Ventes d'œuvres le 1826.03.25

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  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A very charming Landscape, representing an entensive scene, in which is a river and bridge. The horizon is bounded by several mountains and buildings, and the fore-ground is enriched with a shepherd and shepherdess piping, and numerous sheep and goats feeding around. The trees are very richly coloured, and touched with great spirit. This beautiful little jem was formerly in the Villa Aldrobrandini, and hung as companion to a landscape of Carracci, to which, in all probability, it was painted as a pendant. It resembles much the manner of Carracci, and is a very perfect little picture (Claude Gille)|A very charming Landscape, representing an entensive scene, in which is a river and bridge. The horizon is bounded by several mountains and buildings, and the fore-ground is enriched with a shepherd and shepherdess piping, and numerous sheep and goats feeding around. The trees are very richly coloured, and touched with great spirit. This beautiful little jem was formerly in the Villa Aldrobrandini, and hung as companion to a landscape of Carracci, to which, in all probability, it was painted as a pendant. It resembles much the manner of Carracci, and is a very perfect little picture]] réalisée par Claude Gille, vendue par Woodburn. [2]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A beautiful small Landscape, with historical figures, representing Our Saviour going to Emaus with the two Disciples. A very charming scene: a cascade, which runs down through some rocks into a river, renders this picture very agreeable. It is also interesting as being one of his very early works, soon after he left the school of Aug. Tassi, of whose manner of touching the trees it much resembles. From the collection of Monsieur Sityveau, of Paris (Claude Gille)|A beautiful small Landscape, with historical figures, representing Our Saviour going to Emaus with the two Disciples. A very charming scene: a cascade, which runs down through some rocks into a river, renders this picture very agreeable. It is also interesting as being one of his very early works, soon after he left the school of Aug. Tassi, of whose manner of touching the trees it much resembles. From the collection of Monsieur Sityveau, of Paris]] réalisée par Claude Gille, vendue par Woodburn. [3]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A most beautiful and highly interesting Pair of Landscapes. One of them a View on the Tiber, with the water-mill which he has etched, and which is introduced into the famous Doria picture at Rome; a ferry-boat is represented as about to receive several loaded mules, and the muleteers are urging one to follow those who are on board. A boat, nearer the fore-ground, is loading with timber, various goats, &c., and Claude, accompanied by some friend, is drawing the charming scene. The companion represents a Hunt of Deer, an evident view from nature; one of those pictures which tend to prove the great perseverance this great artist had in his pursuit of perfection. Various sportsmen are seen eagerly employed in the chace; one is riding thorough the water, his knees on the saddle; and some dogs are swimming also after the wild red deer, which inhabit the forests near Rome. A broken tree across the fore-ground, whose leaves are touched with the utmost force and spirit, is happily too contrasted to a most extensive distance full of air, and that magical tone which this great landscape painter possessed in a higher degree than any other (Claude Gille. B. 1600, D. 1682)|A most beautiful and highly interesting Pair of Landscapes. One of them a View on the Tiber, with the water-mill which he has etched, and which is introduced into the famous Doria picture at Rome; a ferry-boat is represented as about to receive several loaded mules, and the muleteers are urging one to follow those who are on board. A boat, nearer the fore-ground, is loading with timber, various goats, &c., and Claude, accompanied by some friend, is drawing the charming scene. The companion represents a Hunt of Deer, an evident view from nature; one of those pictures which tend to prove the great perseverance this great artist had in his pursuit of perfection. Various sportsmen are seen eagerly employed in the chace; one is riding thorough the water, his knees on the saddle; and some dogs are swimming also after the wild red deer, which inhabit the forests near Rome. A broken tree across the fore-ground, whose leaves are touched with the utmost force and spirit, is happily too contrasted to a most extensive distance full of air, and that magical tone which this great landscape painter possessed in a higher degree than any other]] réalisée par Claude Gille. B. 1600, D. 1682, vendue par Woodburn. [4]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A most beautiful and highly interesting Pair of Landscapes. One of them a View on the Tiber, with the water-mill which he has etched, and which is introduced into the famous Doria picture at Rome; a ferry-boat is represented as about to receive several loaded mules, and the muleteers are urging one to follow those who are on board. A boat, nearer the fore-ground, is loading with timber, various goats, &c., and Claude, accompanied by some friend, is drawing the charming scene. The companion represents a Hunt of Deer, as evident view from nature; one of those pictures which tend to prove the great perseverance this great artist had in his pursuit of perfection. Various sportsmen are seen eagerly employed in the chace; one is riding through the water, his knees on the saddle; and some dogs are swimming also after the wild red deer, which inhabit the forests near Rome. A broken tree across the fore-ground, whose leaves are touched with the utmost force and spirit, is happily too contrasted to a most extensive distance full of air, and that magical tone which this great landscape painter possessed in a higher degree than any other (Claude Gille. B. 1600, D. 1682)|A most beautiful and highly interesting Pair of Landscapes. One of them a View on the Tiber, with the water-mill which he has etched, and which is introduced into the famous Doria picture at Rome; a ferry-boat is represented as about to receive several loaded mules, and the muleteers are urging one to follow those who are on board. A boat, nearer the fore-ground, is loading with timber, various goats, &c., and Claude, accompanied by some friend, is drawing the charming scene. The companion represents a Hunt of Deer, as evident view from nature; one of those pictures which tend to prove the great perseverance this great artist had in his pursuit of perfection. Various sportsmen are seen eagerly employed in the chace; one is riding through the water, his knees on the saddle; and some dogs are swimming also after the wild red deer, which inhabit the forests near Rome. A broken tree across the fore-ground, whose leaves are touched with the utmost force and spirit, is happily too contrasted to a most extensive distance full of air, and that magical tone which this great landscape painter possessed in a higher degree than any other]] réalisée par Claude Gille. B. 1600, D. 1682, vendue par Woodburn. [5]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[One of His accurate Transcripts of Nature. Near the border of a stream is a group of five sheep and two horses, one of which is feeding in a meadow. In the distance are several cows, &c., and an avenue of trees, very highly finished (Adrian Vande Velde. B. 1639, D. 1672)|One of His accurate Transcripts of Nature. Near the border of a stream is a group of five sheep and two horses, one of which is feeding in a meadow. In the distance are several cows, &c., and an avenue of trees, very highly finished]] réalisée par Adrian Vande Velde. B. 1639, D. 1672, vendue par Woodburn. [7]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Calm, beautifully composed, containing two men of war near the centre, and various small sloops, &c. One of the men of war firing a gun, and manning the gangway to receive the Admiral on board. There are other ships in the distance, in all seventeen vessels. This capital picture is in a silvery tone of colour. It is somewhat remarkable, that the man of war has the French flag, and it probably was painted for some French family. It was purchased at Rheims at the time of the late coronation (William Vande Velde. B. 1633, D. 1704)|A Calm, beautifully composed, containing two men of war near the centre, and various small sloops, &c. One of the men of war firing a gun, and manning the gangway to receive the Admiral on board. There are other ships in the distance, in all seventeen vessels. This capital picture is in a silvery tone of colour. It is somewhat remarkable, that the man of war has the French flag, and it probably was painted for some French family. It was purchased at Rheims at the time of the late coronation]] réalisée par William Vande Velde. B. 1633, D. 1704, vendue par Woodburn. [8]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Dutch Family after Dinner, enjoying themselves with Music. The father of the family plays a guitar, while some of the younger parts of the family pipe, and play the fife: some females and young children seem to enjoy the harmony. 41 1/2 inches by 37. There is so much character in the pictures by Jan Steen, that he should in justice be placed much higher in the scale of merit than he hitherto has been. He invariably composes with originality, and is certainly at the head of the Dutch school for those strong expressions which he gives frequently to his figures, and in which is is only rivalled by our own Hogarth, who frequently resembles him also in colour and touch (Jan Steen)|A Dutch Family after Dinner, enjoying themselves with Music. The father of the family plays a guitar, while some of the younger parts of the family pipe, and play the fife: some females and young children seem to enjoy the harmony. 41 1/2 inches by 37. There is so much character in the pictures by Jan Steen, that he should in justice be placed much higher in the scale of merit than he hitherto has been. He invariably composes with originality, and is certainly at the head of the Dutch school for those strong expressions which he gives frequently to his figures, and in which is is only rivalled by our own Hogarth, who frequently resembles him also in colour and touch]] réalisée par Jan Steen, vendue par Woodburn. [9]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The Story of Dives and Lazarus, told with great dramatic truth. Dives appears at table with a party carousing; a female is bringing a dish in, on which is a peacock. Lazarus is sitting on the ground, and appears soliciting in vain for relief; a few dogs surround him, and a dwarf approaches with a whip. On the other side of the picture various persons are occupied with culinary preparations. A very high finished capital picture, of his best time, with above twenty figures (jan Steen. B. 1636, D. 1689)|The Story of Dives and Lazarus, told with great dramatic truth. Dives appears at table with a party carousing; a female is bringing a dish in, on which is a peacock. Lazarus is sitting on the ground, and appears soliciting in vain for relief; a few dogs surround him, and a dwarf approaches with a whip. On the other side of the picture various persons are occupied with culinary preparations. A very high finished capital picture, of his best time, with above twenty figures]] réalisée par jan Steen. B. 1636, D. 1689, vendue par Woodburn. [10]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Landscape of a grand sentiment. Representing a road winding round a field of corn, at the end of which is a Dutch boor; a sportsman with his gun, followed by two dogs, enrich this picture, which is touched with great beauty, and finely preserved (Jacob Ruysdael. B. 1635, D. 1681)|A Landscape of a grand sentiment. Representing a road winding round a field of corn, at the end of which is a Dutch boor; a sportsman with his gun, followed by two dogs, enrich this picture, which is touched with great beauty, and finely preserved]] réalisée par Jacob Ruysdael. B. 1635, D. 1681, vendue par Woodburn. [11]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A beautiful Italian Sunrise, and Figures travelling. It appears the march of military: a solider in armour leads a white horse, and is followed by a peasant with a gun on his shoulder, who appears to have charge of various animals. In the back-ground follow a baggage-waggon, and other figures on horseback. The sun shines with peculiar heat against an ancient ruin, and tinging with its golden tone some aerial clouds, gradually changing to that brilliant blue which is so frequently seen in Italy. In perfect preservation. Dated 1652 (Karel du Jardin. B. 1635, D. 1678)|A beautiful Italian Sunrise, and Figures travelling. It appears the march of military: a solider in armour leads a white horse, and is followed by a peasant with a gun on his shoulder, who appears to have charge of various animals. In the back-ground follow a baggage-waggon, and other figures on horseback. The sun shines with peculiar heat against an ancient ruin, and tinging with its golden tone some aerial clouds, gradually changing to that brilliant blue which is so frequently seen in Italy. In perfect preservation. Dated 1652]] réalisée par Karel du Jardin. B. 1635, D. 1678, vendue par Woodburn. [12]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Woman Sitting Preparing a Repast. She is scraping a parsnip, and various articles for a repast are near her. The light comes in at a window, and diffuses an effect of chiaro scuro that is very agreeable and surprising. This is one of the most finished of this able scholar of Gerard Douw, and worthy to be classed with the works of that master (Van Tol)|A Woman Sitting Preparing a Repast. She is scraping a parsnip, and various articles for a repast are near her. The light comes in at a window, and diffuses an effect of chiaro scuro that is very agreeable and surprising. This is one of the most finished of this able scholar of Gerard Douw, and worthy to be classed with the works of that master]] réalisée par Van Tol, vendue par Woodburn. [13]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Dappled Grey Horse, most probably painted from nature for the owner. In the distance are some deer, the whole of which, and the sky, are kept in the quiet tone of colour, to give value and brilliancy to the horses. Also dated 1653. From the collection of Monsieur Lapeyriere (Paul Potter)|A Dappled Grey Horse, most probably painted from nature for the owner. In the distance are some deer, the whole of which, and the sky, are kept in the quiet tone of colour, to give value and brilliancy to the horses. Also dated 1653. From the collection of Monsieur Lapeyriere]] réalisée par Paul Potter, vendue par Woodburn. [14]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The celebrated Water-mill, formerly in the collection of the Prince of Hesse Cassel, and cited by Deschamps. On the fore-ground of this picture are various animals, cows, goats, sheep and lambs, and an ass; a shepherd boy sitting on the ground attends them; while the scene is enlivened by a little stream of water, which runs through a trough of wood to turn the wheel of a mill. A beautiful aired distance and charming clear sky show it to be mid-day. Dated 1653. The pictures by this surprising artist are so well known and so rare that they can be counted. He is one of the very few artists who has never varied in reputation and value. The wonderful finish of his works makes it indeed remarkable that so many of his pictures should be known. This was in the same collection as the famous one bought by the Emperor of Russia, and is probably one of his last works: he died early in 1654 (Paul Potter. B. 1625, D. 1654)|The celebrated Water-mill, formerly in the collection of the Prince of Hesse Cassel, and cited by Deschamps. On the fore-ground of this picture are various animals, cows, goats, sheep and lambs, and an ass; a shepherd boy sitting on the ground attends them; while the scene is enlivened by a little stream of water, which runs through a trough of wood to turn the wheel of a mill. A beautiful aired distance and charming clear sky show it to be mid-day. Dated 1653. The pictures by this surprising artist are so well known and so rare that they can be counted. He is one of the very few artists who has never varied in reputation and value. The wonderful finish of his works makes it indeed remarkable that so many of his pictures should be known. This was in the same collection as the famous one bought by the Emperor of Russia, and is probably one of his last works: he died early in 1654]] réalisée par Paul Potter. B. 1625, D. 1654, vendue par Woodburn. [15]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Storm Passing Away: a very singular effect. The heavy clouds are slowly moving off behind a bank of sand. On the fore-ground is some figures touched with great spirit and beauty. The effects of the storm of rain are visible in the freshness of the verdure and the tone of the earth. This picture may be termed, with justice, a true classic Dutch picture (N. Berghem. B. 1624, D. 1683)|A Storm Passing Away: a very singular effect. The heavy clouds are slowly moving off behind a bank of sand. On the fore-ground is some figures touched with great spirit and beauty. The effects of the storm of rain are visible in the freshness of the verdure and the tone of the earth. This picture may be termed, with justice, a true classic Dutch picture]] réalisée par N. Berghem. B. 1624, D. 1683, vendue par Woodburn. [16]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Halt of Travellers near a River. A profusion of figures and animals occupy one side of the picture, which is contrasted by a beautiful sand-band and river; a road winds over it, which passes a cottage and trees, and a sky of great effect above. This choice picture is very highly finished, and in perfect preservation; and contains near thirty figures (Phillip Wouvermans)|A Halt of Travellers near a River. A profusion of figures and animals occupy one side of the picture, which is contrasted by a beautiful sand-band and river; a road winds over it, which passes a cottage and trees, and a sky of great effect above. This choice picture is very highly finished, and in perfect preservation; and contains near thirty figures]] réalisée par Phillip Wouvermans, vendue par Woodburn. [17]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Family of Distinction Travelling. The cavalier helps a lady descend from the travelling vehicle, while the escort appears talking with the host of an auberge. The horses are feeding, and a man is cutting a slice of coarse bread for the horses, which appears to engage in the attention of one of the troopers who escort the party. On the fore-ground is a child playing with a kid; and a spaniel dog and some fowls enrich this part of the picture. Some beggars, and a distant country, with one of his beautiful skies, perfect this choice gem of the first quality. From the collection of Madame Hoggeur, Amsterdam (Philip Wouvermans)|A Family of Distinction Travelling. The cavalier helps a lady descend from the travelling vehicle, while the escort appears talking with the host of an auberge. The horses are feeding, and a man is cutting a slice of coarse bread for the horses, which appears to engage in the attention of one of the troopers who escort the party. On the fore-ground is a child playing with a kid; and a spaniel dog and some fowls enrich this part of the picture. Some beggars, and a distant country, with one of his beautiful skies, perfect this choice gem of the first quality. From the collection of Madame Hoggeur, Amsterdam]] réalisée par Philip Wouvermans, vendue par Woodburn. [18]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The Angel Departing from the Family of Tobit; a duplicate, with some variations, from the famous Louvre picture. This was engraved by A. Walker, when in the collection of Nathaniel Hone, Esq., and is cited in the Musée Français. It is very interesting, as containing portraits of Rembrandt and his family, and is in a grand tone of colour. This fine picture has been compared with that in the Louvre, and is allowed by the best judges in Paris to possess more truth and expression; and which opinion is also held by those English amateurs who have seen the two, which is highly satisfactory to Messrs. W., as it was once attempted to cast doubts on its authenticity by some of the interested dealers in Paris: probably national vanity blinded their judgment (Rembrandt Van Ryn. B. 1606, D. 1674)|The Angel Departing from the Family of Tobit; a duplicate, with some variations, from the famous Louvre picture. This was engraved by A. Walker, when in the collection of Nathaniel Hone, Esq., and is cited in the Musée Français. It is very interesting, as containing portraits of Rembrandt and his family, and is in a grand tone of colour. This fine picture has been compared with that in the Louvre, and is allowed by the best judges in Paris to possess more truth and expression; and which opinion is also held by those English amateurs who have seen the two, which is highly satisfactory to Messrs. W., as it was once attempted to cast doubts on its authenticity by some of the interested dealers in Paris: probably national vanity blinded their judgment]] réalisée par Rembrandt Van Ryn. B. 1606, D. 1674, vendue par Woodburn. [23]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A very clear and brilliant Landscape, representing a distant Country, with a River and a Bridge; in the fore-ground is a very richly-coloured Bank of Sand, with a foreshortened Road. This picture, which is in his best time, is enriched with figures by A. Van Velde (John Wynants. B. 1600, D. 1674)|A very clear and brilliant Landscape, representing a distant Country, with a River and a Bridge; in the fore-ground is a very richly-coloured Bank of Sand, with a foreshortened Road. This picture, which is in his best time, is enriched with figures by A. Van Velde]] réalisée par John Wynants. B. 1600, D. 1674, vendue par Woodburn. [24]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Old Woman, probably the Portrait of his Nurse; with a very strong effect of Candlelight. Possibly a first attempt, in the manner of the picture which he made an etching of, and which is now at Duncomb Park. On board (Sr. Peter Paul Rubens. B. 1577, D. 1640)|Old Woman, probably the Portrait of his Nurse; with a very strong effect of Candlelight. Possibly a first attempt, in the manner of the picture which he made an etching of, and which is now at Duncomb Park. On board]] réalisée par Sr. Peter Paul Rubens. B. 1577, D. 1640, vendue par Woodburn. [28]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Herodius with the Head of St. John: the Executioner holds it by the hair while she receives it from him in an elegant tazza. This painter ranks among the best disciples of Leonardo da Vinci, and his works are generally attributed to that great master. Very little is known of this school, which however produced several very great artists (Andrea Salai, or Saliano)|Herodius with the Head of St. John: the Executioner holds it by the hair while she receives it from him in an elegant tazza. This painter ranks among the best disciples of Leonardo da Vinci, and his works are generally attributed to that great master. Very little is known of this school, which however produced several very great artists]] réalisée par Andrea Salai, or Saliano, vendue par Woodburn. [35]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Portrait of a Man of Middle Age: three quarters, to the knees. One of his hands rests on a book, and he is adorned with a medal. It was called the Portrait of Vaseleus, a famous anatomist. It also much resembles the French poet Clement Marot. It is very beautifully finished and coloured, and a most capital specimen of this master, who very seldom painted portraits. Formerly in the Corsini Palace at Rome (Gio. Ant. Lucinio, called Pordonone. B. 1484, D. 1540)|Portrait of a Man of Middle Age: three quarters, to the knees. One of his hands rests on a book, and he is adorned with a medal. It was called the Portrait of Vaseleus, a famous anatomist. It also much resembles the French poet Clement Marot. It is very beautifully finished and coloured, and a most capital specimen of this master, who very seldom painted portraits. Formerly in the Corsini Palace at Rome]] réalisée par Gio. Ant. Lucinio, called Pordonone. B. 1484, D. 1540, vendue par Woodburn. [36]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Pair of matchless Specimens of this Chief of the Venetian School, representing The First and Last Acts of the History of the Strength of Sampson. The first is his tearing the lion, represented in a most rich and magnificent landscape of uncommon power of colour and effect. Nothing can exceed the tone of the distant mountains, and the truth of atmospheral air which reigns in this surprising effort of the pencil. The companion represents his pulling down the pillars which support the Philistines, and which causes his own death. This surprising picture is not inferior in point of poetical treatment to the other, and they may with great truth be esteemed as two of the most desirable pictures of this great man that exist in this country. They are perfectly preserved. From the Grimaldi Palace (Titian Vecelli da Cadore)|A Pair of matchless Specimens of this Chief of the Venetian School, representing The First and Last Acts of the History of the Strength of Sampson. The first is his tearing the lion, represented in a most rich and magnificent landscape of uncommon power of colour and effect. Nothing can exceed the tone of the distant mountains, and the truth of atmospheral air which reigns in this surprising effort of the pencil. The companion represents his pulling down the pillars which support the Philistines, and which causes his own death. This surprising picture is not inferior in point of poetical treatment to the other, and they may with great truth be esteemed as two of the most desirable pictures of this great man that exist in this country. They are perfectly preserved. From the Grimaldi Palace]] réalisée par Titian Vecelli da Cadore, vendue par Woodburn. [38]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Pair of matchless Specimens of this Chief of the Venetian School, representing The First and Last Acts of the History of the Strength of Sampson. The first is his tearing the lion, represented in a most rich and magnificent landscape of uncommon power of colour and effect. Nothing can exceed the tone of the distant mountains, and the truth of atmospheral air which reigns in this surprising effort of the pencil. The companion represents his pulling down the pillars which support the Philistines, and which causes his own death. This surprising picture is not inferior in point of poetical treatment to the other, and they may with great truth be esteemed as two of the most desirable pictures of this great man that exist in this country. They are perfectly preserved. From the Grimaldi Palace (Titian Vecelli da Cadore)|A Pair of matchless Specimens of this Chief of the Venetian School, representing The First and Last Acts of the History of the Strength of Sampson. The first is his tearing the lion, represented in a most rich and magnificent landscape of uncommon power of colour and effect. Nothing can exceed the tone of the distant mountains, and the truth of atmospheral air which reigns in this surprising effort of the pencil. The companion represents his pulling down the pillars which support the Philistines, and which causes his own death. This surprising picture is not inferior in point of poetical treatment to the other, and they may with great truth be esteemed as two of the most desirable pictures of this great man that exist in this country. They are perfectly preserved. From the Grimaldi Palace]] réalisée par Titian Vecelli da Cadore, vendue par Woodburn. [39]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The celebrated picture called The Triple Mask, being the portraits of Julius II., Cosmo de Medicis, and the Duke of Ferrari, of the very highest quality of pencil and colour. Beneath each head is the head of an animal, a wolf, a lion, and a dog, emblematical of craft, force and fidelity, and above are Latin inscriptions: it is of his best time. This curious and interesting picture was in the collection of Prince Lucien Buonaparte (Titian Vecelli da Cadore. B. 1477, D. 1576)|The celebrated picture called The Triple Mask, being the portraits of Julius II., Cosmo de Medicis, and the Duke of Ferrari, of the very highest quality of pencil and colour. Beneath each head is the head of an animal, a wolf, a lion, and a dog, emblematical of craft, force and fidelity, and above are Latin inscriptions: it is of his best time. This curious and interesting picture was in the collection of Prince Lucien Buonaparte]] réalisée par Titian Vecelli da Cadore. B. 1477, D. 1576, vendue par Woodburn. [41]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Physician Feeling the Pulse of a Lady, and at the same time pleading his own case; or, more probably, a Lover assuring his Mistress of his fidelity. The earnest expresssion of the cavalier is admirably contrasted to that of the lady, who shows a half attention and belief in his tale, mixed with an archness of character that is very striking. This beautiful picture was formerly in the collection of Murat, when King of Naples, and was then called Titian, but is more generally considered the work of Giorgione: it is of very high quality (Giorgione da Castel Franco B. 1474, D. 1511)|A Physician Feeling the Pulse of a Lady, and at the same time pleading his own case; or, more probably, a Lover assuring his Mistress of his fidelity. The earnest expresssion of the cavalier is admirably contrasted to that of the lady, who shows a half attention and belief in his tale, mixed with an archness of character that is very striking. This beautiful picture was formerly in the collection of Murat, when King of Naples, and was then called Titian, but is more generally considered the work of Giorgione: it is of very high quality]] réalisée par Giorgione da Castel Franco B. 1474, D. 1511, vendue par Woodburn. [42]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The celebrated Roman Charity, so often copied and studied by the artists of Rome; in his strong powerful manner, and admirably drawn. Formerly in the Borghese Palace, and one of the first selected from that splendid collection in 1798. 38 1/4 inches by 30. Of this picture there are more copies than any other of his works; several exist in Rome, as it was a great favourite of the artists when in the Borghese collection, and hung in the first stanza. This and the others from this Palace were selected by Messrs. Cammucini and Day for the Commissary of the French Army, from whom they were purchased by Messrs. W. They are at the this time well known and regretted in Rome (Guercino da Cento. B. 1590, D. 1666)|The celebrated Roman Charity, so often copied and studied by the artists of Rome; in his strong powerful manner, and admirably drawn. Formerly in the Borghese Palace, and one of the first selected from that splendid collection in 1798. 38 1/4 inches by 30. Of this picture there are more copies than any other of his works; several exist in Rome, as it was a great favourite of the artists when in the Borghese collection, and hung in the first stanza. This and the others from this Palace were selected by Messrs. Cammucini and Day for the Commissary of the French Army, from whom they were purchased by Messrs. W. They are at the this time well known and regretted in Rome]] réalisée par Guercino da Cento. B. 1590, D. 1666, vendue par Woodburn. [43]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Study for the Head of St. Jerome, in his Capo d'opera, the communion of that Saint, evidently from the life, and of the very finest quality. Nothing can exceed the truth and energy of this most interesting model. From the collection of Prince Lucien Buonaparte (Dominichino Zampieri. B. 1581, D. 1641)|Study for the Head of St. Jerome, in his Capo d'opera, the communion of that Saint, evidently from the life, and of the very finest quality. Nothing can exceed the truth and energy of this most interesting model. From the collection of Prince Lucien Buonaparte]] réalisée par Dominichino Zampieri. B. 1581, D. 1641, vendue par Woodburn. [46]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[St. John Baptizing our Lord in the River Jordan, in a very beautiful Landscape. A composition of ten figures, in the high finished manner of this agreeable painter, and in perfect preservation. From the collection of Professor Rossini, at Pisa (Francesco Albano)|St. John Baptizing our Lord in the River Jordan, in a very beautiful Landscape. A composition of ten figures, in the high finished manner of this agreeable painter, and in perfect preservation. From the collection of Professor Rossini, at Pisa]] réalisée par Francesco Albano, vendue par Woodburn. [47]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Venus Attired by the Graces: a very beautiful composition in a Landscape. The same group of figures he has introduced in his large circular pictures in Paris, and in the royal collection at Turin; this, however, is much clearer in colour than either of the duplicates. From the collection of the Prince Corsini, at Rome (Francesco Albano)|Venus Attired by the Graces: a very beautiful composition in a Landscape. The same group of figures he has introduced in his large circular pictures in Paris, and in the royal collection at Turin; this, however, is much clearer in colour than either of the duplicates. From the collection of the Prince Corsini, at Rome]] réalisée par Francesco Albano, vendue par Woodburn. [48]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The Marriage of St. Joseph and the Virgin. A most splendid and capital gallery picture, consisting of thirteen figures, besides the glory of Cherubs. The figures are the size of life, and composed and drawn in the best manner; in perfect preservation, and presumed to be the most capital work of this great master in the kingdom. From the Dominican Monastery at Forli. 13 feet 1 inch by 11 feet 4. The most capital and gallery pictures by the great Italian school are seldom to be met with pure, and when opportunity offers should always be secured. The above capital picture for a national gallery or large collection would be a valuable addition, being composed and coloured with great beauty (Francesco Albano. B. 1578, D. 1666)|The Marriage of St. Joseph and the Virgin. A most splendid and capital gallery picture, consisting of thirteen figures, besides the glory of Cherubs. The figures are the size of life, and composed and drawn in the best manner; in perfect preservation, and presumed to be the most capital work of this great master in the kingdom. From the Dominican Monastery at Forli. 13 feet 1 inch by 11 feet 4. The most capital and gallery pictures by the great Italian school are seldom to be met with pure, and when opportunity offers should always be secured. The above capital picture for a national gallery or large collection would be a valuable addition, being composed and coloured with great beauty]] réalisée par Francesco Albano. B. 1578, D. 1666, vendue par Woodburn. [49]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Apollo and Marsyas: a most exquisite jewel, of the very finest quality, remarkably clear and brilliant in colour, and in surprising preservation. The companion is in the collection of a nobleman of very refined taste in this country, and they were ever considered as two of the most choice cabinet specimens known by this master. Formerly in the collection of Mons. Baisonvalle, Colonel of the Swiss Guarde de Corps of Louis XVI. (Guido Reni, B. 1574, D. 1642)|Apollo and Marsyas: a most exquisite jewel, of the very finest quality, remarkably clear and brilliant in colour, and in surprising preservation. The companion is in the collection of a nobleman of very refined taste in this country, and they were ever considered as two of the most choice cabinet specimens known by this master. Formerly in the collection of Mons. Baisonvalle, Colonel of the Swiss Guarde de Corps of Louis XVI.]] réalisée par Guido Reni, B. 1574, D. 1642, vendue par Woodburn. [51]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Pair of very charming specimens of this eminent painter, of the commencement of the Bolognese school, representing The Vision of St. Francis, and The Baptism of our Saviour in the River Jordan, with very richly coloured landscapes. This master, who enjoyed the highest reputation, and who was the correspondent of Raffaelle respecting the celebrated St. Cecilia of that great artist, very seldom painted in small. From the collection of Signor Grossi, at Rome (Francesco Raibolini, called F. Francia. B. 1450, D.)|A Pair of very charming specimens of this eminent painter, of the commencement of the Bolognese school, representing The Vision of St. Francis, and The Baptism of our Saviour in the River Jordan, with very richly coloured landscapes. This master, who enjoyed the highest reputation, and who was the correspondent of Raffaelle respecting the celebrated St. Cecilia of that great artist, very seldom painted in small. From the collection of Signor Grossi, at Rome]] réalisée par Francesco Raibolini, called F. Francia. B. 1450, D., vendue par Woodburn. [52]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Pair of very charming specimens of this eminent painter, of the commencement of the Bolognese school, representing The Vision of St. Francis, and The Baptism of our Saviour in the River Jordan, with very richly coloured landscapes. This master, who enjoyed the highest reputation, and who was the correspondent of Raffaelle respecting the celebrated St. Cecilia of that great artist, very seldom painted in small. From the collection of Signor Grossi, at Rome (Francesco Raibolini, called F. Francia. B. 1450, D.)|A Pair of very charming specimens of this eminent painter, of the commencement of the Bolognese school, representing The Vision of St. Francis, and The Baptism of our Saviour in the River Jordan, with very richly coloured landscapes. This master, who enjoyed the highest reputation, and who was the correspondent of Raffaelle respecting the celebrated St. Cecilia of that great artist, very seldom painted in small. From the collection of Signor Grossi, at Rome]] réalisée par Francesco Raibolini, called F. Francia. B. 1450, D., vendue par Woodburn. [53]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Pair of Friezes, representing Sea Monsters sporting in the Water: drawn and coloured with great elegance and beauty. Formerly in the collection of the Duke of Parma, whose seal is on the back of each picture; and latterly from the royal collection of Capo di Monti, at Naples (Francesco Parmiggiano. B. 1504, D. 1540)|A Pair of Friezes, representing Sea Monsters sporting in the Water: drawn and coloured with great elegance and beauty. Formerly in the collection of the Duke of Parma, whose seal is on the back of each picture; and latterly from the royal collection of Capo di Monti, at Naples]] réalisée par Francesco Parmiggiano. B. 1504, D. 1540, vendue par Woodburn. [54]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Pair of Friezes, representing Sea Monsters sporting in the Water: drawn and coloured with great elegance and beauty. Formerly in the collection of the Duke of Parma, whose seal is on the back of each picture; and latterly from the royal collection of Capo di Monti, at Naples (Francesco Parmiggiano. B. 1504, D. 1540)|A Pair of Friezes, representing Sea Monsters sporting in the Water: drawn and coloured with great elegance and beauty. Formerly in the collection of the Duke of Parma, whose seal is on the back of each picture; and latterly from the royal collection of Capo di Monti, at Naples]] réalisée par Francesco Parmiggiano. B. 1504, D. 1540, vendue par Woodburn. [55]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Holy Family in a Room: Joseph is at work as a Carpenter. A very beautiful small picture of this master, who was the best scholar of F. Barroccio, and is extremely rare: engraved the same size by Sadlaer. From the collection of Count Piccolomin Bellanti, at Sienna. On canvass (Francesco Vanni. B. 1563, D. 1609)|A Holy Family in a Room: Joseph is at work as a Carpenter. A very beautiful small picture of this master, who was the best scholar of F. Barroccio, and is extremely rare: engraved the same size by Sadlaer. From the collection of Count Piccolomin Bellanti, at Sienna. On canvass]] réalisée par Francesco Vanni. B. 1563, D. 1609, vendue par Woodburn. [56]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Holy Family of Seven Figures, St. George, St. Catharine, &c., in a Landscape. A very perfect and rich coloured picture of this rare master, who united the elegance of the Parma school with the colour of the Venitian. From the collection of Signor Tambroni, at Rome (Ippolito Scarsella, called Scarcellino da Ferrari. B. 1560, D. 1621)|A Holy Family of Seven Figures, St. George, St. Catharine, &c., in a Landscape. A very perfect and rich coloured picture of this rare master, who united the elegance of the Parma school with the colour of the Venitian. From the collection of Signor Tambroni, at Rome]] réalisée par Ippolito Scarsella, called Scarcellino da Ferrari. B. 1560, D. 1621, vendue par Woodburn. [57]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A most interesting Landscape, probably a view near Urbino, representing a Mountainous Country, and a Mill worked by a Winding River, in the high finished and rich coloured manner of this divine artist, and probably intended as a model for the back-ground of some of his large works. As a singular and rare work of art, its value is excessive. As no similar specimen has been hitherto discovered, it may with great propriety be deemed unique. From the collection of Prince Borghese, at Rome (Raffaelle Sanzio d'Urbino)|A most interesting Landscape, probably a view near Urbino, representing a Mountainous Country, and a Mill worked by a Winding River, in the high finished and rich coloured manner of this divine artist, and probably intended as a model for the back-ground of some of his large works. As a singular and rare work of art, its value is excessive. As no similar specimen has been hitherto discovered, it may with great propriety be deemed unique. From the collection of Prince Borghese, at Rome]] réalisée par Raffaelle Sanzio d'Urbino, vendue par Woodburn. [58]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Portrait of a Man in a Black Cap and Drapery. He holds in his hand a letter, in which many words are legible, and which writing resembles much the hand of Raffaelle. The words Carissiomo Jacobo, and speaking of wishing to lessen some new obligation to him, seem to imply that it is a picture which Raffaelle painted for some friend, probably Jacobo Sansivino, the architect. The letter is dated 1513, when Raffaelle was thirty years of age; and it is of very high quality. The great rarity and value of genuine works of this great man are too well known to be insisted upon here. The expression and truth of the head, and the beauty and natural position of the hands, are surprising, and render this portrait one of the greatest ornaments of this very choice assemblage (Raffaelle Sanzio d'Urbino)|Portrait of a Man in a Black Cap and Drapery. He holds in his hand a letter, in which many words are legible, and which writing resembles much the hand of Raffaelle. The words Carissiomo Jacobo, and speaking of wishing to lessen some new obligation to him, seem to imply that it is a picture which Raffaelle painted for some friend, probably Jacobo Sansivino, the architect. The letter is dated 1513, when Raffaelle was thirty years of age; and it is of very high quality. The great rarity and value of genuine works of this great man are too well known to be insisted upon here. The expression and truth of the head, and the beauty and natural position of the hands, are surprising, and render this portrait one of the greatest ornaments of this very choice assemblage]] réalisée par Raffaelle Sanzio d'Urbino, vendue par Woodburn. [59]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The same subject The Circumcision: a beautifully composed and richly coloured picture, in the manner of Raffaelle, whose style he very often attempted with great success. Formerly in the collection of the Earl of Ossory (Benvenuto Garafolo. B. 1481, D. 1559)|The same subject The Circumcision: a beautifully composed and richly coloured picture, in the manner of Raffaelle, whose style he very often attempted with great success. Formerly in the collection of the Earl of Ossory]] réalisée par Benvenuto Garafolo. B. 1481, D. 1559, vendue par Woodburn. [61]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The Circumcision: a most surprising highly finished specimen of this master. Many of the heads, though very minute, are of surprising character and expression. From the collection of Marshal Brune; and was purchased at Avignon after his death (Ludovico Mazzolino da Ferrari)|The Circumcision: a most surprising highly finished specimen of this master. Many of the heads, though very minute, are of surprising character and expression. From the collection of Marshal Brune; and was purchased at Avignon after his death]] réalisée par Ludovico Mazzolino da Ferrari, vendue par Woodburn. [62]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Our Saviour brought before Pilate: a rich composition of above fifty figures. This picture is not entirely finished, and is very interesting, as showing the method of painting of this celebrated painter, whose works are deservedly very highly esteemed in Italy. From the villa of Prince Borghese, at Frescati, near Rome. On board (Ludovico Mazzolino da Ferrari. B. 1481, D. 1553)|Our Saviour brought before Pilate: a rich composition of above fifty figures. This picture is not entirely finished, and is very interesting, as showing the method of painting of this celebrated painter, whose works are deservedly very highly esteemed in Italy. From the villa of Prince Borghese, at Frescati, near Rome. On board]] réalisée par Ludovico Mazzolino da Ferrari. B. 1481, D. 1553, vendue par Woodburn. [63]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Head of a Monk, holding a Volume containing the Scripture. This small specimen is of his best time, and not so dry in style as some of his works. From the collection of Professor Rossini, at Pisa. On board (Peter Vannucci, called P. Perugino. B. 1466, D. 1524)|Head of a Monk, holding a Volume containing the Scripture. This small specimen is of his best time, and not so dry in style as some of his works. From the collection of Professor Rossini, at Pisa. On board]] réalisée par Peter Vannucci, called P. Perugino. B. 1466, D. 1524, vendue par Woodburn. [64]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Holy Family, in a Landscape, from a Drawing by Raphael. The infant Saviour and St. John are regarding each other, while the Virgin and St. Elizabeth look on with attention and devotion. A duplicate, with variations in the back-ground, of this very charming composition, is in the Louvre, and attributed to Raphael, but is probably the work of Julio Romano, having the strong shadows and rich colour of that artist. This also was always called Raphael's, but it unquestionably is painted by P. del Vaga, whose works are extremely rare in this country. From the collection of the Prince Durazzo, at Genoa. On board (P. Buonacorsi, called Pierino del Vaga. B. 1500, D. 1547)|Holy Family, in a Landscape, from a Drawing by Raphael. The infant Saviour and St. John are regarding each other, while the Virgin and St. Elizabeth look on with attention and devotion. A duplicate, with variations in the back-ground, of this very charming composition, is in the Louvre, and attributed to Raphael, but is probably the work of Julio Romano, having the strong shadows and rich colour of that artist. This also was always called Raphael's, but it unquestionably is painted by P. del Vaga, whose works are extremely rare in this country. From the collection of the Prince Durazzo, at Genoa. On board]] réalisée par P. Buonacorsi, called Pierino del Vaga. B. 1500, D. 1547, vendue par Woodburn. [67]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Our Lord driving the Money-Changers out of the Temple: a very rich and noble composition of above twenty figures. Various interesting studies for this picture are among the splendid collection of drawings by Michael Angelo, in the collection of the President of the Royal Academy; but no duplicate picture is known, which renders this very valuable. From the Borghese Palace, Stanza 4th, No. 67, on board. The above described pictures are in the most perfect condition; they appear to have been executed under the direction of Michael Angelo, who in this sublime style stands unrivalled. Vasari, in his life of M. Venusti, speaks particularly of those executed for the Borghese family, and these remained in that Palace till 1798, when they formed part of the very first choice from that splendid collection (Michael Angelo Buonaroti)|Our Lord driving the Money-Changers out of the Temple: a very rich and noble composition of above twenty figures. Various interesting studies for this picture are among the splendid collection of drawings by Michael Angelo, in the collection of the President of the Royal Academy; but no duplicate picture is known, which renders this very valuable. From the Borghese Palace, Stanza 4th, No. 67, on board. The above described pictures are in the most perfect condition; they appear to have been executed under the direction of Michael Angelo, who in this sublime style stands unrivalled. Vasari, in his life of M. Venusti, speaks particularly of those executed for the Borghese family, and these remained in that Palace till 1798, when they formed part of the very first choice from that splendid collection]] réalisée par Michael Angelo Buonaroti, vendue par Woodburn. [69]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The Annunciation, also drawn by Michael Angelo, and coloured by M. Venusti: very interesting, as no other of this subject is known, except a celebrated altar-piece in Rome. This valuable picture was also in the Borghese Palace, and is described in the Catalogue, Stanza del Trono, No. 25, on board The above described pictures are in the most perfect condition; they appear to have been executed under the direction of Michael Angelo, who in this sublime style stands unrivalled. Vasari, in his life of M. Venusti, speaks particularly of those executed for the Borghese family, and these remained in that Palace till 1798, when they formed part of the very first choice from that splendid collection (Michael Angelo Buonaroti)|The Annunciation, also drawn by Michael Angelo, and coloured by M. Venusti: very interesting, as no other of this subject is known, except a celebrated altar-piece in Rome. This valuable picture was also in the Borghese Palace, and is described in the Catalogue, Stanza del Trono, No. 25, on board The above described pictures are in the most perfect condition; they appear to have been executed under the direction of Michael Angelo, who in this sublime style stands unrivalled. Vasari, in his life of M. Venusti, speaks particularly of those executed for the Borghese family, and these remained in that Palace till 1798, when they formed part of the very first choice from that splendid collection]] réalisée par Michael Angelo Buonaroti, vendue par Woodburn. [70]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Holy Family, with our Saviour asleep. This well known composition, of which several duplicates and copies exist, and which is engraved by Julio Bonasone, is drawn on the board by M. Angelo, and coloured by Marcello Venusti, as appears by the writing on the back of the picture. It formerly adorned the Borghese collection at Rome, and is described in the Catalogue as being placed in Stanza 4th, No. 51 The above described pictures are in the most perfect condition; they appear to have been executed under the direction of Michael Angelo, who in this sublime style stands unrivalled. Vasari, in his life of M. Venusti, speaks particularly of those executed for the Borghese family, and these remained in that Palace till 1798, when they formed part of the very first choice from that splendid collection (Michael Angelo Buonaroti, B. 1474, D. 1564)|Holy Family, with our Saviour asleep. This well known composition, of which several duplicates and copies exist, and which is engraved by Julio Bonasone, is drawn on the board by M. Angelo, and coloured by Marcello Venusti, as appears by the writing on the back of the picture. It formerly adorned the Borghese collection at Rome, and is described in the Catalogue as being placed in Stanza 4th, No. 51 The above described pictures are in the most perfect condition; they appear to have been executed under the direction of Michael Angelo, who in this sublime style stands unrivalled. Vasari, in his life of M. Venusti, speaks particularly of those executed for the Borghese family, and these remained in that Palace till 1798, when they formed part of the very first choice from that splendid collection]] réalisée par Michael Angelo Buonaroti, B. 1474, D. 1564, vendue par Woodburn. [71]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Study of a Female Head, probably for the last mentioned Holy Family; the position more reclined downwards; in brown and white; the face only finished. This very valuable and interesting study is exactly similar in the method of treatment to the celebrated unfinished picture of this great master, of the Adoration, at Florence, in the collection of the Grand Duke. It would appear that Rubens learned his method of brown and white sketches from seeing the works of this artist, whose style he studied with attention. This little jewel is also from the collection of the Grand Duke, and was obtained when the French army was master of that city (Leonardo da Vinci)|Study of a Female Head, probably for the last mentioned Holy Family; the position more reclined downwards; in brown and white; the face only finished. This very valuable and interesting study is exactly similar in the method of treatment to the celebrated unfinished picture of this great master, of the Adoration, at Florence, in the collection of the Grand Duke. It would appear that Rubens learned his method of brown and white sketches from seeing the works of this artist, whose style he studied with attention. This little jewel is also from the collection of the Grand Duke, and was obtained when the French army was master of that city]] réalisée par Leonardo da Vinci, vendue par Woodburn. [72]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[A Holy Family, consisting of the Virgin, our Saviour, St. John, and two old Men, in Adoration: a most beautiful and rich coloured picture. The infantine expression in our Saviour of superiority over the St. John is treated with profound judgment: he regards our Saviour with a mixture of reverence and awe that is inimitable. The Virgin, and the two figures behind, are evidently portraits. The shepherd with the crook is Artus, of which head studies exist at Milan, and are noticed by Richardson in his work on painting. Various copies and duplicates exist of this superb painting: there is one at Cambridge, one in the Museum at Milan, and one of high repute in the Palace of the Hermitage at Petersburg, which cost the Court of Russia an immense sum. Those, however, who have seen the two, give the preference to this; and it may, with great truth, be considered one of the most important pictures in the kingdom. It was probably executed before he left Florence and settled in Milan, as it wants the grand gusto which the Supper and his after works have: but for sweetness of execution, expression, and, above all, for preservation, it almost stands alone, and is a collection of itself (Leonardo da Vinci. B. 1445, D. 1520)|A Holy Family, consisting of the Virgin, our Saviour, St. John, and two old Men, in Adoration: a most beautiful and rich coloured picture. The infantine expression in our Saviour of superiority over the St. John is treated with profound judgment: he regards our Saviour with a mixture of reverence and awe that is inimitable. The Virgin, and the two figures behind, are evidently portraits. The shepherd with the crook is Artus, of which head studies exist at Milan, and are noticed by Richardson in his work on painting. Various copies and duplicates exist of this superb painting: there is one at Cambridge, one in the Museum at Milan, and one of high repute in the Palace of the Hermitage at Petersburg, which cost the Court of Russia an immense sum. Those, however, who have seen the two, give the preference to this; and it may, with great truth, be considered one of the most important pictures in the kingdom. It was probably executed before he left Florence and settled in Milan, as it wants the grand gusto which the Supper and his after works have: but for sweetness of execution, expression, and, above all, for preservation, it almost stands alone, and is a collection of itself]] réalisée par Leonardo da Vinci. B. 1445, D. 1520, vendue par Woodburn. [73]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[The same Subject, Adoration of the Kings, probably intended by the artist as a rival performance. Also in a circle of 51 1/2 inches. The early pictures of every great school possess great beauties, and are very interesting to the inquisitive and true amateur. Although they are defective in many of the qualities of those who succeeded them, yet they have interest of sufficient value to allow them a place in the first cabinets. The above pair of pictures are probably the finest in this kingdom, and came from the Guicciardini Palace at Florence (Sandro Botticelli. B. 1437, D. 1515)|The same Subject, Adoration of the Kings, probably intended by the artist as a rival performance. Also in a circle of 51 1/2 inches. The early pictures of every great school possess great beauties, and are very interesting to the inquisitive and true amateur. Although they are defective in many of the qualities of those who succeeded them, yet they have interest of sufficient value to allow them a place in the first cabinets. The above pair of pictures are probably the finest in this kingdom, and came from the Guicciardini Palace at Florence]] réalisée par Sandro Botticelli. B. 1437, D. 1515, vendue par Woodburn. [74]
  • 1826.03.25/ maison de ventes : Woodburn. Vente de l'œuvre décrite comme [[Adoration of the Kings, a very rich composition of many figures, and in perfect preservation. On board, in a circle of 53 1/4 inches. The above pair of pictures are probably the finest in this kingdom, and came from the Guicciardini Palace at Florence (Fra. Giovanna da Fiesole. B. 1391, D. 1460)|Adoration of the Kings, a very rich composition of many figures, and in perfect preservation. On board, in a circle of 53 1/4 inches. The above pair of pictures are probably the finest in this kingdom, and came from the Guicciardini Palace at Florence]] réalisée par Fra. Giovanna da Fiesole. B. 1391, D. 1460, vendue par Woodburn. [75]
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