Ventes d'œuvres le 1827.03.20

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  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Scene as Represented in the Fortunes of Nigel, by Frederigo Zucchero, the King's Painter. Frederigo Zucchero was brother to Taddeo Zucchero. After obtaining consederable fame in Italy, he came to England, where he painted the portrait of Queen Elizabeth, and was afterwards appointed painter to King James I. This extraordinary picture, which, independent of its pictorial merit, has been esteemed a great literary curiosity, represents most faithfully the meeting in Greenwich Park, between King James and Nigel Oliphaunt, as described in the fortunes of Nigel, showing that the author must have taken the anecdote from authenticated facts. In the centre of the picture, sits King James on horseback, very erect and stiffly. Between the King and Prince Charles, who is on the left of the picture, the Duke of Buckingham is represented riding a black horse, and pointing eagerly towards the culprit, Nigel Oliphaunt, who is standing on the right side of the Picture. He grasps with his right-hand a gun, a cross-bow, and looks angrily towards the King, who seems somewhat confused and alarmed. Behind Nigel, his servant is restraining two dogs which are barking fiercely; Nigel and his servant are both clothed in red, the livery of the Oliphaunt family, in which, to this day, the town-officers of Perth are clothed, there being an old charter, granting to the Oliphaunt family the privelege of dressing the public officers of Perth in their livery. The Duke of Buckingham is in all respects equal in magnificence of dress to the King or the Prince. The only difference that is marked between him and royalty, is that his head is uncovered. The King and the Prince wear their hats. In Lucy Aikin's Memoirs of the reign of King James, will be found a letter from Sir Thomas Howard to Lord J. Harrington, in which he recommends the latter to come to Court, mentioning that his Majesty had spoken favourably of him. He then proceeds to give him some advice, by which he is likely to find favour in the King's eyes. He tells him to wear a bushy ruff well starched; and after various other directions as to his dress, he concludes, "But, above all things, fail not to praise the roan jennet whereon the King doth daily ride." In this picture, King James is represented on the identical roan jennet. In the back ground of the picture, are seen two or three suspicious-looking figures, as if watching the success of some plot. These may have been put in by the painter to flatter the King by making it be supposed that he had actually escaped or successfully combated some serious plot. The King is attended by a numerous band of courtiers and attendants, all of whom seem moving forward to arrest the defaulter. The painting of this picture is extremely good, but the drawing is very Gothic, and there is no attempt at the keeping of perspective. The picture is very dark and obscure, which considerably adds to the interest of the scene. On Pannel (Frederigo Zucchero)|Scene as Represented in the Fortunes of Nigel, by Frederigo Zucchero, the King's Painter. Frederigo Zucchero was brother to Taddeo Zucchero. After obtaining consederable fame in Italy, he came to England, where he painted the portrait of Queen Elizabeth, and was afterwards appointed painter to King James I. This extraordinary picture, which, independent of its pictorial merit, has been esteemed a great literary curiosity, represents most faithfully the meeting in Greenwich Park, between King James and Nigel Oliphaunt, as described in the fortunes of Nigel, showing that the author must have taken the anecdote from authenticated facts. In the centre of the picture, sits King James on horseback, very erect and stiffly. Between the King and Prince Charles, who is on the left of the picture, the Duke of Buckingham is represented riding a black horse, and pointing eagerly towards the culprit, Nigel Oliphaunt, who is standing on the right side of the Picture. He grasps with his right-hand a gun, a cross-bow, and looks angrily towards the King, who seems somewhat confused and alarmed. Behind Nigel, his servant is restraining two dogs which are barking fiercely; Nigel and his servant are both clothed in red, the livery of the Oliphaunt family, in which, to this day, the town-officers of Perth are clothed, there being an old charter, granting to the Oliphaunt family the privelege of dressing the public officers of Perth in their livery. The Duke of Buckingham is in all respects equal in magnificence of dress to the King or the Prince. The only difference that is marked between him and royalty, is that his head is uncovered. The King and the Prince wear their hats. In Lucy Aikin's Memoirs of the reign of King James, will be found a letter from Sir Thomas Howard to Lord J. Harrington, in which he recommends the latter to come to Court, mentioning that his Majesty had spoken favourably of him. He then proceeds to give him some advice, by which he is likely to find favour in the King's eyes. He tells him to wear a bushy ruff well starched; and after various other directions as to his dress, he concludes, "But, above all things, fail not to praise the roan jennet whereon the King doth daily ride." In this picture, King James is represented on the identical roan jennet. In the back ground of the picture, are seen two or three suspicious-looking figures, as if watching the success of some plot. These may have been put in by the painter to flatter the King by making it be supposed that he had actually escaped or successfully combated some serious plot. The King is attended by a numerous band of courtiers and attendants, all of whom seem moving forward to arrest the defaulter. The painting of this picture is extremely good, but the drawing is very Gothic, and there is no attempt at the keeping of perspective. The picture is very dark and obscure, which considerably adds to the interest of the scene. On Pannel]] réalisée par Frederigo Zucchero au prix de 20 gs. [1]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Portrait of De Mallory the Engraver. Vandyke painted a set of Portraits in brown and white, of the most celebrated characters of his day, for the engraving of De Mallory. This is the Portrait of the Engraver himself -- it is accompanied with its engraving. Two of the set are in Hamilton Palace. On Pannel (Vandyke)|Portrait of De Mallory the Engraver. Vandyke painted a set of Portraits in brown and white, of the most celebrated characters of his day, for the engraving of De Mallory. This is the Portrait of the Engraver himself -- it is accompanied with its engraving. Two of the set are in Hamilton Palace. On Pannel]] réalisée par Vandyke. [5]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Philosopher in His Study. This picture is a specimen of Rembrandt's first manner of painting, when he finished his pictures highly. His early pictures in this style are very rare. They are always chaste in their colouring, and firmly painted, although they do not possess the extraordinary force of his latter and best pictures. On Pannel (Rembrandt)|Philosopher in His Study. This picture is a specimen of Rembrandt's first manner of painting, when he finished his pictures highly. His early pictures in this style are very rare. They are always chaste in their colouring, and firmly painted, although they do not possess the extraordinary force of his latter and best pictures. On Pannel]] réalisée par Rembrandt au prix de 20 gs. [6]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Night-Scene Masquerade. Roger the Bruges was the only Pupil of J. Van Eycke, the Inventor of Oil Colouring. This picture is engraved in the Third Number of the Le Brun Gallery, where it is spoke of as an interesting specimen of art; the works of Roger de Bruges being the connecting link between those of J. Van Eycke, and all the painters that succeeded. They are exquisitely coloured, and the drawing of the figures is quite faultless. On Pannel (Roger de Bruges)|Night-Scene Masquerade. Roger the Bruges was the only Pupil of J. Van Eycke, the Inventor of Oil Colouring. This picture is engraved in the Third Number of the Le Brun Gallery, where it is spoke of as an interesting specimen of art; the works of Roger de Bruges being the connecting link between those of J. Van Eycke, and all the painters that succeeded. They are exquisitely coloured, and the drawing of the figures is quite faultless. On Pannel]] réalisée par Roger de Bruges. [7]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Portrait of the Honourable Mr Vansittart. This and the three preceding pictures were purchased from a Gentleman in England who was personally acquainted with Sir Joshua, from whom he received these pictures. The two full length Portraits of the Duke of York and Lord Macarteney have been always esteemed most beautiful specimens of art, exhibiting, in a remarkable degree, the powerful execution and rich conception of Sir Joshua. The Portraits of the Faces are both fully made out, and that of the Duke of York, although painted when he was a young man, bore a powerful resemblance to him till his latest days. The Portrait of J. Bannister is rendered interesting, from the circumstance of he and Sir Joshua being great personal friends. The study of these pictures should be highly advantageous to Artists, especially Portrait-Painters (Sir Joshua Reynolds)|Portrait of the Honourable Mr Vansittart. This and the three preceding pictures were purchased from a Gentleman in England who was personally acquainted with Sir Joshua, from whom he received these pictures. The two full length Portraits of the Duke of York and Lord Macarteney have been always esteemed most beautiful specimens of art, exhibiting, in a remarkable degree, the powerful execution and rich conception of Sir Joshua. The Portraits of the Faces are both fully made out, and that of the Duke of York, although painted when he was a young man, bore a powerful resemblance to him till his latest days. The Portrait of J. Bannister is rendered interesting, from the circumstance of he and Sir Joshua being great personal friends. The study of these pictures should be highly advantageous to Artists, especially Portrait-Painters]] réalisée par Sir Joshua Reynolds. [9]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Full Length Sketch of His Royal Highness the Late Duke of York. On Canvas. This and the three preceding pictures were purchased from a Gentleman in England who was personally acquainted with Sir Joshua, from whom he received these pictures. The two full length Portraits of the Duke of York and Lord Macarteney have been always esteemed most beautiful specimens of art, exhibiting, in a remarkable degree, the powerful execution and rich conception of Sir Joshua. The Portraits of the Faces are both fully made out, and that of the Duke of York, although painted when he was a young man, bore a powerful resemblance to him till his latest days. The Portrait of J. Bannister is rendered interesting, from the circumstance of he and Sir Joshua being great personal friends. The study of these pictures should be highly advantageous to Artists, especially Portrait-Painters (Sir Joshua Reynolds)|Full Length Sketch of His Royal Highness the Late Duke of York. On Canvas. This and the three preceding pictures were purchased from a Gentleman in England who was personally acquainted with Sir Joshua, from whom he received these pictures. The two full length Portraits of the Duke of York and Lord Macarteney have been always esteemed most beautiful specimens of art, exhibiting, in a remarkable degree, the powerful execution and rich conception of Sir Joshua. The Portraits of the Faces are both fully made out, and that of the Duke of York, although painted when he was a young man, bore a powerful resemblance to him till his latest days. The Portrait of J. Bannister is rendered interesting, from the circumstance of he and Sir Joshua being great personal friends. The study of these pictures should be highly advantageous to Artists, especially Portrait-Painters]] réalisée par Sir Joshua Reynolds au prix de 14 gs. [10]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Full Length Sketch of the Late Lord Macarteney. This was the design of the last picture Sir Joshua ever painted. On Canvas. This and the three preceding pictures were purchased from a Gentleman in England who was personally acquainted with Sir Joshua, from whom he received these pictures. The two full length Portraits of the Duke of York and Lord Macarteney have been always esteemed most beautiful specimens of art, exhibiting, in a remarkable degree, the powerful execution and rich conception of Sir Joshua. The Portraits of the Faces are both fully made out, and that of the Duke of York, although painted when he was a young man, bore a powerful resemblance to him till his latest days. The Portrait of J. Bannister is rendered interesting, from the circumstance of he and Sir Joshua being great personal friends. The study of these pictures should be highly advantageous to Artists, especially Portrait-Painters (Sir Joshua Reynolds)|Full Length Sketch of the Late Lord Macarteney. This was the design of the last picture Sir Joshua ever painted. On Canvas. This and the three preceding pictures were purchased from a Gentleman in England who was personally acquainted with Sir Joshua, from whom he received these pictures. The two full length Portraits of the Duke of York and Lord Macarteney have been always esteemed most beautiful specimens of art, exhibiting, in a remarkable degree, the powerful execution and rich conception of Sir Joshua. The Portraits of the Faces are both fully made out, and that of the Duke of York, although painted when he was a young man, bore a powerful resemblance to him till his latest days. The Portrait of J. Bannister is rendered interesting, from the circumstance of he and Sir Joshua being great personal friends. The study of these pictures should be highly advantageous to Artists, especially Portrait-Painters]] réalisée par Sir Joshua Reynolds. [11]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Portrait of J. Bannister, the Singer. On Canvas. This and the three preceding pictures were purchased from a Gentleman in England who was personally acquainted with Sir Joshua, from whom he received these pictures. The two full length Portraits of the Duke of York and Lord Macarteney have been always esteemed most beautiful specimens of art, exhibiting, in a remarkable degree, the powerful execution and rich conception of Sir Joshua. The Portraits of the Faces are both fully made out, and that of the Duke of York, although painted when he was a young man, bore a powerful resemblance to him till his latest days. The Portrait of J. Bannister is rendered interesting, from the circumstance of he and Sir Joshua being great personal friends. The study of these pictures should be highly advantageous to Artists, especially Portrait-Painters (Sir Joshua Reynolds)|Portrait of J. Bannister, the Singer. On Canvas. This and the three preceding pictures were purchased from a Gentleman in England who was personally acquainted with Sir Joshua, from whom he received these pictures. The two full length Portraits of the Duke of York and Lord Macarteney have been always esteemed most beautiful specimens of art, exhibiting, in a remarkable degree, the powerful execution and rich conception of Sir Joshua. The Portraits of the Faces are both fully made out, and that of the Duke of York, although painted when he was a young man, bore a powerful resemblance to him till his latest days. The Portrait of J. Bannister is rendered interesting, from the circumstance of he and Sir Joshua being great personal friends. The study of these pictures should be highly advantageous to Artists, especially Portrait-Painters]] réalisée par Sir Joshua Reynolds au prix de 13 gs. [12]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Prison Picture -- A Land Storm. Tempesta was born at Haarlem in 1637. He first painted after the manner of Snyders. He travelled through Holland, studying the works of the best Flemish artists, and eventually settled at Rome, where he rose to great eminence in his profession, and was treated with the marked patronage and friendship of many of the wealthiest and most distinguished nobles in the state. He at length grew rich, and received the title of Cavaliere, with a chain of gold. Having spent several years at Rome, he went to Genoa, where the highest respect was paid to his talents. There he might have lived in the greatest affluence, had he not sunk into habits of the most vicious dissipation. At this time he conceived an ardent passion for a Genoese lady. This attachment he prosecuted with the utmost vigour, endeavouring by every means in his power to seduce her virtue. But finding all his attempts fruitless, he proposed marriage; it was, however, discovered in time, that he was already married, and that his wife was then living at Rome. Exasperated at this fresh disappointment, he determined to remove the only existing obstacle by the assassination of his wife. He speedily procured a person qualified to carry into effect his villainous purpose. This person he dispatched to his wife, giving him a letter addressed to her, containing the most warm expressions of his regard and affection, and requesting her to join him at Genoa. She being deeply attached to her husband, and having for some time past dreaded the alienation of his affections, from his long silence and neglect, was greatly elated and overjoyed at the welcome invitation, which she lost no time in complying with. On the road she was murdered by the assassin, who had been hired for the purpose. Notwithstanding the caution and secrecy with which it appeared Molyn had conducted the deed, it became suspected, and he was seized, convicted, and sentenced to be hanged. Many of the nobility, however, interfered in his behalf; and, on account of his great talents, his sentence was commuted to perpetual imprisonment. But when Louis XIV. bombarded Genoa, all the prisons were set open, and Tempesta seized that opportunity to escape to Placentia, after a confinement of sixteen years. Before Tempesta's imprisonment, the subjects he painted were entirely hunting-pieces, which were full of nature, and painted with great life and animation. After the murder of his wife, and his consequent imprisonment, the gloomy state of his mind induced him to change the nature of his compositions from the lively hunting-field, to the gloomy representations of tempests and land-storms; hence he was surnamed Tempesta. The pictures which Tempesta painted in prison are esteemed his best works, and pass in Italy by the name of his Prison Pictures, of which the one in the present collection is a very fine specimen. This picture is frequently supposed to be the work of Salvator Rosa. Were it not for the thinness of the leaves on the tree, it would be impossible to decide. On Canvas (Peter Molyn, called Cavaliere Tempesta)|Prison Picture -- A Land Storm. Tempesta was born at Haarlem in 1637. He first painted after the manner of Snyders. He travelled through Holland, studying the works of the best Flemish artists, and eventually settled at Rome, where he rose to great eminence in his profession, and was treated with the marked patronage and friendship of many of the wealthiest and most distinguished nobles in the state. He at length grew rich, and received the title of Cavaliere, with a chain of gold. Having spent several years at Rome, he went to Genoa, where the highest respect was paid to his talents. There he might have lived in the greatest affluence, had he not sunk into habits of the most vicious dissipation. At this time he conceived an ardent passion for a Genoese lady. This attachment he prosecuted with the utmost vigour, endeavouring by every means in his power to seduce her virtue. But finding all his attempts fruitless, he proposed marriage; it was, however, discovered in time, that he was already married, and that his wife was then living at Rome. Exasperated at this fresh disappointment, he determined to remove the only existing obstacle by the assassination of his wife. He speedily procured a person qualified to carry into effect his villainous purpose. This person he dispatched to his wife, giving him a letter addressed to her, containing the most warm expressions of his regard and affection, and requesting her to join him at Genoa. She being deeply attached to her husband, and having for some time past dreaded the alienation of his affections, from his long silence and neglect, was greatly elated and overjoyed at the welcome invitation, which she lost no time in complying with. On the road she was murdered by the assassin, who had been hired for the purpose. Notwithstanding the caution and secrecy with which it appeared Molyn had conducted the deed, it became suspected, and he was seized, convicted, and sentenced to be hanged. Many of the nobility, however, interfered in his behalf; and, on account of his great talents, his sentence was commuted to perpetual imprisonment. But when Louis XIV. bombarded Genoa, all the prisons were set open, and Tempesta seized that opportunity to escape to Placentia, after a confinement of sixteen years. Before Tempesta's imprisonment, the subjects he painted were entirely hunting-pieces, which were full of nature, and painted with great life and animation. After the murder of his wife, and his consequent imprisonment, the gloomy state of his mind induced him to change the nature of his compositions from the lively hunting-field, to the gloomy representations of tempests and land-storms; hence he was surnamed Tempesta. The pictures which Tempesta painted in prison are esteemed his best works, and pass in Italy by the name of his Prison Pictures, of which the one in the present collection is a very fine specimen. This picture is frequently supposed to be the work of Salvator Rosa. Were it not for the thinness of the leaves on the tree, it would be impossible to decide. On Canvas]] réalisée par Peter Molyn, called Cavaliere Tempesta au prix de 36 gs. [17]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Entombment of the Saviour Unfinished. It is one of the most beautiful and striking of all his compositions. There is a greater demand in London for the works of Rembrandt than any other artist. Last spring his etching of the Hundred Guilders sold in Mr Christie's Auction Rooms for the enormous sum of one hundred guineas. -- Also his Burgomaster. Six sold for the same sum. They were purchased by Mr Wilson, Solicitor. On Pannel (Rembrandt)|The Entombment of the Saviour Unfinished. It is one of the most beautiful and striking of all his compositions. There is a greater demand in London for the works of Rembrandt than any other artist. Last spring his etching of the Hundred Guilders sold in Mr Christie's Auction Rooms for the enormous sum of one hundred guineas. -- Also his Burgomaster. Six sold for the same sum. They were purchased by Mr Wilson, Solicitor. On Pannel]] réalisée par Rembrandt, achetée par C of S au prix de 43 gs. [19]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Magdalen. Francesco Furini was born at Florence in 1604. He painted the altarpieces of the church of St Lorenzo, near Florence. It is observed, that even his Madonnas have too voluptuous an air. His drawing was elegant, and he was said to have combined the beauty of Guido with the grace of Albano. -- There is a duplicate of this picture, differenly treated in the back-ground, in the Florentine Gallery. On Canvas (Francesco Furini)|Magdalen. Francesco Furini was born at Florence in 1604. He painted the altarpieces of the church of St Lorenzo, near Florence. It is observed, that even his Madonnas have too voluptuous an air. His drawing was elegant, and he was said to have combined the beauty of Guido with the grace of Albano. -- There is a duplicate of this picture, differenly treated in the back-ground, in the Florentine Gallery. On Canvas]] réalisée par Francesco Furini, achetée par J Stirling Esq of Keir au prix de 180 gs. [22]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Female Figure of Peace. The pictures of Domenico Feti are exceedingly scarce, in consequence of his very early death. He painted at Mantua, where he obtained the patronage of the Cardinal Gonzaga, who, on coming to the dukedom of that state, appointed him his principal painter. His pictures are remarkable for great force, combined with great mellowness of colouring. In Italy they are held in the highest estimation. Four of his best works are in the Palazzo Cassini. There are two in the Louvre, and one small picture in the gallery of the Marquis of Stafford. On Canvas (Domenico Feti)|Female Figure of Peace. The pictures of Domenico Feti are exceedingly scarce, in consequence of his very early death. He painted at Mantua, where he obtained the patronage of the Cardinal Gonzaga, who, on coming to the dukedom of that state, appointed him his principal painter. His pictures are remarkable for great force, combined with great mellowness of colouring. In Italy they are held in the highest estimation. Four of his best works are in the Palazzo Cassini. There are two in the Louvre, and one small picture in the gallery of the Marquis of Stafford. On Canvas]] réalisée par Domenico Feti au prix de 76 gs. [23]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Woman Taken in Adultery. There is a duplicate of this subject by Titian in the gallery of Lord Grosvenor. The figures of the Saviour and the woman (the two centre figures) are somewhat the same; the other figures on the picture are totally different. -- Lord Grosvenor paid for his picture about two years ago the sum of L. 4400. The present picture was bought by the late Mr Grant of Kilgraston, for the sum of L. 800, immediately after the war. It has been considered by several judges superior to Lord Grosvenor's. On the left of the picture, below the Saviour, is a portrait of Titian. The figure behind the Saviour is the Emperor Vitellius; and the two aged Jews in the centre of the picture are portraits of Calvin and Luther. On Canvas (Titian)|Woman Taken in Adultery. There is a duplicate of this subject by Titian in the gallery of Lord Grosvenor. The figures of the Saviour and the woman (the two centre figures) are somewhat the same; the other figures on the picture are totally different. -- Lord Grosvenor paid for his picture about two years ago the sum of L. 4400. The present picture was bought by the late Mr Grant of Kilgraston, for the sum of L. 800, immediately after the war. It has been considered by several judges superior to Lord Grosvenor's. On the left of the picture, below the Saviour, is a portrait of Titian. The figure behind the Saviour is the Emperor Vitellius; and the two aged Jews in the centre of the picture are portraits of Calvin and Luther. On Canvas]] réalisée par Titian au prix de 250 gs. [24]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Head of St John. This picture is in Guido's very best style, and is in perfect preservation. It was purchased in Italy by Gavin Hamilton, for the late Mr J. Drummond, Banker in London, and sold by the present Mr Drummond to Mr Geddes, artist, from whom the proprietor purchased it (Guido)|Head of St John. This picture is in Guido's very best style, and is in perfect preservation. It was purchased in Italy by Gavin Hamilton, for the late Mr J. Drummond, Banker in London, and sold by the present Mr Drummond to Mr Geddes, artist, from whom the proprietor purchased it]] réalisée par Guido au prix de 49 gs. [25]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Head of St Peter. Guiseppe Ribera, commonly called Spagnaletto, "the little Spaniard," was the master of the Neapolitan school. His works bring enormous prices, particularly in London. Some of his pictures are apt to be too black. They are, therefore, valued according to the proportion of light that is thrown over the figure. The head of St Peter in this collection is one of the most beautiful and perfect specimens of this great master. On Canvas. This picture and the five following, formed part of the collection of Murat King of Naples (Guiseppe Ribera)|Head of St Peter. Guiseppe Ribera, commonly called Spagnaletto, "the little Spaniard," was the master of the Neapolitan school. His works bring enormous prices, particularly in London. Some of his pictures are apt to be too black. They are, therefore, valued according to the proportion of light that is thrown over the figure. The head of St Peter in this collection is one of the most beautiful and perfect specimens of this great master. On Canvas. This picture and the five following, formed part of the collection of Murat King of Naples]] réalisée par Guiseppe Ribera au prix de 90 gs. [26]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Holy Family. This is a most beautiful specimen of this great master. He is so rare that his works are little known in Britain, and in Scotland only by hearsay. He was the son of a tailor at Florence, whence he obtained the name of Del Sarto. He chiefly studied Raphael, and could imitate him most successfully. In his pictures of the Virgin, he never attempted to give the face that beauty and dignity so peculiar to the pictures of Raphael, but rather endevoured to give them an intelligent and homely expression of countenance, suited as he thought to her station in life. It is a remarkable fact, that he never put a speck of light on the pupil of the eye. On Canvas. -- 4 feet by 3 feet. -- Engraved by Lizars. This picture and the five following, formed part of the collection of Murat King of Naples (Andrea del Sarto, or Andrea Venucchi)|Holy Family. This is a most beautiful specimen of this great master. He is so rare that his works are little known in Britain, and in Scotland only by hearsay. He was the son of a tailor at Florence, whence he obtained the name of Del Sarto. He chiefly studied Raphael, and could imitate him most successfully. In his pictures of the Virgin, he never attempted to give the face that beauty and dignity so peculiar to the pictures of Raphael, but rather endevoured to give them an intelligent and homely expression of countenance, suited as he thought to her station in life. It is a remarkable fact, that he never put a speck of light on the pupil of the eye. On Canvas. -- 4 feet by 3 feet. -- Engraved by Lizars. This picture and the five following, formed part of the collection of Murat King of Naples]] réalisée par Andrea del Sarto, or Andrea Venucchi au prix de 75 gs. [27]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Portrait of a Cardinal. This portrait by Titian, in his best manner, hung in one of the galleries of Florence since the time it was painted, until it came into the hands of Murat. It is well known in Italy, and there is a rare and beautiful engraving of it. This picture and the five following, formed part of the collection of Murat King of Naples (Titian)|Portrait of a Cardinal. This portrait by Titian, in his best manner, hung in one of the galleries of Florence since the time it was painted, until it came into the hands of Murat. It is well known in Italy, and there is a rare and beautiful engraving of it. This picture and the five following, formed part of the collection of Murat King of Naples]] réalisée par Titian au prix de 200 gs. [28]
  • 1827.03.20/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Venus and Adonis. This magnificent picture, which is well known in Italy, was one of the principal pictures of the celebrated collection of Murat, King of Naples. It has been twice engraved, once on a large scale. This picture is the most important specimen of the master in this country. His pictures on canvas with figures are extremely rare, and are also acknowledged to be infinitely superior on vigour of colouring and beauty of design to his cabinet pictures. -- Paolo Veronese composed his groups with more ease and freedom than any other painter of the Venetian school. This picture has been considered by the first judges as one of the most faultless specimens of his drawing and composition. It is in a most perfect state of preservation. A small cabinet picture of the same subject, forms part of the collection left by the late Sir J. Erskine to the town of Edinburgh. This picture and the five following, formed part of the collection of Murat King of Naples. On Canvas (Paolo Cagliari, called Paolo Veronese)|Venus and Adonis. This magnificent picture, which is well known in Italy, was one of the principal pictures of the celebrated collection of Murat, King of Naples. It has been twice engraved, once on a large scale. This picture is the most important specimen of the master in this country. His pictures on canvas with figures are extremely rare, and are also acknowledged to be infinitely superior on vigour of colouring and beauty of design to his cabinet pictures. -- Paolo Veronese composed his groups with more ease and freedom than any other painter of the Venetian school. This picture has been considered by the first judges as one of the most faultless specimens of his drawing and composition. It is in a most perfect state of preservation. A small cabinet picture of the same subject, forms part of the collection left by the late Sir J. Erskine to the town of Edinburgh. This picture and the five following, formed part of the collection of Murat King of Naples. On Canvas]] réalisée par Paolo Cagliari, called Paolo Veronese au prix de 270 gs. [31]
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