1712, died 1786. (Joseph Vernet)|Companion, Italian Port and Sea, with fishermen drawing their net, by Vernet. These are two excellent specimens of the famous artist of the French School, he rendered himself famous by his sea pieces, and his Landscapes composed of scenes in Italy; he passed many years in Rome, where his works, which were much sought after by foreigners, were held in estimation by the Italians themselves, who seemed to reckon him among the number of their artists. In his Landscapes, which were moderately diversified, he displayed the beauties of nature without servilely copying her, he united goodness of effect, with what is termed truth of colouring; and gave an animation to his figures which may be said to be a distinguishing mark of his works -- he was employed by Louis XV, to paint views of the Ports of France. Painted by Joseph Vernet, who was born at Avignon, 1712, died 1786.]] réalisée par Joseph Vernet. [282]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Landscape with cattle in the water, a view on the bank of the Skuylkill, Philadelphia; by Krimmel. A very warm, pleasing tone of colour. The foliage of the trees well pencilled, and expressed with uncommon spirit and truth. The cattle in water truly natural. Painted by the late John Lewis Krimmel, of Philadelphia. For further particulars and merits of Krimmel, see No. 120 (John Lewis Krimmel)|Landscape with cattle in the water, a view on the bank of the Skuylkill, Philadelphia; by Krimmel. A very warm, pleasing tone of colour. The foliage of the trees well pencilled, and expressed with uncommon spirit and truth. The cattle in water truly natural. Painted by the late John Lewis Krimmel, of Philadelphia. For further particulars and merits of Krimmel, see No. 120]] réalisée par John Lewis Krimmel. [283]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a Dutch Cottage, with figures regaling themselves, by Bega. This is a most excellent performance, the composition and grouping very judicious, the distribution of light and shade admirable, the countenances and attitudes of the figures expressive. Bega was a pupil of Ostade whose manner of designing, colouring, and pencilling he imitated so wonderfully, that it is difficult to distinguish between them, he painted after nature and with such force as can only be equalled by nature. Painted by Cornelius Bega, who was born at Haerlem, 1620, died 1644 (Cornelius Bega)|Interior of a Dutch Cottage, with figures regaling themselves, by Bega. This is a most excellent performance, the composition and grouping very judicious, the distribution of light and shade admirable, the countenances and attitudes of the figures expressive. Bega was a pupil of Ostade whose manner of designing, colouring, and pencilling he imitated so wonderfully, that it is difficult to distinguish between them, he painted after nature and with such force as can only be equalled by nature. Painted by Cornelius Bega, who was born at Haerlem, 1620, died 1644]] réalisée par Cornelius Bega. [284]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Virgin and Child encircled with Flowers, by Rothenamer and Breughel. These two artists generally combined together in works of this kind; the figures of Rothenamer, the flowers by Breughel, which makes their works more valuable Breughel was the son of Peter the old Breughel. In every part of painting, in colouring, in design, and in pencilling, he proved far superior to his father, and indeed, to all his contemporaries in his style, and was distinguished by the name of Velvett Breughell. His genious at frist directed him to paint fruit and flowers, after nature, which he executed with incredible neatness and delicacy. Sometimes he painted flowers in garlands or festoons, in which Rubens and other eminent masters inserted the figures, and at other times he was employed by Steenwyk, Mompart, Rothenamer, and Van Balen, to aid their pictures with his flowers. Rothenamer had a ready invention and his designs were correct, his attitudes were usually genteel, his tone of colour was agreeable, and his pictures were well finished, but 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 Velvett Breughel, who frequently painted the Landscapes, and back-grounds of his historical compositions. Painted by Velvett Breughel and John Rothenamer (Velvett Breughel)|The Virgin and Child encircled with Flowers, by Rothenamer and Breughel. These two artists generally combined together in works of this kind; the figures of Rothenamer, the flowers by Breughel, which makes their works more valuable Breughel was the son of Peter the old Breughel. In every part of painting, in colouring, in design, and in pencilling, he proved far superior to his father, and indeed, to all his contemporaries in his style, and was distinguished by the name of Velvett Breughell. His genious at frist directed him to paint fruit and flowers, after nature, which he executed with incredible neatness and delicacy. Sometimes he painted flowers in garlands or festoons, in which Rubens and other eminent masters inserted the figures, and at other times he was employed by Steenwyk, Mompart, Rothenamer, and Van Balen, to aid their pictures with his flowers. Rothenamer had a ready invention and his designs were correct, his attitudes were usually genteel, his tone of colour was agreeable, and his pictures were well finished, but 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 Velvett Breughel, who frequently painted the Landscapes, and back-grounds of his historical compositions. Painted by Velvett Breughel and John Rothenamer]] réalisée par Velvett Breughel. [286]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Vulcan forging Armour at the request of Venus, by Bassan. This is a fine specimen of the Venetian School, and has abundance of force and truth, his local colours are very well observed, his carnations are fresh and brilliant, the Chiaro scuro and perspective well understood, his touch is free and spirited, and the distances in his Landscapes are always true, his works are more readily known than those of most other painters; from the similitude of character and countenances in the figures and animals, from the taste in the buildings, utensils, and draperies, and beside, from a violet or purple tint, that predominates in every one of his pictures. Painted by Jacomo Bassan, who was born at Bassano, 1510, died 1592 (Jacomo Bassan)|Vulcan forging Armour at the request of Venus, by Bassan. This is a fine specimen of the Venetian School, and has abundance of force and truth, his local colours are very well observed, his carnations are fresh and brilliant, the Chiaro scuro and perspective well understood, his touch is free and spirited, and the distances in his Landscapes are always true, his works are more readily known than those of most other painters; from the similitude of character and countenances in the figures and animals, from the taste in the buildings, utensils, and draperies, and beside, from a violet or purple tint, that predominates in every one of his pictures. Painted by Jacomo Bassan, who was born at Bassano, 1510, died 1592]] réalisée par Jacomo Bassan. [287]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Gold and Silver Vases, Dish, Desert, cloth, with fruit, flowers, &c. in a Vestibule, by Verelst. This is a very brilliant picture by this master, he studied after nature all those subjects which he chose to paint till he became very eminent, as well for the elegance of the subject which he selected, as for his exquisite manner of finishing them. He had already acquired considerable reputation in his own country, when the prospect of advancing his fortune induced him to visit England; and his success was almost incredible. His works very soon came into vogue, they were exceedingly admired, and sold for greater prices than hand ever been given in London for any composition in that style of fruit and flowers. He had abundant vanity, and found that vanity abundantly gratified, not only by the esteem in which his paintings were held, but by the compliments of the Poets, paticularly by those lines of Prior's writing. Fruit and flower subjects he handled in a charming manner, and gave them force and relief by a judicious management of the Chiaro scuro, he painted his objects with great truth and resemblance of nature, and his colouring was fresh -- this picture is from the late Duke of Bukckingham's collection. Painted by Simon Verelst, who was born at Antwerp, 1664, died 1710 (Simon Verelst)|Gold and Silver Vases, Dish, Desert, cloth, with fruit, flowers, &c. in a Vestibule, by Verelst. This is a very brilliant picture by this master, he studied after nature all those subjects which he chose to paint till he became very eminent, as well for the elegance of the subject which he selected, as for his exquisite manner of finishing them. He had already acquired considerable reputation in his own country, when the prospect of advancing his fortune induced him to visit England; and his success was almost incredible. His works very soon came into vogue, they were exceedingly admired, and sold for greater prices than hand ever been given in London for any composition in that style of fruit and flowers. He had abundant vanity, and found that vanity abundantly gratified, not only by the esteem in which his paintings were held, but by the compliments of the Poets, paticularly by those lines of Prior's writing. Fruit and flower subjects he handled in a charming manner, and gave them force and relief by a judicious management of the Chiaro scuro, he painted his objects with great truth and resemblance of nature, and his colouring was fresh -- this picture is from the late Duke of Bukckingham's collection. Painted by Simon Verelst, who was born at Antwerp, 1664, died 1710]] réalisée par Simon Verelst. [288]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Theseus on a visit to his father, with the Sword, prevented from drinking a cup of Poison, prepared for him by his Stepmother. Vide Plutarch life of Theseus, &c. by P. Cortona. An interior, a very beautiful and original picture, the figures and every part, touched in a very bold and free style, and the colouring so rich that nothing but gold and silver could imitate it. The composition is elegant and light shade truly natural. Painted by Pietro da Cortona, who was born at Cortona, 1596, died 1669 (Pietro da Cortona)|Theseus on a visit to his father, with the Sword, prevented from drinking a cup of Poison, prepared for him by his Stepmother. Vide Plutarch life of Theseus, &c. by P. Cortona. An interior, a very beautiful and original picture, the figures and every part, touched in a very bold and free style, and the colouring so rich that nothing but gold and silver could imitate it. The composition is elegant and light shade truly natural. Painted by Pietro da Cortona, who was born at Cortona, 1596, died 1669]] réalisée par Pietro da Cortona. [289]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The outside of a Dutch kitchen, with Figures, Utensils, &c. &c. by G. Metza. The whole and detail of this picture are equally surprising. He had generally such exactness in drawing, such nature, truth, and delicacy, in his Design and Pencil, such a pleasing tone in colouring, and so good an expression that his paintings are in universal esteem through all Europe. His subjects were usually taken from Low Life, but they were all designed after nature; and surprisingly well represented. The attitudes of his figures are well chosen, and every thing appears so natural, that nothing seems wanting to its perfection. His colouring, is clear and tran-sparent. Painted by Gabriel Metsa, who was born at Leyden, 1615, died 1658 (Gabriel Metza)|The outside of a Dutch kitchen, with Figures, Utensils, &c. &c. by G. Metza. The whole and detail of this picture are equally surprising. He had generally such exactness in drawing, such nature, truth, and delicacy, in his Design and Pencil, such a pleasing tone in colouring, and so good an expression that his paintings are in universal esteem through all Europe. His subjects were usually taken from Low Life, but they were all designed after nature; and surprisingly well represented. The attitudes of his figures are well chosen, and every thing appears so natural, that nothing seems wanting to its perfection. His colouring, is clear and tran-sparent. Painted by Gabriel Metsa, who was born at Leyden, 1615, died 1658]] réalisée par Gabriel Metza. [290]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A sea View of the British Channel with Shipping under sail, by Vandervelde. This is a beautiful representation of vessels on their way -- his pictures were designed and finished in so excellent a manner, that they are not only superior to the works of his father, but to all other artists in that style. The paintings of this master have in every respect, such a degree of perfection, as is not to be discerned in the works of any other artist. Painted by William Vandervelde, the younger, who was born at Amsterdam, 1633, died 1707 (William Vandervelde)|A sea View of the British Channel with Shipping under sail, by Vandervelde. This is a beautiful representation of vessels on their way -- his pictures were designed and finished in so excellent a manner, that they are not only superior to the works of his father, but to all other artists in that style. The paintings of this master have in every respect, such a degree of perfection, as is not to be discerned in the works of any other artist. Painted by William Vandervelde, the younger, who was born at Amsterdam, 1633, died 1707]] réalisée par William Vandervelde. [291]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Joseph interpreting Pharaoh's Dream, Lairesse. This is a very fine historical composition, The countenances are strongly impressive of the subject, the attitudes and characters are truly natural, the colouring beautifies nature itself. This is a very fine specimen of the French School. Painted by Gerard Lairesse, who was born at Liege, 1640, died 1711 (Gerard Lairesse)|Joseph interpreting Pharaoh's Dream, Lairesse. This is a very fine historical composition, The countenances are strongly impressive of the subject, the attitudes and characters are truly natural, the colouring beautifies nature itself. This is a very fine specimen of the French School. Painted by Gerard Lairesse, who was born at Liege, 1640, died 1711]] réalisée par Gerard Lairesse. [292]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion, the Quilting Frolic. I.L. Krimmel. These subjects are taken from life, the scenes in Pennsylvania. His pictures are usually small, and his subjects were Interiors, generally, of conversations, rural festivals, with a number of figures, which he executed with a neat pencil, and with much nature and truth, had he lived, his pictures would have procured him much honour as well as continual employment. The above two pictures were painted for the express purpose of having them engraved. Painted by the late unfortunate John Lewis Krimmel, of Philadelphia. The following communication is taken from Poulson's American Daily Advertiser of August 6th, 1821. "The late Mr. Krimmel. -- When Kings, Princes, and other privileged orders die, the world is filled with high sounding eulogiums on their great worth; giving to the deceased often credit for virtues which they never possessed, and generally measuring their value and usefulness by the extent of their power and wealth; while men of humble birth, possessing genius, learning, industry and virtue, frequently live and die in obscurity. It often happens that the worth of such men is not fairly appreciated until we are deprived of them forever. -- The death of Mr. Krimmel is a severe loss to the arts. He was in every sense a man of worth. He possessed a comprehensive and prentrating mind. In fact he had every qualification to make a great painter. -- The Pictures of Mr. Krimmel have long been considered by Artists and men of taste, as works of great merit, yet this painter, with all his industry, and that too exercised for more than ten years in the populous and wealthy city of Philadelphia, (the Athens of America) could barely obtain the means of subsistence. His extraordinary merit at last attracted the notice of some of our most distinguished and intelligent citizens, who, a few weeks previous to his premature death,* footnote: He was drowned while bathing in a Mill pond, near Germantown liberally engaged him to paint a picture of the landing of William Penn. The sun of prosperity was beginning to shine on this unfortunate artist. Already had the chilling fogs of poverty, which had so long hovered over him, began to disperse, and the high road to fame and fortune appeared before him, when in the prime of life, and in the full enjoyment of health and vigour of mind, the cold hand of death shut his eyes forever. -- The loss of Mr. Krimmel is a public loss. His pursuits and modest habits rendered the circle of his acquaintance comparatively small; but they were all his friends. He died as sincerely regretted as he was beloved while living (John Lewis Krimmel)|Companion, the Quilting Frolic. I.L. Krimmel. These subjects are taken from life, the scenes in Pennsylvania. His pictures are usually small, and his subjects were Interiors, generally, of conversations, rural festivals, with a number of figures, which he executed with a neat pencil, and with much nature and truth, had he lived, his pictures would have procured him much honour as well as continual employment. The above two pictures were painted for the express purpose of having them engraved. Painted by the late unfortunate John Lewis Krimmel, of Philadelphia. The following communication is taken from Poulson's American Daily Advertiser of August 6th, 1821. "The late Mr. Krimmel. -- When Kings, Princes, and other privileged orders die, the world is filled with high sounding eulogiums on their great worth; giving to the deceased often credit for virtues which they never possessed, and generally measuring their value and usefulness by the extent of their power and wealth; while men of humble birth, possessing genius, learning, industry and virtue, frequently live and die in obscurity. It often happens that the worth of such men is not fairly appreciated until we are deprived of them forever. -- The death of Mr. Krimmel is a severe loss to the arts. He was in every sense a man of worth. He possessed a comprehensive and prentrating mind. In fact he had every qualification to make a great painter. -- The Pictures of Mr. Krimmel have long been considered by Artists and men of taste, as works of great merit, yet this painter, with all his industry, and that too exercised for more than ten years in the populous and wealthy city of Philadelphia, (the Athens of America) could barely obtain the means of subsistence. His extraordinary merit at last attracted the notice of some of our most distinguished and intelligent citizens, who, a few weeks previous to his premature death,* footnote: He was drowned while bathing in a Mill pond, near Germantown liberally engaged him to paint a picture of the landing of William Penn. The sun of prosperity was beginning to shine on this unfortunate artist. Already had the chilling fogs of poverty, which had so long hovered over him, began to disperse, and the high road to fame and fortune appeared before him, when in the prime of life, and in the full enjoyment of health and vigour of mind, the cold hand of death shut his eyes forever. -- The loss of Mr. Krimmel is a public loss. His pursuits and modest habits rendered the circle of his acquaintance comparatively small; but they were all his friends. He died as sincerely regretted as he was beloved while living]] réalisée par John Lewis Krimmel. [293]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior, the Country Stage-House Tavern and Post-Office, with the news of Peace. I.L. Krimmel These subjects are taken from life, the scenes in Pennsylvania. His pictures are usually small, and his subjects were Interiors, generally, of conversations, rural festivals, with a number of figures, which he executed with a neat pencil, and with much nature and truth, had he lived, his pictures would have procured him much honour as well as continual employment. The above two pictures were painted for the express purpose of having them engraved. Painted by the late unfortunate John Lewis Krimmel, of Philadelphia (John Lewis Krimmel)|Interior, the Country Stage-House Tavern and Post-Office, with the news of Peace. I.L. Krimmel These subjects are taken from life, the scenes in Pennsylvania. His pictures are usually small, and his subjects were Interiors, generally, of conversations, rural festivals, with a number of figures, which he executed with a neat pencil, and with much nature and truth, had he lived, his pictures would have procured him much honour as well as continual employment. The above two pictures were painted for the express purpose of having them engraved. Painted by the late unfortunate John Lewis Krimmel, of Philadelphia]] réalisée par John Lewis Krimmel. [294]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a Room by candle light, a Gentleman and his Wife, preparing for the Masquerade, by W. Mieris. This is a very high finished picture of this artist. He had recourse to nature as the most instructive guide, and by studying with diligence and judgment to imitate her, he approached near the merit of his father. At first he took his subjects from private life, in the manner of his father, such as Interiors of Tradesmen's shops or a peasant selling vegetable or fruit; he finished his works delicately with great lustre and harmony of colour. Young Mieris is acknowledged to be an artist of extraordinary merit, although inferior to his father, who was scarcely his equal. William Mieris, the younger, was born at Leyden, 1662, died 1747 (William Mieris)|Interior of a Room by candle light, a Gentleman and his Wife, preparing for the Masquerade, by W. Mieris. This is a very high finished picture of this artist. He had recourse to nature as the most instructive guide, and by studying with diligence and judgment to imitate her, he approached near the merit of his father. At first he took his subjects from private life, in the manner of his father, such as Interiors of Tradesmen's shops or a peasant selling vegetable or fruit; he finished his works delicately with great lustre and harmony of colour. Young Mieris is acknowledged to be an artist of extraordinary merit, although inferior to his father, who was scarcely his equal. William Mieris, the younger, was born at Leyden, 1662, died 1747]] réalisée par William Mieris. [295]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Upright Landscape, with Shepherd and Shepherdess, Cattle, &c. by N. Berghem. A fine, warm, mellow picture, in his best style, the execution remarkabley fine, colouring very mellow, the sky is warm and full of lustre, and finished in such a manner as produces a pleasing and striking effect; he painted every part of his subjects so extremely well, as to render it difficult to determine in which he excelled most; his trees, buildings, waters, rocks, hills, cattle and figures, all being equally admirable. Painted by Nicholas Berghem, who was born at Haerlem, 1674, died 1683 (Nicholas Berghem)|Upright Landscape, with Shepherd and Shepherdess, Cattle, &c. by N. Berghem. A fine, warm, mellow picture, in his best style, the execution remarkabley fine, colouring very mellow, the sky is warm and full of lustre, and finished in such a manner as produces a pleasing and striking effect; he painted every part of his subjects so extremely well, as to render it difficult to determine in which he excelled most; his trees, buildings, waters, rocks, hills, cattle and figures, all being equally admirable. Painted by Nicholas Berghem, who was born at Haerlem, 1674, died 1683]] réalisée par Nicholas Berghem. [296]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a Dutch kitchen, with Figures, Utensils, &c. by A. Ostade. A very highly finished, warm, transparent Picture. The subjects which he chose to paint were always of the lower kind, and he had almost the same ideas with Teniers; but, though Ostade copied nature, as it appeared in the lower class of mankind, accomodating the actions, habits and characters of his figures, to his own taste, with such a spirit in his compositions, such truth, such nature, such life, and such a delicacy of pencil, that his pictures are transparent and highly finished, also warm and clear. He perfectly understood the principles of the Chiaro scuro, and introduced his light and shadows, with so much judgment that every figure seems animated, his tone of colouring is exquisitely pleasing and natural, his touch light, and wonderful. Painted by Adrian Van Ostade, who was born at Lubeck, 1610, died 1685 (Adrian Van Ostade)|Interior of a Dutch kitchen, with Figures, Utensils, &c. by A. Ostade. A very highly finished, warm, transparent Picture. The subjects which he chose to paint were always of the lower kind, and he had almost the same ideas with Teniers; but, though Ostade copied nature, as it appeared in the lower class of mankind, accomodating the actions, habits and characters of his figures, to his own taste, with such a spirit in his compositions, such truth, such nature, such life, and such a delicacy of pencil, that his pictures are transparent and highly finished, also warm and clear. He perfectly understood the principles of the Chiaro scuro, and introduced his light and shadows, with so much judgment that every figure seems animated, his tone of colouring is exquisitely pleasing and natural, his touch light, and wonderful. Painted by Adrian Van Ostade, who was born at Lubeck, 1610, died 1685]] réalisée par Adrian Van Ostade. [297]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The landing of Helen and Paris, at the Gates of Troy, by G. Lairesse. This is a beautiful and splendid composition of this much admired master. In this painting he was wonderfully quick and expeditious, having such a readiness of pencil, as directly corresponded with the loveliness of his imagination, and the sprightliness of his ideas, and that extraordinary power of hand is sufficiently evinced, by the great number of compositions which he finished. Of his quickness, he gave one incontestible proof, by having laid a large wager, that he would finish in one day, on a pretty wide canvass, a picutre of Apollo, and the nine Muses, which wager he won, although he also painted the portrait of a person who stood admiring his work, for the head of Apollo. In every one of his pictures, there are great appearances of a masterly genius; for his expression generally is lively, his colouring good, true, and glowing, and a light firm touch, gives a beauty and value to every thing he painted. In his draperies may be observed the taste of the best masters of Italy; they are light, broad, simple, and in very natural folds. Painted by Gerard Lairesse, who was born at Liege, 1640, died 1711 (Gerard Lairesse)|The landing of Helen and Paris, at the Gates of Troy, by G. Lairesse. This is a beautiful and splendid composition of this much admired master. In this painting he was wonderfully quick and expeditious, having such a readiness of pencil, as directly corresponded with the loveliness of his imagination, and the sprightliness of his ideas, and that extraordinary power of hand is sufficiently evinced, by the great number of compositions which he finished. Of his quickness, he gave one incontestible proof, by having laid a large wager, that he would finish in one day, on a pretty wide canvass, a picutre of Apollo, and the nine Muses, which wager he won, although he also painted the portrait of a person who stood admiring his work, for the head of Apollo. In every one of his pictures, there are great appearances of a masterly genius; for his expression generally is lively, his colouring good, true, and glowing, and a light firm touch, gives a beauty and value to every thing he painted. In his draperies may be observed the taste of the best masters of Italy; they are light, broad, simple, and in very natural folds. Painted by Gerard Lairesse, who was born at Liege, 1640, died 1711]] réalisée par Gerard Lairesse. [298]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Perspective view of Tivoli, with Cascade, &c. by Wilson. This is a very correct representation of Tivoli, very hightly finished, the architectural buildings and water very good and transparent, the perspective true, the colouring rich and clear, and in very high state of preservation. Painted by R. Wilson (R. Wilson)|A Perspective view of Tivoli, with Cascade, &c. by Wilson. This is a very correct representation of Tivoli, very hightly finished, the architectural buildings and water very good and transparent, the perspective true, the colouring rich and clear, and in very high state of preservation. Painted by R. Wilson]] réalisée par R. Wilson. [299]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Landscape and Cattle &c. with the Shepherdess, by Claude. Finished with extraordinary and surprising neatness, with a light touch and skillful management of aerial perspective, enriched with figure, cattle, and water, mountains, &c. A beautiful sky, with an uncommon degree of transparency of colouring, and throughout a lovely imitation of nature, with a harmony and power of local colour, surpassed only by him. Painted by Claude Loraine, who was born at Loraine, 1600, died 1682 (Claude Loraine)|Landscape and Cattle &c. with the Shepherdess, by Claude. Finished with extraordinary and surprising neatness, with a light touch and skillful management of aerial perspective, enriched with figure, cattle, and water, mountains, &c. A beautiful sky, with an uncommon degree of transparency of colouring, and throughout a lovely imitation of nature, with a harmony and power of local colour, surpassed only by him. Painted by Claude Loraine, who was born at Loraine, 1600, died 1682]] réalisée par Claude Loraine. [300]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Figures with a vegetable Stall, Landscape, Back-ground, by Kessell. Delightfully pencilled and finished with a freshness of tone in colouring, and skill in grouping, with striking resemblance of nature and truth; every plant, fruit and flower, or animal introduced into his works was well coloured and well finished. Painted by Ferdinand Van Kessell, who was born at Breda, 1260 (Ferdinand Van Kessell)|Figures with a vegetable Stall, Landscape, Back-ground, by Kessell. Delightfully pencilled and finished with a freshness of tone in colouring, and skill in grouping, with striking resemblance of nature and truth; every plant, fruit and flower, or animal introduced into his works was well coloured and well finished. Painted by Ferdinand Van Kessell, who was born at Breda, 1260]] réalisée par Ferdinand Van Kessell. [301]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Fishmonger and Fish Stall, by Bosck. Two beautiful little rich Cabinet Gems, in the style of Gerard Dow. The works of this master are seldom to be met with, and are highly valued for their truth, and most exquisite finished beautiful colouring and delicacy. Painted by I.H.V. Bosck, Antwerp (I.H.V. Bosck)|The Fishmonger and Fish Stall, by Bosck. Two beautiful little rich Cabinet Gems, in the style of Gerard Dow. The works of this master are seldom to be met with, and are highly valued for their truth, and most exquisite finished beautiful colouring and delicacy. Painted by I.H.V. Bosck, Antwerp]] réalisée par I.H.V. Bosck. [303]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Companion, the Green Woman and Green Stall, by Bosck. Two beautiful little rich Cabinet Gems, in the style of Gerard Dow. The works of this master are seldom to be met with, and are highly valued for their truth, and most exquisite finished beautiful colouring and delicacy. Painted by I.H.V. Bosck, Antwerp (I.H.V. Bosck)|Companion, the Green Woman and Green Stall, by Bosck. Two beautiful little rich Cabinet Gems, in the style of Gerard Dow. The works of this master are seldom to be met with, and are highly valued for their truth, and most exquisite finished beautiful colouring and delicacy. Painted by I.H.V. Bosck, Antwerp]] réalisée par I.H.V. Bosck. [304]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[View on the Beach of Deal, England, with fisherman and fishing smacks, &c. by P. Paris. This is very highly finished, equal to any Enamel painting, and will bear the scrutiny of a magnifying glass; every part is lightly and delicately touched, the composition very correct. Painted by P. Paris, London (P. Paris)|View on the Beach of Deal, England, with fisherman and fishing smacks, &c. by P. Paris. This is very highly finished, equal to any Enamel painting, and will bear the scrutiny of a magnifying glass; every part is lightly and delicately touched, the composition very correct. Painted by P. Paris, London]] réalisée par P. Paris. [305]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Sea Beach near Dover, with Vessels, Fishermen, &c. by Vandervelde. A beautiful clear picture, pencilling very bold and spirited, silvery and transparent colouring, in his best manner. Painted by William Vandervelde, who was born at Amsterdam, 1633, died 1707 (William Vandervelde)|Sea Beach near Dover, with Vessels, Fishermen, &c. by Vandervelde. A beautiful clear picture, pencilling very bold and spirited, silvery and transparent colouring, in his best manner. Painted by William Vandervelde, who was born at Amsterdam, 1633, died 1707]] réalisée par William Vandervelde. [306]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The virgin Christ, and St. John, in Enamel, after a celebrated picture of Corregio. This is a very exquisite specimen of Enamel painting. It is impossible for the pencil of an artist to exceed the freshness, truth, and delicacy of this colouring, which is more wonderful from the difficulties of the style in which it is executed, and the colouring has all the excellence of the original. After Corregio (Corregio)|The virgin Christ, and St. John, in Enamel, after a celebrated picture of Corregio. This is a very exquisite specimen of Enamel painting. It is impossible for the pencil of an artist to exceed the freshness, truth, and delicacy of this colouring, which is more wonderful from the difficulties of the style in which it is executed, and the colouring has all the excellence of the original. After Corregio]] réalisée par Corregio. [307]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A landscape with the good Samaritan, after Rubens. This possesses an uncommon share of merit; of the original picture the composition and attitudes are very simple and expressive of the subject, the colouring is remarkably delicate and sweet, very transparent and much truth in the whole, after P.P. Rubens (P.P. Rubens)|A landscape with the good Samaritan, after Rubens. This possesses an uncommon share of merit; of the original picture the composition and attitudes are very simple and expressive of the subject, the colouring is remarkably delicate and sweet, very transparent and much truth in the whole, after P.P. Rubens]] réalisée par P.P. Rubens. [308]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Village Scene, with travellers passing, &c. by Parocel. A very Romantic composition, the true pictures of this master may be easily distinguished, for they are executed with astonishing neatness, with a free, delicate light touch, highly finished, and admirabley coloured. Painted by Joseph Parocel, who was born in Provence, 1648, died 1704 (Joseph Parocel)|A Village Scene, with travellers passing, &c. by Parocel. A very Romantic composition, the true pictures of this master may be easily distinguished, for they are executed with astonishing neatness, with a free, delicate light touch, highly finished, and admirabley coloured. Painted by Joseph Parocel, who was born in Provence, 1648, died 1704]] réalisée par Joseph Parocel. [309]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Virgin Child, by Vandyk. This is a very beautiful and incomparable picture; the colouring is exquisite, not to be surpassed, which has secured to him the admiration of all. He excelled in history and portrait, but his greatest power appeared in the latter, and no painter better understood the principles and practice of the Chiaro scuro than Vandyk. His choice of nature, when he painted portraits, was always that which was most agreeable; he gave an inexpressible grace to his heads; he showed abundant variety in the airs, and in some of them the character was even sublime; and as to his expression it was inimitable, the very soul of the character being visible. The extremities of his figures are true, graceful, and exact, and the hands in particular are designed in the greatest perfection; beautiful in their form, and delicately exact in their proportions. His draperies, which were taken from the mode of the times, are cast in a grand style, broad and simple in the folds, easy and natural in the disposition, and his colouring is lovely. If Vandyk had been as incessantly employed in history as he was in portrait, his ideas might have been more enlivened, his genious rendered more extensive, and his invention more animated so as to have equalled his master in design, as he surpassed him in the delicacy of his tints; and if Rubens deserves to be preferred to Vandyk, in history, yet the latter in many of the portraits of his earlier time is allowed to equal even to Titian, and superior to all others who have appeared since the revival of the art of painting. Painted by Sir Anthony Vandyk, who was born at Antwerp, 1599, died 1641 (Sir Anthony Vandyke)|The Virgin Child, by Vandyk. This is a very beautiful and incomparable picture; the colouring is exquisite, not to be surpassed, which has secured to him the admiration of all. He excelled in history and portrait, but his greatest power appeared in the latter, and no painter better understood the principles and practice of the Chiaro scuro than Vandyk. His choice of nature, when he painted portraits, was always that which was most agreeable; he gave an inexpressible grace to his heads; he showed abundant variety in the airs, and in some of them the character was even sublime; and as to his expression it was inimitable, the very soul of the character being visible. The extremities of his figures are true, graceful, and exact, and the hands in particular are designed in the greatest perfection; beautiful in their form, and delicately exact in their proportions. His draperies, which were taken from the mode of the times, are cast in a grand style, broad and simple in the folds, easy and natural in the disposition, and his colouring is lovely. If Vandyk had been as incessantly employed in history as he was in portrait, his ideas might have been more enlivened, his genious rendered more extensive, and his invention more animated so as to have equalled his master in design, as he surpassed him in the delicacy of his tints; and if Rubens deserves to be preferred to Vandyk, in history, yet the latter in many of the portraits of his earlier time is allowed to equal even to Titian, and superior to all others who have appeared since the revival of the art of painting. Painted by Sir Anthony Vandyk, who was born at Antwerp, 1599, died 1641]] réalisée par Sir Anthony Vandyke. [310]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Still life, representing Goblets of wine, Fruit, Bread and Lobster, &c. by de Heem. Although subjects of still life kind are not in so great request as they formerly have been, yet the genuine works of de Keem are so generally admired, that they are bought up at considerble prices, and are thought to deserve a place among the works of the greatest masters, even at this day. During his life time his paintings were sold for incredible sums, which rendered them scarce purchasable by any one who had not immense fortunes. The true pictures of this master may be determined without much difficulty, for they are executed with astonishing neatness, with a free, broad, and light touch; they are exquisitely finished, judiciously grouped, and admirably coloured; and those insects which are often interspersed among his fruits and flowers, afford an agreeable deception to the eye, and appear to be real. It was remarked of him, that his last pictures were rather more excellently finished than those of his early time. Painted by John David de Heem, who was born at Utrecth 1600, died 1674 (John David de Heem)|Still life, representing Goblets of wine, Fruit, Bread and Lobster, &c. by de Heem. Although subjects of still life kind are not in so great request as they formerly have been, yet the genuine works of de Keem are so generally admired, that they are bought up at considerble prices, and are thought to deserve a place among the works of the greatest masters, even at this day. During his life time his paintings were sold for incredible sums, which rendered them scarce purchasable by any one who had not immense fortunes. The true pictures of this master may be determined without much difficulty, for they are executed with astonishing neatness, with a free, broad, and light touch; they are exquisitely finished, judiciously grouped, and admirably coloured; and those insects which are often interspersed among his fruits and flowers, afford an agreeable deception to the eye, and appear to be real. It was remarked of him, that his last pictures were rather more excellently finished than those of his early time. Painted by John David de Heem, who was born at Utrecth 1600, died 1674]] réalisée par John David de Heem. [311]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a Flemish Tavern, with Boors regaling themselves, by Hemskirk. Undoubtedly, the taste of his composition, compared with that of the Italian artists, is but low; yet it ought to be considered, that he took his subjects from nature; from persons of the meanest occupations, employed in the meanest offices, whose figures, dress, actions or manners, could not furnish the imagination with any idea of elegance; and that he studied no farther, than to express the variety of humours observable in the characters of that boorish set of people, with whom he was most conversant. To study nature in its undisguised appearances, and to trace every passion of the human mind, in the lineaments of the face, and in the attitudes of the body, seems to have been the utmost of his ambition, and for that purpose, he frequenteed all places of public resort, Inns, Taverns, Gaming Houses, Fairs, Feasts, or Merry-makings; and by that means acquired a surprising power of expressing the humourous accidents that promoted his own mirth or amusement, or that might contribute to the mirth or amusements of others. He designed and drew correctly, his colouring in extremely natural and transparent, and his pictures have a strong effect, from his accurate management of the Chiaro scuro; his touch is free, firm, and full of spirit, and his expression is admirable. Some of his pictures appear rather too dark, particularly in the background, though perhaps that defect might have been occasioned by the colours having changed from their original tint. Painted by Egbert Hemskirk, called the Old (Egbert Hemskirk)|Interior of a Flemish Tavern, with Boors regaling themselves, by Hemskirk. Undoubtedly, the taste of his composition, compared with that of the Italian artists, is but low; yet it ought to be considered, that he took his subjects from nature; from persons of the meanest occupations, employed in the meanest offices, whose figures, dress, actions or manners, could not furnish the imagination with any idea of elegance; and that he studied no farther, than to express the variety of humours observable in the characters of that boorish set of people, with whom he was most conversant. To study nature in its undisguised appearances, and to trace every passion of the human mind, in the lineaments of the face, and in the attitudes of the body, seems to have been the utmost of his ambition, and for that purpose, he frequenteed all places of public resort, Inns, Taverns, Gaming Houses, Fairs, Feasts, or Merry-makings; and by that means acquired a surprising power of expressing the humourous accidents that promoted his own mirth or amusement, or that might contribute to the mirth or amusements of others. He designed and drew correctly, his colouring in extremely natural and transparent, and his pictures have a strong effect, from his accurate management of the Chiaro scuro; his touch is free, firm, and full of spirit, and his expression is admirable. Some of his pictures appear rather too dark, particularly in the background, though perhaps that defect might have been occasioned by the colours having changed from their original tint. Painted by Egbert Hemskirk, called the Old]] réalisée par Egbert Hemskirk. [312]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Cottage door, with the Painter in the character of a Peasant and Dog, returning from Market, with a Girl and Pitcher at the door, by Cuyp. This is a very brilliant specimen of this renowned artist. Cuyp was a disciple of his father, though in his manner he differed extremely from him, being abundantly neater in his works; nor was his pencilling so rough and bold as any other painter of the same name. The father principally adhered to one or two species of Animals; but to Albert, oxen, sheep, cows, horses, fruit, landscape, smooth water, or ships and boats, were all equally familiar either to design or to execute. He excelled in every article that he attempted to represent, and painted every object in the same free and natural manner, always lovely and true in his colouring, always clear and transparent, He was accustomed to observe nicely even the particular times of the day, to express the various diffusions of light on his objects, with all the truth of nature; and in his pictures, the morning, attended with its mists and vapours, the clearer light of noon, and the saffron coloured tints of the evening, may readily be distinguished. He likewise excelled in moonlight pieces; some of them being so admirabley expressed, that the glittering reflection of the Lunar beams, on the surface of the water, appeared more like real nature, than like any imitation of it. Painted by Albert Cuyp, who was born at Dort, 1606, died -- (Albert Cuyp)|The Cottage door, with the Painter in the character of a Peasant and Dog, returning from Market, with a Girl and Pitcher at the door, by Cuyp. This is a very brilliant specimen of this renowned artist. Cuyp was a disciple of his father, though in his manner he differed extremely from him, being abundantly neater in his works; nor was his pencilling so rough and bold as any other painter of the same name. The father principally adhered to one or two species of Animals; but to Albert, oxen, sheep, cows, horses, fruit, landscape, smooth water, or ships and boats, were all equally familiar either to design or to execute. He excelled in every article that he attempted to represent, and painted every object in the same free and natural manner, always lovely and true in his colouring, always clear and transparent, He was accustomed to observe nicely even the particular times of the day, to express the various diffusions of light on his objects, with all the truth of nature; and in his pictures, the morning, attended with its mists and vapours, the clearer light of noon, and the saffron coloured tints of the evening, may readily be distinguished. He likewise excelled in moonlight pieces; some of them being so admirabley expressed, that the glittering reflection of the Lunar beams, on the surface of the water, appeared more like real nature, than like any imitation of it. Painted by Albert Cuyp, who was born at Dort, 1606, died --]] réalisée par Albert Cuyp. [313]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a Flemish Tavern, with Boors revelling, &c. by Teniers. The works of this extraordinary genius are dispersed throught most of the European Courts. He studied nature in every shape, with a most curious and critical observation; and as he generally composed his subjects from persons in low stations, he accustomed himself to frequent their meetings at sports, feasts, and pastimes; and by that means had an opportunity of remarking the simplicity of their manners, and the various actions and attitudes, characters and passions, of every age and sex. From such observations he had nature always present to his imagination, in whatever subject he composed, and was enabled to give his figures such truth, and expression, as must for ever assure his works the approbation of the best judges. And it cannot but seem surprising, that subjects which appear to the low and barren, could furnish such a wonderful variety from the hand of one master. Teniers had a ready and lively invention, and was full as ready to execute as to invent; he made nature his model perpetually, and imitated it with astonishing exactness and truth. His pencil is free, and delicate, the touching of his trees is light and firm; his skies are admirable, and although not very much varied, are clear and brilliant; and as to the expression of his figures, whether they are mirthful or grave, in anger or in good humour, nothing can be more strongly marked, more striking, or more natural. His pictures are generally clear in all thier parts with beautiful transparency. Painted by David Teniers, the younger, who was born at Antwerp, 1610, died 1694 (David Teniers, the younger)|Interior of a Flemish Tavern, with Boors revelling, &c. by Teniers. The works of this extraordinary genius are dispersed throught most of the European Courts. He studied nature in every shape, with a most curious and critical observation; and as he generally composed his subjects from persons in low stations, he accustomed himself to frequent their meetings at sports, feasts, and pastimes; and by that means had an opportunity of remarking the simplicity of their manners, and the various actions and attitudes, characters and passions, of every age and sex. From such observations he had nature always present to his imagination, in whatever subject he composed, and was enabled to give his figures such truth, and expression, as must for ever assure his works the approbation of the best judges. And it cannot but seem surprising, that subjects which appear to the low and barren, could furnish such a wonderful variety from the hand of one master. Teniers had a ready and lively invention, and was full as ready to execute as to invent; he made nature his model perpetually, and imitated it with astonishing exactness and truth. His pencil is free, and delicate, the touching of his trees is light and firm; his skies are admirable, and although not very much varied, are clear and brilliant; and as to the expression of his figures, whether they are mirthful or grave, in anger or in good humour, nothing can be more strongly marked, more striking, or more natural. His pictures are generally clear in all thier parts with beautiful transparency. Painted by David Teniers, the younger, who was born at Antwerp, 1610, died 1694]] réalisée par David Teniers, the younger. [314]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Sea Beach, with Dutch fishermen and fish, from David Teniers, by G. Morland. A scene on the coast of Holland. This charming production may vie with any picture of the kind, as it regards the requisites of effect and execution. The connoisseur will trace the hand of the master, and particularly in the figures, and the fish on the foreground. The water, boat, and the figures very spiritedly pencilled, transparent and silvery. A true and beautiful picture after Teniers, by George Morland, London (George Morland)|A Sea Beach, with Dutch fishermen and fish, from David Teniers, by G. Morland. A scene on the coast of Holland. This charming production may vie with any picture of the kind, as it regards the requisites of effect and execution. The connoisseur will trace the hand of the master, and particularly in the figures, and the fish on the foreground. The water, boat, and the figures very spiritedly pencilled, transparent and silvery. A true and beautiful picture after Teniers, by George Morland, London]] réalisée par George Morland. [315]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Samson asleep on the lap of Delilah, by N. Pousin. Judges, Chap. 16, ver. 19, 20. And she made him sleep upon her knees, and she called for a man, and she caused him to shave off the seven locks of his head; and she began to afflict him, and his strength went from him. And she said, the Philistines be upon thee, Samson, and he awoke out of his sleep, and said, I will go out as at other times and shake myself, and he wist not that the Lord was departed from him, &c. A beautiful and expressive composition, and finely coloured specimen; the carnations are as true as life, the execution remarkably free, the Chira scuro excellent, and the whole a striking effect of nature and truth, the story well told. Painted by Nicholas Pousin, who was born in Normandy, 1594, died 1665 (Nicholas Poussin)|Samson asleep on the lap of Delilah, by N. Pousin. Judges, Chap. 16, ver. 19, 20. And she made him sleep upon her knees, and she called for a man, and she caused him to shave off the seven locks of his head; and she began to afflict him, and his strength went from him. And she said, the Philistines be upon thee, Samson, and he awoke out of his sleep, and said, I will go out as at other times and shake myself, and he wist not that the Lord was departed from him, &c. A beautiful and expressive composition, and finely coloured specimen; the carnations are as true as life, the execution remarkably free, the Chira scuro excellent, and the whole a striking effect of nature and truth, the story well told. Painted by Nicholas Pousin, who was born in Normandy, 1594, died 1665]] réalisée par Nicholas Poussin. [316]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Flaggellation and martyrdom of the early Christians, by Trevisani. This is a splendid and rich composition, as fine as Titian. Trevisani was in every respect very accomplished, and studied after the best masters of the Venetian school, which laid the foundation of that exquisite taste which recommended him to the admiration of all Italy, and afterwards to the esteem of all Europe. He had the grace, the sweetness of the tints, and the incomparable touch of Correggio, and also the grandeur, elegance, and richness of Veronese, which procured him the honour of knighthood, and spread his reputation universally. This master had great freedom of hand, a genius full of elevation, and a noble and grand style of composition; his figures were generally correct and graceful; they were coloured with tints uncommonly clear, bright, and beautiful; and what is very singular in reference to the pencil of Trevisani, is, that not withstanding his having died when he was Ninety years old, yet he preserved the same delicacy of colouring to the last period of his life; nor was the elegance of his design perceptably impaired by his years. Painted by Cavaliere Francisco Trevisani who was born at Trieste, 1656, died 1746 (Cavaliere Francisco Trevisani)|A Flaggellation and martyrdom of the early Christians, by Trevisani. This is a splendid and rich composition, as fine as Titian. Trevisani was in every respect very accomplished, and studied after the best masters of the Venetian school, which laid the foundation of that exquisite taste which recommended him to the admiration of all Italy, and afterwards to the esteem of all Europe. He had the grace, the sweetness of the tints, and the incomparable touch of Correggio, and also the grandeur, elegance, and richness of Veronese, which procured him the honour of knighthood, and spread his reputation universally. This master had great freedom of hand, a genius full of elevation, and a noble and grand style of composition; his figures were generally correct and graceful; they were coloured with tints uncommonly clear, bright, and beautiful; and what is very singular in reference to the pencil of Trevisani, is, that not withstanding his having died when he was Ninety years old, yet he preserved the same delicacy of colouring to the last period of his life; nor was the elegance of his design perceptably impaired by his years. Painted by Cavaliere Francisco Trevisani who was born at Trieste, 1656, died 1746]] réalisée par Cavaliere Francisco Trevisani. [317]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Jet de Eau, and musical Party in the Gardens of Versailles, Paris, by Watteau. This beautiful picture is an undoubted original of this illustrious master. In the carnation there appears an inexpressible delicacy. It is impossible to see any thing more tender, more soft, or more round than the figuress, without harshness of outline. The reputation of Watteau increased continually, though, as his manner of thinking, composing and colouring was quite new, his performances were neither so much admired nor coveted, while he lived, as they have been since his death, and they seem to be still increasing in their value. He hoped to have added to his fortune and and sic. credit, by visiting London, but the bad state of his health during his continuance in that city, which was but for one year; the novelty of his style, which at first seemed rather to surprise agreeably, than immediately to excite either admiration or applause; and perhaps his not being sufficiently known to those who were the best judges of the art, those several circumstances might have contributed to his not having expreienced in England such encouragement as was proportioned to his merit. He accustomed himself to copy the works of the best artists and made the colouring of Rubens and Vandyk his models. He was indefatigable in designing, never permitting his pencil to be unemployed, as may readily be conjectured from the great quantity of works which he sketched and finished. His subjects are generally comic conversations, the marchings, haltings, or encampments of armies, landscapes, and grotesques, all of which he finished with a free, flowing pencil, a pleasing tone of colour, a neat and spirited touch, and they are all correctly designed. The figures which he intoduces in his compositions, in whatever character he designs them, have a peculiar grace in the airs of his heads, and somewhat becoming in their attitudes, their actions are easy and natural, and they are always agreeably and skilfully disposed. The colouring of his landscapes is lively, his trees are touched with singular freedom, and the whole together has a charming effect. Painted by Anthony Watteau, who was born at Valenciennes, 1684, died 1721. (Anthony Watteau)|Jet de Eau, and musical Party in the Gardens of Versailles, Paris, by Watteau. This beautiful picture is an undoubted original of this illustrious master. In the carnation there appears an inexpressible delicacy. It is impossible to see any thing more tender, more soft, or more round than the figuress, without harshness of outline. The reputation of Watteau increased continually, though, as his manner of thinking, composing and colouring was quite new, his performances were neither so much admired nor coveted, while he lived, as they have been since his death, and they seem to be still increasing in their value. He hoped to have added to his fortune and and sic. credit, by visiting London, but the bad state of his health during his continuance in that city, which was but for one year; the novelty of his style, which at first seemed rather to surprise agreeably, than immediately to excite either admiration or applause; and perhaps his not being sufficiently known to those who were the best judges of the art, those several circumstances might have contributed to his not having expreienced in England such encouragement as was proportioned to his merit. He accustomed himself to copy the works of the best artists and made the colouring of Rubens and Vandyk his models. He was indefatigable in designing, never permitting his pencil to be unemployed, as may readily be conjectured from the great quantity of works which he sketched and finished. His subjects are generally comic conversations, the marchings, haltings, or encampments of armies, landscapes, and grotesques, all of which he finished with a free, flowing pencil, a pleasing tone of colour, a neat and spirited touch, and they are all correctly designed. The figures which he intoduces in his compositions, in whatever character he designs them, have a peculiar grace in the airs of his heads, and somewhat becoming in their attitudes, their actions are easy and natural, and they are always agreeably and skilfully disposed. The colouring of his landscapes is lively, his trees are touched with singular freedom, and the whole together has a charming effect. Painted by Anthony Watteau, who was born at Valenciennes, 1684, died 1721.]] réalisée par Anthony Watteau. [318]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Virgin and Child, by Stella. The colouring is rich and at the same time clear and transparent, and the figures full of sweetness and dignity. The expression is very fine and light, extremely well managed, and the whole of a beautiful effect. This master had an extensive genius, and though history engaged his attention principally, yet he painted all kinds of subjects with equal readiness and ease. His invention is noble, his attitudes are natural, and his outline is correct. He was State Painter to the King of France. Painted by Chevaliere Jaques Stella, who was born at Lyons, 1596, died 1647 (Chevaliere Jaques Stella)|The Virgin and Child, by Stella. The colouring is rich and at the same time clear and transparent, and the figures full of sweetness and dignity. The expression is very fine and light, extremely well managed, and the whole of a beautiful effect. This master had an extensive genius, and though history engaged his attention principally, yet he painted all kinds of subjects with equal readiness and ease. His invention is noble, his attitudes are natural, and his outline is correct. He was State Painter to the King of France. Painted by Chevaliere Jaques Stella, who was born at Lyons, 1596, died 1647]] réalisée par Chevaliere Jaques Stella. [319]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Historical Landscape by Twilight, Apollo chacing Daphne, by Nichola and Gasper Pousin. The character of this composition is that of simple grandeur; the breadth and the umbrageous hues admirably express the approach of night, when all the minuteness of forms are lost in one general mass of obscurity and indistinctness; the sun's last parting rays, partially illuminating the objects on the foreground give great zest and beauty to the whole. Gasper Pousin undoubtedly was one of the most celebrated painters of Landscape that ever appeared; and it is generally thought that no painter ever studied to better purpose, or represented the effects of Land storms, more happily than Gasper; every tree shews a proper and natural degree of agitation, every leaf is in motion. His scenes are always beautifully chosen, as also are the sites of his buildings; and those buildings have a pleasing effect by a mixture of simplicity and elegance. His distances recede from the eye with abundance of perspective beauty; his grounds are charmingly broken; and his figures, trees, and other objects are so judiciously placed, and proportioned to the distance, as to create a most agreeable deception; he had a free and delicate manner of pencilling, and was exceedingly expeditious in his works, and it is confidently reported by authentic writers, that he finished a large Landscape and inserted all the requisite figures, within the compass of one day. He designed human figures but very indifferentely, and for that reason he frequently prevailed on Nichola to paint them for him, and they were always introduced with the utmost propriety and judgment. No commendation can be bestowed on the works of Gasper, that can seem superior to their desert; and the exceeding great prices they afford, shew that they are deservedly admired in every nation, where the art of Painting is either cultivated or understood. Painted by Nichola and Gasper Pousin, born in France 1606, died 1663 (Nichola Pousin)|Historical Landscape by Twilight, Apollo chacing Daphne, by Nichola and Gasper Pousin. The character of this composition is that of simple grandeur; the breadth and the umbrageous hues admirably express the approach of night, when all the minuteness of forms are lost in one general mass of obscurity and indistinctness; the sun's last parting rays, partially illuminating the objects on the foreground give great zest and beauty to the whole. Gasper Pousin undoubtedly was one of the most celebrated painters of Landscape that ever appeared; and it is generally thought that no painter ever studied to better purpose, or represented the effects of Land storms, more happily than Gasper; every tree shews a proper and natural degree of agitation, every leaf is in motion. His scenes are always beautifully chosen, as also are the sites of his buildings; and those buildings have a pleasing effect by a mixture of simplicity and elegance. His distances recede from the eye with abundance of perspective beauty; his grounds are charmingly broken; and his figures, trees, and other objects are so judiciously placed, and proportioned to the distance, as to create a most agreeable deception; he had a free and delicate manner of pencilling, and was exceedingly expeditious in his works, and it is confidently reported by authentic writers, that he finished a large Landscape and inserted all the requisite figures, within the compass of one day. He designed human figures but very indifferentely, and for that reason he frequently prevailed on Nichola to paint them for him, and they were always introduced with the utmost propriety and judgment. No commendation can be bestowed on the works of Gasper, that can seem superior to their desert; and the exceeding great prices they afford, shew that they are deservedly admired in every nation, where the art of Painting is either cultivated or understood. Painted by Nichola and Gasper Pousin, born in France 1606, died 1663]] réalisée par Nichola Pousin. [320]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Brower in his Painting Room, a Portrait of himself, by A. Brower. This is a very rare specimen of the artist, and an engraving has been taken from this picture. His Pictures were taken from low life, such as droll conversations, feasts, taverns, drunken quarrels, boors playing and disputing at cards, &c. but his expression is so full of life and character, the management of his colours is so surprising, and so much truth, united with exquisite high finishing, correctness of drawing, and wonderful transparence, appears in the works of this uncommon genius; that his paintings are more valuable and afford higher prices than many of the works of other masters, who are of the greatest eminence. Houbraken mentions an incident relative to this artist, which may not be unacceptable to the lovers of Painting. "It happened that when Brower went to Antwerp, he was taken up as a spy, and imprisoned in the same place where the Duke D'Aremberg was confined; that Nobleman had an intimate friendship with Rubens, who often went to visit him in his confinement, and the Duke having observed the genius of Brower (by some slight sketches which he drew with black lead,) without knowing who he was, desired Rubens to bring with him, at this next visit a pallette and pencils for a painter who was in custody along with him. The materials requisite for painting were given to Brower, who took for his subject a group of soldiers, who were playing at cards in a corner of the Prison; and when the Picture was finished, and shewn to Rubens, he cried out, that it was painted by Brower, whose works he had often seen, and as often admired. The Duke delighted with the discovery, set a proper value on the performance; and although Rubens offered six hundred Guilders for it, the Duke would by no means part with it, but presented the Painter with a much larger sum. Rubens immediately exerted all his interest to obtain the enlargement of Brower, and procured it by becoming his surety; he took him into his own house, clothed and maintained him, and took pains to make the world acquainted with his merit. But the levity of Brower's temper would not suffer him to continue long with his benefactor. Painted by Adrian Brower, who was born at Haerlem, 1608, died 1640 (Adrian Brower)|Brower in his Painting Room, a Portrait of himself, by A. Brower. This is a very rare specimen of the artist, and an engraving has been taken from this picture. His Pictures were taken from low life, such as droll conversations, feasts, taverns, drunken quarrels, boors playing and disputing at cards, &c. but his expression is so full of life and character, the management of his colours is so surprising, and so much truth, united with exquisite high finishing, correctness of drawing, and wonderful transparence, appears in the works of this uncommon genius; that his paintings are more valuable and afford higher prices than many of the works of other masters, who are of the greatest eminence. Houbraken mentions an incident relative to this artist, which may not be unacceptable to the lovers of Painting. "It happened that when Brower went to Antwerp, he was taken up as a spy, and imprisoned in the same place where the Duke D'Aremberg was confined; that Nobleman had an intimate friendship with Rubens, who often went to visit him in his confinement, and the Duke having observed the genius of Brower (by some slight sketches which he drew with black lead,) without knowing who he was, desired Rubens to bring with him, at this next visit a pallette and pencils for a painter who was in custody along with him. The materials requisite for painting were given to Brower, who took for his subject a group of soldiers, who were playing at cards in a corner of the Prison; and when the Picture was finished, and shewn to Rubens, he cried out, that it was painted by Brower, whose works he had often seen, and as often admired. The Duke delighted with the discovery, set a proper value on the performance; and although Rubens offered six hundred Guilders for it, the Duke would by no means part with it, but presented the Painter with a much larger sum. Rubens immediately exerted all his interest to obtain the enlargement of Brower, and procured it by becoming his surety; he took him into his own house, clothed and maintained him, and took pains to make the world acquainted with his merit. But the levity of Brower's temper would not suffer him to continue long with his benefactor. Painted by Adrian Brower, who was born at Haerlem, 1608, died 1640]] réalisée par Adrian Brower. [321]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Cavern Scene, with Nymphs of Diana reposing after the chase, by Poelemburgh. This is a rare specimen of the Dutch School; he formed for himself a style that was entirely and in many respects new, preferable to the Flemish gusto; but it did not resemble the style of any Italian master, except in the Ruins of the Antique Buildings, with which he adorned his Landscapes, and which he had with great care copied after nature. He surpassed all his cotemporaries in the delicacy of his touch, in the sweetness of his colouring, and in the choice of agreeable objects and situations. His skies are clear, light, and transparent, his backgrounds ornamented often with the vestiges of Roman edifices which always contribute to the harmony of the whole composition; and his female figures, which he generally represented naked, are beautiful and elegant forms. His greatest excellence appeared in the small Pictures of his hand, for in the larger size he is not so deserving of commendation. The Italians were excessively pleased with the works of Poelemburgh; and some of the Cardinals at Rome of the finest taste, attended him frequently while he was painting, to observe his manner, and expressed their admiration in the strongest terms. It was not without the greatest regret that he left Rome, to return to his own country, though he afterwards, found sufficient cause to be pleased with the honours he received from the grand Duke at Florence, and the respect shewn to him in every city through which he treaveiled, as well as in his native city, Utretcht. For, not long after his arrival, Rubens paid him a friendly visit, and having expressed a singular pleasure in examining the works of Poelemburgh, he purchased several for his own cabinet, and bespoke others. By which generous conduct, he instructed the lovers of the art to estimate the merit of Poelemburgh, as highly as they ought, and at the same time, advanced the fortune and reputation of that artist. Painted by Cornelius Poelemburgh, who was born at Utretcht, 1586, died 1600 (Cornelius Poelemburgh)|Cavern Scene, with Nymphs of Diana reposing after the chase, by Poelemburgh. This is a rare specimen of the Dutch School; he formed for himself a style that was entirely and in many respects new, preferable to the Flemish gusto; but it did not resemble the style of any Italian master, except in the Ruins of the Antique Buildings, with which he adorned his Landscapes, and which he had with great care copied after nature. He surpassed all his cotemporaries in the delicacy of his touch, in the sweetness of his colouring, and in the choice of agreeable objects and situations. His skies are clear, light, and transparent, his backgrounds ornamented often with the vestiges of Roman edifices which always contribute to the harmony of the whole composition; and his female figures, which he generally represented naked, are beautiful and elegant forms. His greatest excellence appeared in the small Pictures of his hand, for in the larger size he is not so deserving of commendation. The Italians were excessively pleased with the works of Poelemburgh; and some of the Cardinals at Rome of the finest taste, attended him frequently while he was painting, to observe his manner, and expressed their admiration in the strongest terms. It was not without the greatest regret that he left Rome, to return to his own country, though he afterwards, found sufficient cause to be pleased with the honours he received from the grand Duke at Florence, and the respect shewn to him in every city through which he treaveiled, as well as in his native city, Utretcht. For, not long after his arrival, Rubens paid him a friendly visit, and having expressed a singular pleasure in examining the works of Poelemburgh, he purchased several for his own cabinet, and bespoke others. By which generous conduct, he instructed the lovers of the art to estimate the merit of Poelemburgh, as highly as they ought, and at the same time, advanced the fortune and reputation of that artist. Painted by Cornelius Poelemburgh, who was born at Utretcht, 1586, died 1600]] réalisée par Cornelius Poelemburgh. [322]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Palace Yard, Figures and Horses, Horses, Horse-breaking, &c. by Wouvremans. Painted with wonderful spirit and effect. It is presumed to be one of his most brilliant efforts; in coulouring the representation is excellent, the scene and situation beautiful. The horses and men very spirited. -- The subjects which he seemed most fond of painting were huntings, hawkings, farriers' shops, horse-breaking, and all kind of scenes that afforded him a proper and natural opportunity of introducing horses, as he painted those animals to the greatest perfection. And when we consider the works of this inimitable artist, we find ourselves at a loss to determine what part is most worthy of notice and admiration, -- wheter the sweetness of the colouring, the correctness of his designs, his cattle, or his figures; the charming variety of attitudes in his horses, the free and yet delicate touchings of his trees; the beautiful choice of his scenery; the judicious use he makes of the chiaro scuro, or the spirit that animates the whole. His genius and invention were so strong that none of his Pictures have the same grounds, or the same distances; for he varied them perpetually with inexpressible skill; in some, representing simple, unembellished nature; in others, scenes enriched with Architecture, Fountains, or Edifices of a Picturesque construction. His figures are always finely drawn, with such expressions and attitudes as are suitable to the sujbect; and the attitudes he chose were such as appeared unconstrained, natural, and most agreeable. He had an amazing command of his pencil, so that, instantly and effectually, he expressed every idea conceived in his mind; and gave to his pictures an astonishing force by broad masses of light and shadow, by contrasting his lights and shadows with peculiar judgment, and giving an uncommon degree of transparence to the colouring of the whole. The pencil of Wouvremans was mellow, and his touch free, though his pictures were finished most delicately; his distances recede with true perspective beauty, and his skies, air, trees, and plants, are all exact and lovely imitations of nature. Painted by Philip Wouvremans, who was born at Haerlem 1620, died 1668 (Philip Wouvremans)|A Palace Yard, Figures and Horses, Horses, Horse-breaking, &c. by Wouvremans. Painted with wonderful spirit and effect. It is presumed to be one of his most brilliant efforts; in coulouring the representation is excellent, the scene and situation beautiful. The horses and men very spirited. -- The subjects which he seemed most fond of painting were huntings, hawkings, farriers' shops, horse-breaking, and all kind of scenes that afforded him a proper and natural opportunity of introducing horses, as he painted those animals to the greatest perfection. And when we consider the works of this inimitable artist, we find ourselves at a loss to determine what part is most worthy of notice and admiration, -- wheter the sweetness of the colouring, the correctness of his designs, his cattle, or his figures; the charming variety of attitudes in his horses, the free and yet delicate touchings of his trees; the beautiful choice of his scenery; the judicious use he makes of the chiaro scuro, or the spirit that animates the whole. His genius and invention were so strong that none of his Pictures have the same grounds, or the same distances; for he varied them perpetually with inexpressible skill; in some, representing simple, unembellished nature; in others, scenes enriched with Architecture, Fountains, or Edifices of a Picturesque construction. His figures are always finely drawn, with such expressions and attitudes as are suitable to the sujbect; and the attitudes he chose were such as appeared unconstrained, natural, and most agreeable. He had an amazing command of his pencil, so that, instantly and effectually, he expressed every idea conceived in his mind; and gave to his pictures an astonishing force by broad masses of light and shadow, by contrasting his lights and shadows with peculiar judgment, and giving an uncommon degree of transparence to the colouring of the whole. The pencil of Wouvremans was mellow, and his touch free, though his pictures were finished most delicately; his distances recede with true perspective beauty, and his skies, air, trees, and plants, are all exact and lovely imitations of nature. Painted by Philip Wouvremans, who was born at Haerlem 1620, died 1668]] réalisée par Philip Wouvremans. [323]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Figures making astronomical observations, &c.; by A. Watteau. A highly finished, very excellent picture. The colouring beautiful, tender, and sweet; the chiaro scuro well understood, and extremely transparent and natural; the composition elegant. Painted by Anthony Watteau, who was born at Valenciennes 1684, died 1721 (Anthony Watteau)|Figures making astronomical observations, &c.; by A. Watteau. A highly finished, very excellent picture. The colouring beautiful, tender, and sweet; the chiaro scuro well understood, and extremely transparent and natural; the composition elegant. Painted by Anthony Watteau, who was born at Valenciennes 1684, died 1721]] réalisée par Anthony Watteau. [324]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Prussian Monarch and his Staff receiving the keys of a conquered city -- by Vander Meulen. This picture, which has been engraved from, is much admired on account of its clearness and bright day-light, with an astonishing degree of nature. The tone of colour is good, the figures have a considerable expression, and are highly finished. The proportion of strength in the colouring -- the different degrees of distance in which the objects are placed, command admiration. In his imitation of nature he was exact and faithful. His colouring is excellent; and in his landscapes, the skies and distances are clear, and exceedingly natural; and although his figures are dressed in the modes of the times, yet they are so well designed, and grouped with so much judgment, that his pictures have always a very striking effect. His design is generally correct, his touch free, and full of spirit; and in the distribution of his lights and shadows, there appears so good an understandig, that the eye of the spectator is constantly pleased and entertained. It cannot indeed be truly affirmed that the works of Vander Meulen have the spirit and fire of Bourgonone and Parocel; but they seem to have more sweetness, nor could any painter excel him in describing the various motions, actions, and attitudes of horses; as he carefully studied every object after nature, and knew how to express them with truth and elegance. The principal works of this master are at Versailles and Marli; but many of his easel pictures are dispersed through England, France, and Flanders. Painted by Anthony Francis Vander Meulen, who was born at Brussels 1631, died 1650 (Vander Meulen)|A Prussian Monarch and his Staff receiving the keys of a conquered city -- by Vander Meulen. This picture, which has been engraved from, is much admired on account of its clearness and bright day-light, with an astonishing degree of nature. The tone of colour is good, the figures have a considerable expression, and are highly finished. The proportion of strength in the colouring -- the different degrees of distance in which the objects are placed, command admiration. In his imitation of nature he was exact and faithful. His colouring is excellent; and in his landscapes, the skies and distances are clear, and exceedingly natural; and although his figures are dressed in the modes of the times, yet they are so well designed, and grouped with so much judgment, that his pictures have always a very striking effect. His design is generally correct, his touch free, and full of spirit; and in the distribution of his lights and shadows, there appears so good an understandig, that the eye of the spectator is constantly pleased and entertained. It cannot indeed be truly affirmed that the works of Vander Meulen have the spirit and fire of Bourgonone and Parocel; but they seem to have more sweetness, nor could any painter excel him in describing the various motions, actions, and attitudes of horses; as he carefully studied every object after nature, and knew how to express them with truth and elegance. The principal works of this master are at Versailles and Marli; but many of his easel pictures are dispersed through England, France, and Flanders. Painted by Anthony Francis Vander Meulen, who was born at Brussels 1631, died 1650]] réalisée par Vander Meulen. [325]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Bunch of Grapes and Foliage suspended -- by Van Huysum. This is a very beautiful specimen of this renowned Painter. He did not paint for the acqusition of money so much as fame, and therefore did not aim at expedition in his art. Having attentively studied the pictures of Mignon, and all other artists of distinction who had painted in his own style, he tried which manner would soonest lead him to imitate the lightness and singular beauties of each flower, fruit, or plant; and then fixed on a manner peculiar to himself, which seems almost inimitable. He soon received the most deserved applause, from the ablest judges of painting; even those who furnished him with the loveliest flowers, confessing that there was something in his colouring and pencilling that rendered every object more beautiful, if possible, than even Nature itself. His pictures are finished with inconceivable truth; for he painted very thing after nature, and was so singularly exact, as to watch even the hour of the day in which his model appeared in its greatest perfection. Painted by John Van Huysum, 1628, died 1749 (Van Huysum)|Bunch of Grapes and Foliage suspended -- by Van Huysum. This is a very beautiful specimen of this renowned Painter. He did not paint for the acqusition of money so much as fame, and therefore did not aim at expedition in his art. Having attentively studied the pictures of Mignon, and all other artists of distinction who had painted in his own style, he tried which manner would soonest lead him to imitate the lightness and singular beauties of each flower, fruit, or plant; and then fixed on a manner peculiar to himself, which seems almost inimitable. He soon received the most deserved applause, from the ablest judges of painting; even those who furnished him with the loveliest flowers, confessing that there was something in his colouring and pencilling that rendered every object more beautiful, if possible, than even Nature itself. His pictures are finished with inconceivable truth; for he painted very thing after nature, and was so singularly exact, as to watch even the hour of the day in which his model appeared in its greatest perfection. Painted by John Van Huysum, 1628, died 1749]] réalisée par Van Huysum. [328]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[A Landcape, Companion, Figure and Castle Scene in Wales, by Rysdael Barker. These are two beautiful romantic compositions, handled in his best style, after the manner of Rysdael. The sombre and mellow tone of these pictures is perfectly in unison with the season and time of day intended to be expressed; the skies are full of variety and motion; and the ground, trees, and herbage are beautifully touched with spirit and truth. The whole is forcibly expressive of English scenery and atmosphere. -- This master's works are much exteemed in England by Amateurs and Connoisseurs of Pictures. He paints with a great deal of spirit, and every part has the look of true nature. He shews that he perfectly understands the principles of the Chiaro-Scuro, and also perspective; for his distances have always a fine effect, and his masses of light and shadow are distributed with such judgment, and contrasted with such harmony, that the eye and the imagination are equally delighted. Painted by Rysdael Barker, Bath, England (Rysdael Barker)|A Landcape, Companion, Figure and Castle Scene in Wales, by Rysdael Barker. These are two beautiful romantic compositions, handled in his best style, after the manner of Rysdael. The sombre and mellow tone of these pictures is perfectly in unison with the season and time of day intended to be expressed; the skies are full of variety and motion; and the ground, trees, and herbage are beautifully touched with spirit and truth. The whole is forcibly expressive of English scenery and atmosphere. -- This master's works are much exteemed in England by Amateurs and Connoisseurs of Pictures. He paints with a great deal of spirit, and every part has the look of true nature. He shews that he perfectly understands the principles of the Chiaro-Scuro, and also perspective; for his distances have always a fine effect, and his masses of light and shadow are distributed with such judgment, and contrasted with such harmony, that the eye and the imagination are equally delighted. Painted by Rysdael Barker, Bath, England]] réalisée par Rysdael Barker. [330]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Interior of a Flemish House, Boors carousing -- Du Sart. Full of character and expression, with a fine tone of colour and in excellent condition. This is a first-rate picture of this master, and will bear comparison with any of his works, when the variety of grouping and the management of the whole is considered, the lovely carnations of the flesh, the truth of outline -- we must confess the hand of a great artist. This picture is exceeded by few. The imagination of Dusart was remarkably strong, and his memory amazing; for whenever he saw a striking original figure, which he thought capable of being introduced into any figure design, he could, at any distance of time, recall the idea of it, and retain every trace of it so distinct, as to describe it with the same attitude, humour, and natural tone as if the object had been then present before his eyes. He was a disciple of Adrian Ostade. Painted by Cornelius De Sart who was born at Haerlem, 1663, died 1701 (Cornelius Du Sart)|Interior of a Flemish House, Boors carousing -- Du Sart. Full of character and expression, with a fine tone of colour and in excellent condition. This is a first-rate picture of this master, and will bear comparison with any of his works, when the variety of grouping and the management of the whole is considered, the lovely carnations of the flesh, the truth of outline -- we must confess the hand of a great artist. This picture is exceeded by few. The imagination of Dusart was remarkably strong, and his memory amazing; for whenever he saw a striking original figure, which he thought capable of being introduced into any figure design, he could, at any distance of time, recall the idea of it, and retain every trace of it so distinct, as to describe it with the same attitude, humour, and natural tone as if the object had been then present before his eyes. He was a disciple of Adrian Ostade. Painted by Cornelius De Sart who was born at Haerlem, 1663, died 1701]] réalisée par Cornelius Du Sart. [331]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Historical Landscape, Story from Ovid's Metamorphoses, by Roland Savery. A fine allegorical composition, the attitudes and characters are truly natural, the colouring beautifies nature itself, and the Landscape is of the finest class, and not inferior to Claude Loraine's. He had a delicate pencil, and touched his objects with a great deal of spirit and freedom, and scenes which he describes are grand and solemn, he shews a pleasing opposition in his lights and shadows, his subjects are full of an agreeable variety, and his Pictures are generally executed in a masterly manner, though some of his Pictures are much superior to others. His tone of colouring is always pleasing, sometimes the Blue tint predominates too much, and the Green frequently appears too vivid. But, upon the whole, he was an excellent master, and his works are very highly esteemed, particularly his small easel pictures, which are accounted not inferior to Paul Brill and Breughal in the neatness of finishing. Painted by Roland Savery, who was born at Courtray, 1576, died 1639 (Roland Savery)|Historical Landscape, Story from Ovid's Metamorphoses, by Roland Savery. A fine allegorical composition, the attitudes and characters are truly natural, the colouring beautifies nature itself, and the Landscape is of the finest class, and not inferior to Claude Loraine's. He had a delicate pencil, and touched his objects with a great deal of spirit and freedom, and scenes which he describes are grand and solemn, he shews a pleasing opposition in his lights and shadows, his subjects are full of an agreeable variety, and his Pictures are generally executed in a masterly manner, though some of his Pictures are much superior to others. His tone of colouring is always pleasing, sometimes the Blue tint predominates too much, and the Green frequently appears too vivid. But, upon the whole, he was an excellent master, and his works are very highly esteemed, particularly his small easel pictures, which are accounted not inferior to Paul Brill and Breughal in the neatness of finishing. Painted by Roland Savery, who was born at Courtray, 1576, died 1639]] réalisée par Roland Savery. [332]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Landscape, Figures and Water, and fishing boats, by Vander Heyden. The figures and cattle are well disposed with great propriety, and touched with extraordinary spirit and freedom, especially the figures on the foreground, which are uncommonly rich and admirably finished. The objects in his Pictures, form admirable masses of light and shadow, the Chiaro scuro is well understood, the perspective excellent, and the union and harmony are not injured. Painted by John Vander Heyden, who was born at Goreum, 1637, died 1712 (Vander Heyden)|Landscape, Figures and Water, and fishing boats, by Vander Heyden. The figures and cattle are well disposed with great propriety, and touched with extraordinary spirit and freedom, especially the figures on the foreground, which are uncommonly rich and admirably finished. The objects in his Pictures, form admirable masses of light and shadow, the Chiaro scuro is well understood, the perspective excellent, and the union and harmony are not injured. Painted by John Vander Heyden, who was born at Goreum, 1637, died 1712]] réalisée par Vander Heyden. [333]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Ferry House and Fisherman, by Vandervelde. This is a beautiful cabinet picture, a calm repose rests on the whole scene, which delights the eye; the figures are touched very spiritedly, the colouring is simple, grave and silvery, all shews a great master; he seems to have been, even to a degree of enthusiasm, fond of his art, for in order justly to observe the movements, and various positions of ships engaging in a sea fight, that he might design them from nature, and unite truth with grandeur and elegance in his compositions, he did not hesitate to attend those engagements in a small light vessel, and sail as near to his enemies as his friends, attentive only to drawing, and without the least apparent anxiety for the danger, to which he was every moment exposed. Of that dauntless disposition, he gave two very convincing proofs, before his arrival in England; the one, was in the severe battle between the Duke of York and Admiral Opdam, in which the Dutch Admiral and five hudnred men were blown up; the other was in that memorable engagement which continued three days, between Admiral Monck and Admiral de Ruyter. During the continuance of those different engagements Vandervelde plied between the fleets, so as to represent minutely every movement of ships, and the most material cicumstances of the action, with incredible exactness and truth. It is observed of him that in the latter part of life, he commonly painted in black and white, on ground so prepared on canvass, as to make it have the appearance of paper. Painted by William Vandervelde, the old, who was born at Leyden, 1610, died 1693 (William Vandervelde, the old)|The Ferry House and Fisherman, by Vandervelde. This is a beautiful cabinet picture, a calm repose rests on the whole scene, which delights the eye; the figures are touched very spiritedly, the colouring is simple, grave and silvery, all shews a great master; he seems to have been, even to a degree of enthusiasm, fond of his art, for in order justly to observe the movements, and various positions of ships engaging in a sea fight, that he might design them from nature, and unite truth with grandeur and elegance in his compositions, he did not hesitate to attend those engagements in a small light vessel, and sail as near to his enemies as his friends, attentive only to drawing, and without the least apparent anxiety for the danger, to which he was every moment exposed. Of that dauntless disposition, he gave two very convincing proofs, before his arrival in England; the one, was in the severe battle between the Duke of York and Admiral Opdam, in which the Dutch Admiral and five hudnred men were blown up; the other was in that memorable engagement which continued three days, between Admiral Monck and Admiral de Ruyter. During the continuance of those different engagements Vandervelde plied between the fleets, so as to represent minutely every movement of ships, and the most material cicumstances of the action, with incredible exactness and truth. It is observed of him that in the latter part of life, he commonly painted in black and white, on ground so prepared on canvass, as to make it have the appearance of paper. Painted by William Vandervelde, the old, who was born at Leyden, 1610, died 1693]] réalisée par William Vandervelde, the old. [334]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[The Virgin and Child, represented as a Mulatto Woman adorned with precious stones and gems, by Domenichino. The colouring rich, and at the same time clear and transparent, and the figures full of sweetness and dignity. The expression is very fine and light, extremely well managed, and the whole of a beautiful effect. Painted by Domenichino who was born at Bologna, 1581, died 1614 (Domenichino)|The Virgin and Child, represented as a Mulatto Woman adorned with precious stones and gems, by Domenichino. The colouring rich, and at the same time clear and transparent, and the figures full of sweetness and dignity. The expression is very fine and light, extremely well managed, and the whole of a beautiful effect. Painted by Domenichino who was born at Bologna, 1581, died 1614]] réalisée par Domenichino. [335]
  • 1821.11.22/ maison de ventes : Blake & Cunningham. Vente de l'œuvre décrite comme [[Madam Dulclos, a celebrated Actress of the French Theatre, by Carlo Vanloo. An excellent specimen of this celebrated painter, expression good and natural, the drapery cast in natural folds, easy, and has much the appearance of Satin, the flesh colour is delicate and beautiful, especially that of the hand. The light and shade very good, and full of harmony, Painted by Carlo Vanloo, Paris (Carlo Vanloo)|Madam Dulclos, a celebrated Actress of the French Theatre, by Carlo Vanloo. An excellent specimen of this celebrated painter, expression good and natural, the drapery cast in natural folds, easy, and has much the appearance of Satin, the flesh colour is delicate and beautiful, especially that of the hand. The light and shade very good, and full of harmony, Painted by Carlo Vanloo, Paris]] réalisée par Carlo Vanloo. [336]
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