Ventes d'œuvres le 1829.05.25

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  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Grand Landscape, representing a solemn woody scene, with water beneath, in which are introduced the figures of Mercury and the Woodman. Salvator in this Landscape seems to have reached the summit of the sublime in landscape: the distance is enlivened by a view of his favourite scenery of the coast of Calabria. The picture is in the finest state of preservation (S. Rosa)|A Grand Landscape, representing a solemn woody scene, with water beneath, in which are introduced the figures of Mercury and the Woodman. Salvator in this Landscape seems to have reached the summit of the sublime in landscape: the distance is enlivened by a view of his favourite scenery of the coast of Calabria. The picture is in the finest state of preservation]] réalisée par S. Rosa, vendue par Ld Durham, achetée par Byng au prix de 1600.00 £. [133]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Sea View, Vessels, &c., the Sun rising in a mist; painted in the best time of the Master, and forming one of those beautiful and superior productions of his talent which are now so rarely to be met with; the effect of sun in this picture is really surprising (V. der Capella)|Sea View, Vessels, &c., the Sun rising in a mist; painted in the best time of the Master, and forming one of those beautiful and superior productions of his talent which are now so rarely to be met with; the effect of sun in this picture is really surprising]] réalisée par V. der Capella, vendue par Ld Durham, achetée par Ellis au prix de 120.0 £. [134]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Eliazar and Rebecca at the Well; the former is raising her bronze Vase for the Stranger to drink, for which purpose the latter is bending in a graceful attitude; Camels are reposing in the front-ground on the right; the buildings of the City occupy the distance (N. Poussin)|Eliazar and Rebecca at the Well; the former is raising her bronze Vase for the Stranger to drink, for which purpose the latter is bending in a graceful attitude; Camels are reposing in the front-ground on the right; the buildings of the City occupy the distance]] réalisée par N. Poussin, vendue par Earl of Liverpool, achetée par Gilmore au prix de 89.5 £. [140]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Grand Landscape, view of a Village near a Coast, opening in three distinct directions, to a Road with Carriages and Figures, to an inland Navigation, and to a Roadsted with Fishing Vessels; a mounted Cavalier, with a Falconer by his side, is crossing a Bridge to the front-ground. This picture was selected and purchased for the Earl of Liverpool by Capt. Baillie (A. Cuyp)|A Grand Landscape, view of a Village near a Coast, opening in three distinct directions, to a Road with Carriages and Figures, to an inland Navigation, and to a Roadsted with Fishing Vessels; a mounted Cavalier, with a Falconer by his side, is crossing a Bridge to the front-ground. This picture was selected and purchased for the Earl of Liverpool by Capt. Baillie]] réalisée par A. Cuyp, vendue par Earl of Liverpool, achetée par Eckford au prix de 215.5 £. [141]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Peasant driving cattle, and a Female supporting her aged Mother, who is mounted upon an Ass in the foreground, beneath a majestic group of Ruins, in a clear and brilliant Landscape; a very spirited and elegant specimen of the master; and painted in the most sweet, transparent tone (Berghem)|A Peasant driving cattle, and a Female supporting her aged Mother, who is mounted upon an Ass in the foreground, beneath a majestic group of Ruins, in a clear and brilliant Landscape; a very spirited and elegant specimen of the master; and painted in the most sweet, transparent tone]] réalisée par Berghem, vendue par Earl of Liverpool, achetée par Bass au prix de 180.12 £. [145]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The march of an Army ascending a rising ground in the distance, after crossing a River; a group of General Officers is seen in the front, where a Sutler has stopped his Cart to refresh some wearied Female followers of the Army, and their Children -- a fine and richly coloured picture (P. Wouvermans)|The march of an Army ascending a rising ground in the distance, after crossing a River; a group of General Officers is seen in the front, where a Sutler has stopped his Cart to refresh some wearied Female followers of the Army, and their Children -- a fine and richly coloured picture]] réalisée par P. Wouvermans, vendue par Earl of Liverpool, achetée par Fuller au prix de 189.0 £. [147]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Allegory: -- Rome enthroned by Fame -- Victory holding the Roman Standards -- Scipio as the Thunderer approaches at the head of his Troops; Captives, and the Wolf suckling Romulus and Remus, are on the ground at the foot of the Throne: the Companion Sketch (Rubens)|An Allegory: -- Rome enthroned by Fame -- Victory holding the Roman Standards -- Scipio as the Thunderer approaches at the head of his Troops; Captives, and the Wolf suckling Romulus and Remus, are on the ground at the foot of the Throne: the Companion Sketch]] réalisée par Rubens, vendue par Earl of Liverpool, achetée par Smith au prix de 105.0 £. [148]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape, with noble buildings upon an eminence on the right, where are introduced Christ and his Disciples at supper as at Emmaus, -- Shepherds are driving Goats and a flock of Sheep on the high ground in front, -- the centre opens to a level vale; a hill with ruins and wood rises on the left. The figure are by Carracci (companion to lot 40) (P. Brill)|A Landscape, with noble buildings upon an eminence on the right, where are introduced Christ and his Disciples at supper as at Emmaus, -- Shepherds are driving Goats and a flock of Sheep on the high ground in front, -- the centre opens to a level vale; a hill with ruins and wood rises on the left. The figure are by Carracci (companion to lot 40)]] réalisée par P. Brill, vendue par Earl of Liverpool, achetée par Eckford au prix de 6.6 £. [170]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A pair -- A Pilgrim in conversation with Peasants, who have just finished their repast in the open air -- a female with her Children and a dog in the front ground -- a River in the distance; and Exterior of a Farm House, with Italian Peasants taking refreshment, the companion (Locatelli)|A pair -- A Pilgrim in conversation with Peasants, who have just finished their repast in the open air -- a female with her Children and a dog in the front ground -- a River in the distance; and Exterior of a Farm House, with Italian Peasants taking refreshment, the companion]] réalisée par Locatelli, vendue par Earl of Liverpool, achetée par Eckford au prix de 12.15 £. [197]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Sea-Port, bounded by romantic scenery, with powerful and rich effect of an Evening Sun darting across the surface of the water, and Figures on a beach in the front-ground. This chef-d'oeuvre was originally in the collection of the Duc de Brissac, before the French revolution (Claude)|A Sea-Port, bounded by romantic scenery, with powerful and rich effect of an Evening Sun darting across the surface of the water, and Figures on a beach in the front-ground. This chef-d'oeuvre was originally in the collection of the Duc de Brissac, before the French revolution]] réalisée par Claude, vendue par Corby au prix de 420.00 £. [217]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Boys and Grapes. It were difficult, perhaps, to name another instance similar to that which relates to this, and the subject of the preceding lot; these exhibiting the Alpha and Omega of that graphic art, by which this great painter so manifestly contributed to enlighten the age, and raised so conspicuous a monument to his own fame (Benjamin West)|Boys and Grapes. It were difficult, perhaps, to name another instance similar to that which relates to this, and the subject of the preceding lot; these exhibiting the Alpha and Omega of that graphic art, by which this great painter so manifestly contributed to enlighten the age, and raised so conspicuous a monument to his own fame]] réalisée par Benjamin West, vendue par Benjamin West, achetée par H Shearman Strand. [219]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The first picture painted by the venerable founder of this gallery when in his childhood. Precocity of genius is said to be more rarely instanced in the art of painting, than in any other elegant art, or learned science. It might puzzle philosophy to account for this, or to discover why the art itself is the last that has ever attained to eminence, amongst even the most highly civilized nations? (Benjamin West)|The first picture painted by the venerable founder of this gallery when in his childhood. Precocity of genius is said to be more rarely instanced in the art of painting, than in any other elegant art, or learned science. It might puzzle philosophy to account for this, or to discover why the art itself is the last that has ever attained to eminence, amongst even the most highly civilized nations?]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [220]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Chryseis restored to her father. Chryses, the priest of Apollo, was the father of Chryseis, who was the wife of Eetion, sovereign of Lyrnessus. This place was beseiged and taken, its spoils divided among the conquerors, and Chryseis fell to the share of Aggamemnon. The afflicted father went to the Grecian camp to solicit his daughter's restoration. His prayers were fruitless; and he implored the aid of Apollo, who visited the conquerors with a plague, and obliged them to restore the beautiful captive. The picture, or rather masterly sketch, described the sacrifice preparing to the god, and at the moment, the empassioned meeting of the father and his beloved child (Benjamin West)|Chryseis restored to her father. Chryses, the priest of Apollo, was the father of Chryseis, who was the wife of Eetion, sovereign of Lyrnessus. This place was beseiged and taken, its spoils divided among the conquerors, and Chryseis fell to the share of Aggamemnon. The afflicted father went to the Grecian camp to solicit his daughter's restoration. His prayers were fruitless; and he implored the aid of Apollo, who visited the conquerors with a plague, and obliged them to restore the beautiful captive. The picture, or rather masterly sketch, described the sacrifice preparing to the god, and at the moment, the empassioned meeting of the father and his beloved child]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Dunlap [or] Dunlop]]. [222]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Antiochus and Stratonice. That perspicuity of style which obtained for the painter, amongst the cognoscenti, such distinguished approbation early in life, and which constituted one of the chief attributes of his mental power, throughout his long professional career, is eminently displayed in this composition. Expression is said to be the soul of art; which this attribute too, the mind that formed this gallery was richly imbued, for, in looking around, every passion and every emotion that can be embodied in the vast scope of facial expression, in all their varieties, are to be traced in the varied compositions that adorn this gallery. The emphatic force with which the story of Antiochus and Stratonice is thus graphically related, alone would justify this praise. Antiochus, afterwards King of Syria, was the son of Seleucus. He fell into a lingering disease, which appeared to defy the skill of his father's physicians. At length it was discovered that his pulse became invariably more irregular, when Stratonice, his step - mother, entered his apartment, and that love for her was the entire cause of his complaint. The discovery of this unhappy passion was communicated to the father, who to save the life of his son, bestowed upon him the object of his affection (Benjamin West)|Antiochus and Stratonice. That perspicuity of style which obtained for the painter, amongst the cognoscenti, such distinguished approbation early in life, and which constituted one of the chief attributes of his mental power, throughout his long professional career, is eminently displayed in this composition. Expression is said to be the soul of art; which this attribute too, the mind that formed this gallery was richly imbued, for, in looking around, every passion and every emotion that can be embodied in the vast scope of facial expression, in all their varieties, are to be traced in the varied compositions that adorn this gallery. The emphatic force with which the story of Antiochus and Stratonice is thus graphically related, alone would justify this praise. Antiochus, afterwards King of Syria, was the son of Seleucus. He fell into a lingering disease, which appeared to defy the skill of his father's physicians. At length it was discovered that his pulse became invariably more irregular, when Stratonice, his step - mother, entered his apartment, and that love for her was the entire cause of his complaint. The discovery of this unhappy passion was communicated to the father, who to save the life of his son, bestowed upon him the object of his affection]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Hayes. [223]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[View near Hammersmith. Described with that topographical truth and freshness, which are so captivating in the works of the Dutch school. The localities of the scene indeed, are so identified with the view, that nothing is omitted that could add to its picturesqueness. The sentiment of the stillness of a fine summer evening, reposing on the tranquil bosom of the "silver Thames," is enforced with the felicity of nature (Benjamin West)|View near Hammersmith. Described with that topographical truth and freshness, which are so captivating in the works of the Dutch school. The localities of the scene indeed, are so identified with the view, that nothing is omitted that could add to its picturesqueness. The sentiment of the stillness of a fine summer evening, reposing on the tranquil bosom of the "silver Thames," is enforced with the felicity of nature]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [224]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Fishing Party. Painted con amore by the Artist, to perpetuate one of those happy scenes of early days, the memory of which help old age, musing in the chimney nook, pending the March winds, to shake off an occasional hour of his tedium vitae. The scene represents a still water near Daggenham Reach, a famed site for the rod, with a party collected for a day's sport, by the late Sir Hugh Palliser, Governor General of Greenwich Hospital. The Artist, who was an intimate friend of the Admiral, and like himself, skilled in the rod, used to recreate in the summer season at his apartments, and meet some of the renowned anglers of the last century. On one of those visits the sketch for this picture was made, in which is introduced the portrait of the governor and the painter, with others whose identity now elude research (Benjamin West)|Fishing Party. Painted con amore by the Artist, to perpetuate one of those happy scenes of early days, the memory of which help old age, musing in the chimney nook, pending the March winds, to shake off an occasional hour of his tedium vitae. The scene represents a still water near Daggenham Reach, a famed site for the rod, with a party collected for a day's sport, by the late Sir Hugh Palliser, Governor General of Greenwich Hospital. The Artist, who was an intimate friend of the Admiral, and like himself, skilled in the rod, used to recreate in the summer season at his apartments, and meet some of the renowned anglers of the last century. On one of those visits the sketch for this picture was made, in which is introduced the portrait of the governor and the painter, with others whose identity now elude research]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Smith. [225]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[General Johnson saving a wounded French Officer from the tomahawk of a North American Indian. It were generally acceptable to good taste, if veritable facts like this were more frequently selected as subjects for the pencil. Examples thus emphatically recorded of individual acts as generous heroism, would stimulate others to do the same, and tend to great moral good, by lessening the too common, but most afflicting calamities of war. In the old American war, in the days of General Wolfe, the intrepid General Johnson, in the midst of a skirmishing party, saw one of his confederate Indians about to kill a French officer, and according to their savage mode of warfare, by way of trophy, to take his scalp. The General flew to the rescue of the victim, and admonished the Indian thus. "If you want a trophy, go to the woods and collect scalps from the brave who have fallen in the fight." (Benjamin West)|General Johnson saving a wounded French Officer from the tomahawk of a North American Indian. It were generally acceptable to good taste, if veritable facts like this were more frequently selected as subjects for the pencil. Examples thus emphatically recorded of individual acts as generous heroism, would stimulate others to do the same, and tend to great moral good, by lessening the too common, but most afflicting calamities of war. In the old American war, in the days of General Wolfe, the intrepid General Johnson, in the midst of a skirmishing party, saw one of his confederate Indians about to kill a French officer, and according to their savage mode of warfare, by way of trophy, to take his scalp. The General flew to the rescue of the victim, and admonished the Indian thus. "If you want a trophy, go to the woods and collect scalps from the brave who have fallen in the fight."]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Cooper Red Lion Inn Bolton. [229]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[View on the Susquehannah. Interesting as a veritable delineation of a scene in that remote region where nature exhibits her original works untouched by the meddling hand of man: where the waters, in wanton sport, scatter their white spray in the ozzy fronts of peeping rocks and stones, old as the creation; and where the forests, rooted in antideluvian beds, harbour the echoes of three thousand years. This interesting American scene, so truly characteristic of the uncleared regions of the banks of the Susquehannah, is painted with a free and tasteful pencil. The principal figure in the diminutive group, is a whole length portrait of an esteemed friend of the painter, the late Dr. Bragge, placed on this congenial site, in playful compliment to his celebrity, as one of the cognos of the old Cottonian school of fly - fishing (Benjamin West)|View on the Susquehannah. Interesting as a veritable delineation of a scene in that remote region where nature exhibits her original works untouched by the meddling hand of man: where the waters, in wanton sport, scatter their white spray in the ozzy fronts of peeping rocks and stones, old as the creation; and where the forests, rooted in antideluvian beds, harbour the echoes of three thousand years. This interesting American scene, so truly characteristic of the uncleared regions of the banks of the Susquehannah, is painted with a free and tasteful pencil. The principal figure in the diminutive group, is a whole length portrait of an esteemed friend of the painter, the late Dr. Bragge, placed on this congenial site, in playful compliment to his celebrity, as one of the cognos of the old Cottonian school of fly - fishing]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Ward. [230]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Ascension. Painted by command of His late Majesty, for his intended chapel in Windsor Castle. For this large picture no space could be afforded in the Gallery: it will not therefore be exhibited until the opening of the third day of the sale. No painter ever more sensibly felt, or more highly extolled, the genius of the great masters than West; and the unqualified admiration which he uniformly professed for their works, and in his lectures, were spontaneous overflowings of a mind capable of emulating their renown. The language in which he has apostrophised others in many instances, may, without the appearance of adultion, be applied to himself; for now, he too is enrolled in the catalogue of the illustrious dead. When living, he was the victim of unprovoked and unmerited satire; but already due honour has been accorded to his injured memory by the greatest painter of the age. Sir Thomas Lawrence nobly apostrophised the genius of his venerable predecessor in his luminous and very elegant address delivered ex cathedra, to the students of the Royal Academy, 1825. And all Europe, and his country, have admitted his just pretensions to lasting fame. That singleness of sentiment in general effect, which West so emphatically pressed upon the observance of the disciples of the school over which he presided, may be studied to advantage in this most splendid and vigorous production of his pencil. This grand and imposing composition in the last of the series painted by the express command of our venerated late Sovereign, whose munificent patronage, dignified support, and princely condescension, enabled the painter to accomplish so much of his task with that felicity which obtained for him the approbation of his Royal Patron, and that share of fame and applause wich has been accorded him by the world (Benjamin West)|The Ascension. Painted by command of His late Majesty, for his intended chapel in Windsor Castle. For this large picture no space could be afforded in the Gallery: it will not therefore be exhibited until the opening of the third day of the sale. No painter ever more sensibly felt, or more highly extolled, the genius of the great masters than West; and the unqualified admiration which he uniformly professed for their works, and in his lectures, were spontaneous overflowings of a mind capable of emulating their renown. The language in which he has apostrophised others in many instances, may, without the appearance of adultion, be applied to himself; for now, he too is enrolled in the catalogue of the illustrious dead. When living, he was the victim of unprovoked and unmerited satire; but already due honour has been accorded to his injured memory by the greatest painter of the age. Sir Thomas Lawrence nobly apostrophised the genius of his venerable predecessor in his luminous and very elegant address delivered ex cathedra, to the students of the Royal Academy, 1825. And all Europe, and his country, have admitted his just pretensions to lasting fame. That singleness of sentiment in general effect, which West so emphatically pressed upon the observance of the disciples of the school over which he presided, may be studied to advantage in this most splendid and vigorous production of his pencil. This grand and imposing composition in the last of the series painted by the express command of our venerated late Sovereign, whose munificent patronage, dignified support, and princely condescension, enabled the painter to accomplish so much of his task with that felicity which obtained for him the approbation of his Royal Patron, and that share of fame and applause wich has been accorded him by the world]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [231]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Overthrow of Pharaoh and his Host. Conceived in the same spirit, and executed with the same mastery as the surrounding compositions of this class. The effective spendour of the Angel stretching his arms over the protected of Heaven, is a pictorial trait, as impressive as it is original, and cannot fail to excite the admiration of the intelligent in art (Benjamin West)|Overthrow of Pharaoh and his Host. Conceived in the same spirit, and executed with the same mastery as the surrounding compositions of this class. The effective spendour of the Angel stretching his arms over the protected of Heaven, is a pictorial trait, as impressive as it is original, and cannot fail to excite the admiration of the intelligent in art]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Blamire. [232]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Raising the Shunamite's Son. Feelingly expressive of the very affecting story, as related in the page of Holy Writ. And when Elisha was come into the house, behold the child was dead, and laid upon his bed. He went in therefore, and shut the door upon them twain, and prayed unto the Lord. The fervour of devotion is powerfully expressed in the whole contour of the holy prophet, and the personification of the recovering youth is a trait of pictorial feeling, ably wrought and finely conceived (Benjamin West)|Raising the Shunamite's Son. Feelingly expressive of the very affecting story, as related in the page of Holy Writ. And when Elisha was come into the house, behold the child was dead, and laid upon his bed. He went in therefore, and shut the door upon them twain, and prayed unto the Lord. The fervour of devotion is powerfully expressed in the whole contour of the holy prophet, and the personification of the recovering youth is a trait of pictorial feeling, ably wrought and finely conceived]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Erskine. [233]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Waters subsiding after the Deluge. A composition so fraught with the awful and sublime, as to convey the imagination, as it were to the point from whence to view the world in desolation. Here nature, in silent gloom, seems to mourn the disappearance of the beautiful creature man, whose godlike visaged sons and daughters, now no more, had so laterly, in bright multitudes, gladdened the earth. The group of ghastly death, thus exposed by the subsiding of the waters, expresses more than words can paint. It is a picture of the deepest pathos of which the art is capable. The foregoing four subjects were painted by command of his late Majesty, for the same number of compartments in the proposed chapel in Windsor Castle (Benjamin West)|The Waters subsiding after the Deluge. A composition so fraught with the awful and sublime, as to convey the imagination, as it were to the point from whence to view the world in desolation. Here nature, in silent gloom, seems to mourn the disappearance of the beautiful creature man, whose godlike visaged sons and daughters, now no more, had so laterly, in bright multitudes, gladdened the earth. The group of ghastly death, thus exposed by the subsiding of the waters, expresses more than words can paint. It is a picture of the deepest pathos of which the art is capable. The foregoing four subjects were painted by command of his late Majesty, for the same number of compartments in the proposed chapel in Windsor Castle]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Henry Sandby. [234]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Abraham going to Sacrifice, representing with the master's accustomed originality of thinking, a point of time, that afforded this affecting scene, wherein the Father of the faithful, proceeding to the altar, unshaken in his holy purpose, is about to execute the awful command of God! (Benjamin West)|Abraham going to Sacrifice, representing with the master's accustomed originality of thinking, a point of time, that afforded this affecting scene, wherein the Father of the faithful, proceeding to the altar, unshaken in his holy purpose, is about to execute the awful command of God!]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Morgan. [236]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Ophelia before the King -- Hamlet. Powerfully as the actor enforces the spirit of the author, and awakens the sympathies, or excites the passions of the audience; yet the vastness of the stage, and the consequent incapacities for rendering the scene, such as the imagination forms it in the closet, leaves the personification incomplete. The painter, however, treating the subject in his imitative art, can supply these deficiencies, and render this scene with all its fitting accessories. Thus, pictorial composition carried the imagination to the very spot, where the proportions, the corresponding light and shadow, the colour and costume, unite to perfect the drama. It is not possible to paint language: neither can painting represent more than a moment of time; but the interest that this creative art can excite, by bringing a scene with all its pathos, thus at once before the eye, compels the mind to acknowledge the magic of its powers. In expression, this composition is grand. Ophelia's madness touches the heart, and the mixed expression of horror and guilt, manifest on the visage of the king, and the same emotions, with a tincture on that of the queen, are marked with a potency, which could only result from the original perceptions of a mind thus capable of illustrating Shakspeare. It may be worthy observing, that the improvements of the stage, touching costume and scenic effect, under the management of Garrick, originated with his esteemed friend West, who first pressed upon his attention the propriety of abolishing those anachronisms which are endured sixty years ago, and which were so offensive to good taste, and detrimental to stage effect (Benjamin West)|Ophelia before the King -- Hamlet. Powerfully as the actor enforces the spirit of the author, and awakens the sympathies, or excites the passions of the audience; yet the vastness of the stage, and the consequent incapacities for rendering the scene, such as the imagination forms it in the closet, leaves the personification incomplete. The painter, however, treating the subject in his imitative art, can supply these deficiencies, and render this scene with all its fitting accessories. Thus, pictorial composition carried the imagination to the very spot, where the proportions, the corresponding light and shadow, the colour and costume, unite to perfect the drama. It is not possible to paint language: neither can painting represent more than a moment of time; but the interest that this creative art can excite, by bringing a scene with all its pathos, thus at once before the eye, compels the mind to acknowledge the magic of its powers. In expression, this composition is grand. Ophelia's madness touches the heart, and the mixed expression of horror and guilt, manifest on the visage of the king, and the same emotions, with a tincture on that of the queen, are marked with a potency, which could only result from the original perceptions of a mind thus capable of illustrating Shakspeare. It may be worthy observing, that the improvements of the stage, touching costume and scenic effect, under the management of Garrick, originated with his esteemed friend West, who first pressed upon his attention the propriety of abolishing those anachronisms which are endured sixty years ago, and which were so offensive to good taste, and detrimental to stage effect]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Smith. [237]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Birth of Jacob and Esau. That licence which is claimed by the dramatic poet is equally accorded to the painter, who in dramatising from a given theme, is not expected to cast his scene to the very letter of the text. The scriptural account of the birth of the twin brothers, though so very circumstantially rendered, does not furnish this description. The painter, however, like the poet, by the exertion of his imaginative faculty, brings the scene present to his mind, and supplies such circumstances as would naturally occur to enrich his pictorial drama. The composition thus conceived, represents the new born infants in the arms of the female attendants, wrapt in that ecstacy of fond delight, which the gentle sex can only feel, at the coming into life of a new and helpless being; when their holiest symphathies are excited -- the moment of peril being past! Creations of the imagination like these, whether personified by the pencil or the pen, sensibly touch the female breast, and awaken the best emotions in the heart of man! (Benjamin West)|Birth of Jacob and Esau. That licence which is claimed by the dramatic poet is equally accorded to the painter, who in dramatising from a given theme, is not expected to cast his scene to the very letter of the text. The scriptural account of the birth of the twin brothers, though so very circumstantially rendered, does not furnish this description. The painter, however, like the poet, by the exertion of his imaginative faculty, brings the scene present to his mind, and supplies such circumstances as would naturally occur to enrich his pictorial drama. The composition thus conceived, represents the new born infants in the arms of the female attendants, wrapt in that ecstacy of fond delight, which the gentle sex can only feel, at the coming into life of a new and helpless being; when their holiest symphathies are excited -- the moment of peril being past! Creations of the imagination like these, whether personified by the pencil or the pen, sensibly touch the female breast, and awaken the best emotions in the heart of man!]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Armstrong. [240]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[View of Windsor Castle from the Great Park. A rich and glowing landscape, represented under that deep - toned, mysterious effect of atmosphere which is so inspiring to the picturesque genius of poetry and painting, and so peculiar to the climate. The multitudinous groups of red deer, combining with the foreground, distribute a rich display of warm colouring, scientifically effective, in opposition to the vast extent of the receding blue depths of distant country, in which the Castle appears mantled in poetic grandeur (Benjamin West)|View of Windsor Castle from the Great Park. A rich and glowing landscape, represented under that deep - toned, mysterious effect of atmosphere which is so inspiring to the picturesque genius of poetry and painting, and so peculiar to the climate. The multitudinous groups of red deer, combining with the foreground, distribute a rich display of warm colouring, scientifically effective, in opposition to the vast extent of the receding blue depths of distant country, in which the Castle appears mantled in poetic grandeur]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [241]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[A Design for a Monument for the late Lord Nelson. In this masterly thought, the Artist has exhibited a plan for a public monument, no less novel than imposing in contour and effect; as it is intended to perpetuate a great national event by a trophy, composed of the union of Architecture, Sculpture and Painting. The lower group of appropriate figures of colossal size, to be represented in sculptured marble, and the centre to contain a magnificent allegorical picture, the subject, the apotheosis of Nelson (Benjamin West)|A Design for a Monument for the late Lord Nelson. In this masterly thought, the Artist has exhibited a plan for a public monument, no less novel than imposing in contour and effect; as it is intended to perpetuate a great national event by a trophy, composed of the union of Architecture, Sculpture and Painting. The lower group of appropriate figures of colossal size, to be represented in sculptured marble, and the centre to contain a magnificent allegorical picture, the subject, the apotheosis of Nelson]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Gerard Junr. [242]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Venus relating to Adonis the story of Hippomenes and Atalanta. The choice of this subject, and the classic feeling with which it is thus pictured, display the capacities of the painter, as extended to the most elevated class of art. In tender pathos, the personification yields in sentiment to no picture of the ancient schools. Venus, with all her lovely wiles, is touching the fond heart of Adonis, by reciting the sad loves of Hippomenes and Atalanta -- how she cherished their amours -- how she promoted their marriage -- and the fatal catastrophe of the ardent lovers, who were transformed into lions by the prudish goddess Cybele! The colouring of this picture emulates the splendour and purity of the Venetian school (Benjamin West)|Venus relating to Adonis the story of Hippomenes and Atalanta. The choice of this subject, and the classic feeling with which it is thus pictured, display the capacities of the painter, as extended to the most elevated class of art. In tender pathos, the personification yields in sentiment to no picture of the ancient schools. Venus, with all her lovely wiles, is touching the fond heart of Adonis, by reciting the sad loves of Hippomenes and Atalanta -- how she cherished their amours -- how she promoted their marriage -- and the fatal catastrophe of the ardent lovers, who were transformed into lions by the prudish goddess Cybele! The colouring of this picture emulates the splendour and purity of the Venetian school]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [243]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[View in Windsor Great Park. The scene taken from below Snow - hill, one of the most picturesque prospects in this delightful region. In the middle ground are distributed his late Majesty's flocks and herds. In the foreground the painter has introduced the figure of himself, taking the sketch from which this picture is painted, together with portraits of his two saddle - horses, and his old and faithful servant, James Dyer, years since one of the living models at the Royal Academy, and subsequently, for half a century, the prototype for many of the finest human studies in the compositions which surround this gallery. When as a young man, he was a private in the royal horse -guards (Benjamin West)|View in Windsor Great Park. The scene taken from below Snow - hill, one of the most picturesque prospects in this delightful region. In the middle ground are distributed his late Majesty's flocks and herds. In the foreground the painter has introduced the figure of himself, taking the sketch from which this picture is painted, together with portraits of his two saddle - horses, and his old and faithful servant, James Dyer, years since one of the living models at the Royal Academy, and subsequently, for half a century, the prototype for many of the finest human studies in the compositions which surround this gallery. When as a young man, he was a private in the royal horse -guards]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Smith. [244]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Stolen Kiss. This sylvan picture represents an assemblage of those envied beings, who people the delightful territory of the poets, situate in Terra Incognita; in which lovers, before marriage, bespeak latticed cottages, and green sheep-walks. This Stolen Kiss, is one of those petty larcenies, which, tried in the Court of Love, would be ignored by Cupid, and Hymen would record an acquittal (Benjamin West)|The Stolen Kiss. This sylvan picture represents an assemblage of those envied beings, who people the delightful territory of the poets, situate in Terra Incognita; in which lovers, before marriage, bespeak latticed cottages, and green sheep-walks. This Stolen Kiss, is one of those petty larcenies, which, tried in the Court of Love, would be ignored by Cupid, and Hymen would record an acquittal]] réalisée par Benjamin West, vendue par Benjamin West, achetée par G Walker Limehouse. [245]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Expulsion of Adam and Eve from Paradise. This first scene of the most ancient tragedy of the world, has caused an hundred generations of man to weep. In this awful scene are depicted the first man and the first woman, who trembled at the displeasure of the offended God! Expelled from Paradise by the Angel, overwhelmed with mental agony, those beings, so recently innocent and happy, have suddenly open before them a wide world, the first step into which is terror, gloom, and sadness. Never was painted story more emphatically told. It is a masterpiece of the pathetic of the graphic art (Benjamin West)|Expulsion of Adam and Eve from Paradise. This first scene of the most ancient tragedy of the world, has caused an hundred generations of man to weep. In this awful scene are depicted the first man and the first woman, who trembled at the displeasure of the offended God! Expelled from Paradise by the Angel, overwhelmed with mental agony, those beings, so recently innocent and happy, have suddenly open before them a wide world, the first step into which is terror, gloom, and sadness. Never was painted story more emphatically told. It is a masterpiece of the pathetic of the graphic art]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Smith. [246]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Golden Age. One of those very interesting cabinet pictures, by which the painter acquired early celebrity, after returning from his studies in the classic regions of Italy. For breadth of effect, chaste design, and congenial contour, no production of the pencil can more perfectly assimilate itself with the poetic sentiment of the Goden Age. In the characteristics of the happy drama, all affects that dignified simplicity of the pastoral habits of society, coeval with the patriarchal days of Abraham. The three periods of life are herein introduced, infancy, puberty, and old age. The beauty and innocence of the sleeping babe, the maternal serenity of the author of its being, and the tranquillity of the aged parents, are so feelingly expressed, that the composition may be pronounced a most impressive illustration of human happiness (Benjamin West)|The Golden Age. One of those very interesting cabinet pictures, by which the painter acquired early celebrity, after returning from his studies in the classic regions of Italy. For breadth of effect, chaste design, and congenial contour, no production of the pencil can more perfectly assimilate itself with the poetic sentiment of the Goden Age. In the characteristics of the happy drama, all affects that dignified simplicity of the pastoral habits of society, coeval with the patriarchal days of Abraham. The three periods of life are herein introduced, infancy, puberty, and old age. The beauty and innocence of the sleeping babe, the maternal serenity of the author of its being, and the tranquillity of the aged parents, are so feelingly expressed, that the composition may be pronounced a most impressive illustration of human happiness]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [247]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Landscape -- Falling of Trees in Windsor Great Park. So familiar was the painter with the sylvan scenery of this delightful woodland region, that he might have answered an inquiring stranger in the words of Milton -- "Dingle and bushy dell, and every bosky bourne from side to side," I know of this great wood. Who that has a feeling for the picturesque, delighting in a solitary ramble amidst the woods, has not been awakened from his reveries by the rural sound of the echoing axe, wielded by some stout arm, laying the pride of the forest low? To such this picture is particularly addressed. There is a vastness of character in every department of this forest scene, which is painted with that energy which many may admire but which few can expect to accomplish; for such rare vigour of pencilling was the result of years of practice on works of almost gigantic magnitude (Benjamin West)|Landscape -- Falling of Trees in Windsor Great Park. So familiar was the painter with the sylvan scenery of this delightful woodland region, that he might have answered an inquiring stranger in the words of Milton -- "Dingle and bushy dell, and every bosky bourne from side to side," I know of this great wood. Who that has a feeling for the picturesque, delighting in a solitary ramble amidst the woods, has not been awakened from his reveries by the rural sound of the echoing axe, wielded by some stout arm, laying the pride of the forest low? To such this picture is particularly addressed. There is a vastness of character in every department of this forest scene, which is painted with that energy which many may admire but which few can expect to accomplish; for such rare vigour of pencilling was the result of years of practice on works of almost gigantic magnitude]] réalisée par Benjamin West, vendue par Benjamin West. [248]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Overthrow of Pharaoh and his Host. Painted by command of His late Majesty for his intended chapel in Windsor Castle. Exodus, chap. 14. Verse 26. And the Lord said unto Moses, Stretch out thine hand over the sea, that the waters may come again upon the Egyptians, upon their chariots, and upoon their horsemen. Verse 27. And Moses stretched forth his hand over the sea, and the sea returned to his strength when the morning appeared, and the Egyptians fled against it: and the Lord overthrew the Egyptians in the midst of the sea. verse 28. And the waters returned, and covered the chariots and the horsemen; and all the host of Pharaoh that came into the sea after them; there remained not so much as one of them. Comparable in all its pictorial attributes, as part of the great design for the projected chapel, this picture is strikingly efffective. The spirit diffused over the appalling scene is no less original than awfully grand. The angel, clad in white raiment, stretching his protecting hands over the Israelites, is perhaps one of the finest traits of the sublime upon graphic record. Sir Joshua Reynolds maintained the axiom, that the grandest and most imposing epic designs might be composed by the judicious grouping of at most, twelve figures. His dictum is supported by many noble works of the ancient schools. Reynolds indeed, in his birth of Hercules, and other epic pictures, happily illustrated his own hypothesis. That this can be accomplished only by a master mind, needs no other proof, than to look around amongst the prolific pourings out of the imagination of the painters for a century after the decline of the olden schools. In West, all Europe admitted the revival of the great style, and is works strikingly verify the axiom of his honoured friend, and great contemporary, Reynolds (Benjamin West)|The Overthrow of Pharaoh and his Host. Painted by command of His late Majesty for his intended chapel in Windsor Castle. Exodus, chap. 14. Verse 26. And the Lord said unto Moses, Stretch out thine hand over the sea, that the waters may come again upon the Egyptians, upon their chariots, and upoon their horsemen. Verse 27. And Moses stretched forth his hand over the sea, and the sea returned to his strength when the morning appeared, and the Egyptians fled against it: and the Lord overthrew the Egyptians in the midst of the sea. verse 28. And the waters returned, and covered the chariots and the horsemen; and all the host of Pharaoh that came into the sea after them; there remained not so much as one of them. Comparable in all its pictorial attributes, as part of the great design for the projected chapel, this picture is strikingly efffective. The spirit diffused over the appalling scene is no less original than awfully grand. The angel, clad in white raiment, stretching his protecting hands over the Israelites, is perhaps one of the finest traits of the sublime upon graphic record. Sir Joshua Reynolds maintained the axiom, that the grandest and most imposing epic designs might be composed by the judicious grouping of at most, twelve figures. His dictum is supported by many noble works of the ancient schools. Reynolds indeed, in his birth of Hercules, and other epic pictures, happily illustrated his own hypothesis. That this can be accomplished only by a master mind, needs no other proof, than to look around amongst the prolific pourings out of the imagination of the painters for a century after the decline of the olden schools. In West, all Europe admitted the revival of the great style, and is works strikingly verify the axiom of his honoured friend, and great contemporary, Reynolds]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [250]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The naming of John. Luke, chap i. Verse 60. And his mother answered and said Not so, but he shall be called John. 61. And they said unto her, there is none of thy kindred that is called by that name. 62. And they made signs to his father, how he would have him called. 63. And he asked for a writing table, and wrote, saying, John; and they marvelled all. 64. And his mouth was opened immediately, and his tongue loosed, and he spake and praised God. When certain dignitaries of the church endeavoured to direct Handel in the choice of passages from the Holy Scriptures for his sacred musical compositions, he replied "No, I can read my Bible for myself." His selections are grand and appropriate to his art. So West, in the choice of his subjects from the same divine source, held himself independent of control, from a laudable consciousness of his own competency to judge upon that which related to his own art: such independence is the natural result of great minds. The naming of John is a theme that demanded intellectual powers of no common order to embody; but the painter having chosen it, has thus identified it with the record in that emphatic style which enforces his thoughts, by a direct appeal to the judgment. This is one of a series of four historical pictures of the same dimensions, and may be classed among the finest of his epic compositions (Benjamin West)|The naming of John. Luke, chap i. Verse 60. And his mother answered and said Not so, but he shall be called John. 61. And they said unto her, there is none of thy kindred that is called by that name. 62. And they made signs to his father, how he would have him called. 63. And he asked for a writing table, and wrote, saying, John; and they marvelled all. 64. And his mouth was opened immediately, and his tongue loosed, and he spake and praised God. When certain dignitaries of the church endeavoured to direct Handel in the choice of passages from the Holy Scriptures for his sacred musical compositions, he replied "No, I can read my Bible for myself." His selections are grand and appropriate to his art. So West, in the choice of his subjects from the same divine source, held himself independent of control, from a laudable consciousness of his own competency to judge upon that which related to his own art: such independence is the natural result of great minds. The naming of John is a theme that demanded intellectual powers of no common order to embody; but the painter having chosen it, has thus identified it with the record in that emphatic style which enforces his thoughts, by a direct appeal to the judgment. This is one of a series of four historical pictures of the same dimensions, and may be classed among the finest of his epic compositions]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Armstrong. [252]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[View of Cranford Bridge. This very masterly painting will perpetuate the memory of a spot, over which the honoured King George the Third has passed a thousand times, in his way to and from the seat of government, and his quiet retreat at Windsor (Benjamin West)|View of Cranford Bridge. This very masterly painting will perpetuate the memory of a spot, over which the honoured King George the Third has passed a thousand times, in his way to and from the seat of government, and his quiet retreat at Windsor]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Ward. [253]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[A Landscape View from the Terrace at Windsor, looking over Datchet. Little as the most illustrious poets and painters have been regarded in their day, and rarely as they have caught a transient ray of courtly favour, yet, such is the power of genius, that it has bestowed immortality upon even things inanimate. Datchet, and the adjacent site of Hearn's old oak, that spread its hoary limbs in this home park, is pointed to as hallowed ground. Shakspeare has localised the scene with "Windsor's Merry Wives." How few of all the great and grand, who, surrounding the maiden queen, smiled as she smiled, at the dramatic exhibition of the playwrights "merrie conceite" of the fat knight, and Mrs. Ford, and Datched mead, though marshalled then in all the envied pride of courtly pomp, have escaped oblivion? whilst the poet's name is identified with immortality, like that of the planet Jupiter. This delightful peep over the dwarf wall of Windsor terrace, thus associates itself with Shakspeare (Benjamin West)|A Landscape View from the Terrace at Windsor, looking over Datchet. Little as the most illustrious poets and painters have been regarded in their day, and rarely as they have caught a transient ray of courtly favour, yet, such is the power of genius, that it has bestowed immortality upon even things inanimate. Datchet, and the adjacent site of Hearn's old oak, that spread its hoary limbs in this home park, is pointed to as hallowed ground. Shakspeare has localised the scene with "Windsor's Merry Wives." How few of all the great and grand, who, surrounding the maiden queen, smiled as she smiled, at the dramatic exhibition of the playwrights "merrie conceite" of the fat knight, and Mrs. Ford, and Datched mead, though marshalled then in all the envied pride of courtly pomp, have escaped oblivion? whilst the poet's name is identified with immortality, like that of the planet Jupiter. This delightful peep over the dwarf wall of Windsor terrace, thus associates itself with Shakspeare]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Ward 44 Bedford Sqr. [254]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Daniel interpreting the Writing on the Wall. Daniel, chap. v. Verse 17. Then Daniel answered and said before the king, Let thy gifts be to thyself, and give they rewards to another; yet I will read the writing unto the king, and make known to him the interpretation. Described in perspicuous language of the master, this picture, in its general character and effect, assimilates with the spirit of the record. It is an imposing subject, and would be seen to advantage in a spacious gallery (Benjamin West)|Daniel interpreting the Writing on the Wall. Daniel, chap. v. Verse 17. Then Daniel answered and said before the king, Let thy gifts be to thyself, and give they rewards to another; yet I will read the writing unto the king, and make known to him the interpretation. Described in perspicuous language of the master, this picture, in its general character and effect, assimilates with the spirit of the record. It is an imposing subject, and would be seen to advantage in a spacious gallery]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Sir M W Ridley. [255]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Sheep Washing. A happy illustration of one of the most cheerful scenes of the English pastoral. This subject has afforded a delightful theme for many poets, but few painters have ventured to represent it, considering it replete with pictorial difficulty. West admitted no impossibilities in his art, he saw the busy scene, felt its capabilities for a picture, and personified his feelings in this masterly piece (Benjamin West)|Sheep Washing. A happy illustration of one of the most cheerful scenes of the English pastoral. This subject has afforded a delightful theme for many poets, but few painters have ventured to represent it, considering it replete with pictorial difficulty. West admitted no impossibilities in his art, he saw the busy scene, felt its capabilities for a picture, and personified his feelings in this masterly piece]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Sir M W Ridley. [256]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Omnia Vincit Amor. Allegorically illustrative of the universal power ascribed to the deity, whose fiat transformed an ideot into a philosopher, and inspired a blacksmith with a genius for art. Who at once can quicken the indolent to ceaseless action, rouse the timid to dare death; and can subdue the stoutest heart to weeping effeminacy (Benjamin West)|Omnia Vincit Amor. Allegorically illustrative of the universal power ascribed to the deity, whose fiat transformed an ideot into a philosopher, and inspired a blacksmith with a genius for art. Who at once can quicken the indolent to ceaseless action, rouse the timid to dare death; and can subdue the stoutest heart to weeping effeminacy]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [257]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Three Maries going to the Sepulchre. Designed for the third compartment of the Great Window, and equally compatible with the whole. These finely painted compositions, with suitable architectural arrangements, would form a beautiful appropriate altar - piece for a small church or chapel (Benjamin West)|The Three Maries going to the Sepulchre. Designed for the third compartment of the Great Window, and equally compatible with the whole. These finely painted compositions, with suitable architectural arrangements, would form a beautiful appropriate altar - piece for a small church or chapel]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Egerton St James Square. [258]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Resurrection of Our Saviour. An awful, and most impressive composition, designed for the centre compartment of the Great Window. It is admitted by travellers, that the coup d'oeil of the choir of this highly enriched Gothic chapel, as viewed from the pointed arch of the screen beneath the organ loft, looking though the gorgeous vista of richly carved stalls, with tabernacled canopies, surmounted with the emblazoned standards and symbols of knighthood, terminating with the Altar - piece, and the painted glass Window, sixty feet in height, surpasses every similar spectacle in the world. How can it cease to be regretted, that an enlightened nation should have indulged a prejudice against the introduction of painting into churches, when the union of the Fine Arts, thus displayed, can excite that solemn and reverential awe, which is universllay felt by all -- the enlightened and unenlightened -- on entering this august temple, dedicated to the service of our holy religion? The pious sovereign, under whose munificent auspices these noble works have been completed, has never been suspected of superstition -- nor to have been wanting in orthodoxy, touching the pure spirit of devotion, as ordained by the Reformers of the Faith (Benjamin West)|The Resurrection of Our Saviour. An awful, and most impressive composition, designed for the centre compartment of the Great Window. It is admitted by travellers, that the coup d'oeil of the choir of this highly enriched Gothic chapel, as viewed from the pointed arch of the screen beneath the organ loft, looking though the gorgeous vista of richly carved stalls, with tabernacled canopies, surmounted with the emblazoned standards and symbols of knighthood, terminating with the Altar - piece, and the painted glass Window, sixty feet in height, surpasses every similar spectacle in the world. How can it cease to be regretted, that an enlightened nation should have indulged a prejudice against the introduction of painting into churches, when the union of the Fine Arts, thus displayed, can excite that solemn and reverential awe, which is universllay felt by all -- the enlightened and unenlightened -- on entering this august temple, dedicated to the service of our holy religion? The pious sovereign, under whose munificent auspices these noble works have been completed, has never been suspected of superstition -- nor to have been wanting in orthodoxy, touching the pure spirit of devotion, as ordained by the Reformers of the Faith]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [259]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Peter and John going from the Sepulchre. St. John, chap. xx. Verse 3. Peter therefore went forth and that other disciple, and came to the sepulchre. So they ran both together: and the other disciple did outrun Peter, and came first to the sepulchre. The orginal design for one of the side compartments of the magnificent stained glass Window, executed by command of His late Majesty, and set up at the east end of St. George's Chapel, at Windsor. The subject is told with an energy characteristic of the scriptural account, and with that pictorial skill, which corresponds with the general scheme for this fine display of transaprent painting (Benjamin West)|Peter and John going from the Sepulchre. St. John, chap. xx. Verse 3. Peter therefore went forth and that other disciple, and came to the sepulchre. So they ran both together: and the other disciple did outrun Peter, and came first to the sepulchre. The orginal design for one of the side compartments of the magnificent stained glass Window, executed by command of His late Majesty, and set up at the east end of St. George's Chapel, at Windsor. The subject is told with an energy characteristic of the scriptural account, and with that pictorial skill, which corresponds with the general scheme for this fine display of transaprent painting]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Kershaw. [260]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[A View of Tangier Mill, near Windsor. Few rural spots have more frequently supplied the landscape painter with a theme, than Tangier Mill. From hence, along the wooded banks of the lock, and the park wall, which form a vista, is seen one of Windsor's oldest towers. The subject is herein treated with pictorial skill. There is characteristic repose in the tone of colouring; the figures are admirably placed, and touched with mastery (Benjamin West)|A View of Tangier Mill, near Windsor. Few rural spots have more frequently supplied the landscape painter with a theme, than Tangier Mill. From hence, along the wooded banks of the lock, and the park wall, which form a vista, is seen one of Windsor's oldest towers. The subject is herein treated with pictorial skill. There is characteristic repose in the tone of colouring; the figures are admirably placed, and touched with mastery]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Ward. [261]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[General Kosciusko. This amiable man, hero, and patriot, the famed Pole, who struggled so nobly for the maintenance of the liberties of his oppressed country, was known and esteemed by the painter who has thus veritably perpetuated his portrait. Kosciusko was then a refugee in London, and suffering from the wounds which he had sustained in battle. The simplicity of this composition, and the arrangment of the light, thus partially illuminating the face of the patriot, are pictorial traits of nature, only to be imitated by a comprehensive knowledge of art. The scene, looking over the Thames through the open window is a scholastic specimen of aerial perspective (Benjamin West)|General Kosciusko. This amiable man, hero, and patriot, the famed Pole, who struggled so nobly for the maintenance of the liberties of his oppressed country, was known and esteemed by the painter who has thus veritably perpetuated his portrait. Kosciusko was then a refugee in London, and suffering from the wounds which he had sustained in battle. The simplicity of this composition, and the arrangment of the light, thus partially illuminating the face of the patriot, are pictorial traits of nature, only to be imitated by a comprehensive knowledge of art. The scene, looking over the Thames through the open window is a scholastic specimen of aerial perspective]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [262]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Nathan and David. II Samuel, chap xii. Verse 7. And Nathan said unto David, Thou are the man. A composition too obviously identified with the holy record to need extra elucidation. That clearness and perspicuity which are so essential to pictorial personification, though too often sought in vain in many graphic works, are attributes eminently disposed thorough the designs of this master. In this the story is rendered complete. As a picture, it is full of energy and potent in expression (Benjamin West)|Nathan and David. II Samuel, chap xii. Verse 7. And Nathan said unto David, Thou are the man. A composition too obviously identified with the holy record to need extra elucidation. That clearness and perspicuity which are so essential to pictorial personification, though too often sought in vain in many graphic works, are attributes eminently disposed thorough the designs of this master. In this the story is rendered complete. As a picture, it is full of energy and potent in expression]] réalisée par Benjamin West, vendue par Benjamin West, achetée par G Wigg Mecklenburgh Sqr. [263]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Hagar and Ishmael. Genesis, chap. xxi. Verse 17. And God heard the voice of the lad: and the Angel of God called to Hagar out of Heaven, and said unto her, What aileth thee, Hagar? fear not, for God hath heard the voice of the lad where he is. The holy scripture is so rich in historical description, and so abounding in awful, sublime, and touching events, that it may be considered as a source inexhaustible, which has supplied for ages, and will continue to supply, the genius of poetry, sculpture, and painting, with congenial themes, as long as art and science shall endure. As a volume of sentiment, wherein the awful grandeur of the Deity is displayed in the language of divine inspiration, and his works set forth with the dignity and simplicity of poetic imagery, it surpasses all the written inventions supplied by the genius of man. From this great source, the sacred dramas, depicted by the hand of West, were drawn and wrought with that reverence for the holy record that strengthened his perceptions, and imposed upon him, as a duty, the grateful exercise of that talent, which the dispenser of all good has graciously bestowed upon himself. Certainly, he laboured with zeal at his calling, and buried not his talent under a napkin. Others may henceforth surpass him in his art: but it is to him the world owes the revival of that epic style of composition, wich rendered the age of Michael Angelo and Raffael so memorable; and which, until the period when he obtained the patronage of his Sovereign, had declined to the very bathos of pictorial design. This affecting story of Hagar and Ishmael is told in the congenial spirit of his translating of the holy record (Benjamin West)|Hagar and Ishmael. Genesis, chap. xxi. Verse 17. And God heard the voice of the lad: and the Angel of God called to Hagar out of Heaven, and said unto her, What aileth thee, Hagar? fear not, for God hath heard the voice of the lad where he is. The holy scripture is so rich in historical description, and so abounding in awful, sublime, and touching events, that it may be considered as a source inexhaustible, which has supplied for ages, and will continue to supply, the genius of poetry, sculpture, and painting, with congenial themes, as long as art and science shall endure. As a volume of sentiment, wherein the awful grandeur of the Deity is displayed in the language of divine inspiration, and his works set forth with the dignity and simplicity of poetic imagery, it surpasses all the written inventions supplied by the genius of man. From this great source, the sacred dramas, depicted by the hand of West, were drawn and wrought with that reverence for the holy record that strengthened his perceptions, and imposed upon him, as a duty, the grateful exercise of that talent, which the dispenser of all good has graciously bestowed upon himself. Certainly, he laboured with zeal at his calling, and buried not his talent under a napkin. Others may henceforth surpass him in his art: but it is to him the world owes the revival of that epic style of composition, wich rendered the age of Michael Angelo and Raffael so memorable; and which, until the period when he obtained the patronage of his Sovereign, had declined to the very bathos of pictorial design. This affecting story of Hagar and Ishmael is told in the congenial spirit of his translating of the holy record]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Armstrong. [265]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Raising of Lazarus. By comparing this earlier design with that which forms the Altar - piece of the choir in Winchester Cathedral, may be discovered the different view which the perceptions may take of the same subject at distant periods of time. Thus, if one mind can form two such distinct compositions from the same event, and the same point of time, how various are the means of representation, when the scene is distributed to the inventive perceptions of all the members of a school of art (Benjamin West)|The Raising of Lazarus. By comparing this earlier design with that which forms the Altar - piece of the choir in Winchester Cathedral, may be discovered the different view which the perceptions may take of the same subject at distant periods of time. Thus, if one mind can form two such distinct compositions from the same event, and the same point of time, how various are the means of representation, when the scene is distributed to the inventive perceptions of all the members of a school of art]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Ward [or] Word]]. [266]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Moses Consecrating Aaron and his Sons. Regarding the sacrifice and ceremonies in the consecrating of the priesthood, as described in the xxix chapter of Exodus. And thou shalt consecrate Aaron and his sons. And thou shalt cause a bullock to be brought before the tabernacle of the congregation: -- And thou shalt kill the bullock before the Lord, by the door of the tabernacle of the congregation (Benjamin West)|Moses Consecrating Aaron and his Sons. Regarding the sacrifice and ceremonies in the consecrating of the priesthood, as described in the xxix chapter of Exodus. And thou shalt consecrate Aaron and his sons. And thou shalt cause a bullock to be brought before the tabernacle of the congregation: -- And thou shalt kill the bullock before the Lord, by the door of the tabernacle of the congregation]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [267]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Paul and Barnabas Preaching. The original design for the Large Picture. Painted in a broad and masterly style, and in colouring rich and effective. This, and the other coloured studies, which were made as prototypes for the large pictures painted for His late Majesty, and which are marked in the Catalogue, would form a rich collection of small historical pieces in themselves, which, superbly framed, would add to the splendour of any apartment of moderate dimensions (Benjamin West)|Paul and Barnabas Preaching. The original design for the Large Picture. Painted in a broad and masterly style, and in colouring rich and effective. This, and the other coloured studies, which were made as prototypes for the large pictures painted for His late Majesty, and which are marked in the Catalogue, would form a rich collection of small historical pieces in themselves, which, superbly framed, would add to the splendour of any apartment of moderate dimensions]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Wood of Brighton. [268]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Paul and Barnabas Preaching. There is noble gusto in this design, wherein the solemn grandeur of architecture, combined with the animated forms and rich contour of the various groups, produce an effect which embraces all the amenities of pictorial design (Benjamin West)|Paul and Barnabas Preaching. There is noble gusto in this design, wherein the solemn grandeur of architecture, combined with the animated forms and rich contour of the various groups, produce an effect which embraces all the amenities of pictorial design]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Pickering. [269]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Baptism of Our Saviour. Every passage of this composition is strictly in keeping with the one great sentiment of the design: all is repose. The "meek and lowly Jesus" is ascending from the waters of that river, that figuratively may be termed the Christian Lethe, in which were washed away the memory of the sins of fallen man (Benjamin West)|The Baptism of Our Saviour. Every passage of this composition is strictly in keeping with the one great sentiment of the design: all is repose. The "meek and lowly Jesus" is ascending from the waters of that river, that figuratively may be termed the Christian Lethe, in which were washed away the memory of the sins of fallen man]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Pickering. [270]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Ascension of Our Saviour. The emphatic style in which this sublime event is thus enforced, exhibits at one glance the powers of painting. The burst of light, and the groups of heavenly beings thus illumined by the simple opposition of the chairo scuro, eminently display the painter's recondite knowledge of his surprising art (Benjamin West)|The Ascension of Our Saviour. The emphatic style in which this sublime event is thus enforced, exhibits at one glance the powers of painting. The burst of light, and the groups of heavenly beings thus illumined by the simple opposition of the chairo scuro, eminently display the painter's recondite knowledge of his surprising art]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [271]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Our Saviour healing the Sick. One of the most impressive subjects that could be chosen for graphic representaion, and embodied with that union of grandeur, simplicity, and beautiful episode, which constitute the epic of design. The composition is wrought in the small intelligent spirit which pervades the admired series (Benjamin West)|Our Saviour healing the Sick. One of the most impressive subjects that could be chosen for graphic representaion, and embodied with that union of grandeur, simplicity, and beautiful episode, which constitute the epic of design. The composition is wrought in the small intelligent spirit which pervades the admired series]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Wood Regent Sqr Brighton. [272]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Peter's First Sermon. The surpassing beauty of this composition, as seen perfected in the great picture, is universally admitted. In this small prototype, the general expression and intention are developed sufficiently for the painter's purpose, and the study proceeds to that skilful state of feeling which leaves the imagination to complete the sentiment inspired, according to its own perceptions (Benjamin West)|Peter's First Sermon. The surpassing beauty of this composition, as seen perfected in the great picture, is universally admitted. In this small prototype, the general expression and intention are developed sufficiently for the painter's purpose, and the study proceeds to that skilful state of feeling which leaves the imagination to complete the sentiment inspired, according to its own perceptions]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Hayes Charlotte Street. [273]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Prophet Jeremiah. This, and the subjects of the following seven lots, though painted in chairo scuro, form a series of designs illustrative of some of the most striking events recorded in Sacred History, which eminently display the powers of the Artist in epic composition. Could the author of these masterly studies have prevailed upon to part with them he might have disposed of such original effusions of his graphic powers at his own price; but, it is known to those nobleman and gentlemen, who were his contemporaries, that the painter could rarely be induced to part with a sketch, or a study, even to those who honoured him with their friendship and patronage. An opportunity is at length afforded to those who may desire to possess them, and, it is hoped, that some of the studies, many of which may be considered high - finished cabinet pictures, will become the property of those distinguished personages, who, in his lifetime did such honour to the talent of the painter. This study for the personification of the Prophet Jeremiah, forms one of the three compartments of the Altar - piece for the intended Royal Chapel at Windsor (Benjamin West)|The Prophet Jeremiah. This, and the subjects of the following seven lots, though painted in chairo scuro, form a series of designs illustrative of some of the most striking events recorded in Sacred History, which eminently display the powers of the Artist in epic composition. Could the author of these masterly studies have prevailed upon to part with them he might have disposed of such original effusions of his graphic powers at his own price; but, it is known to those nobleman and gentlemen, who were his contemporaries, that the painter could rarely be induced to part with a sketch, or a study, even to those who honoured him with their friendship and patronage. An opportunity is at length afforded to those who may desire to possess them, and, it is hoped, that some of the studies, many of which may be considered high - finished cabinet pictures, will become the property of those distinguished personages, who, in his lifetime did such honour to the talent of the painter. This study for the personification of the Prophet Jeremiah, forms one of the three compartments of the Altar - piece for the intended Royal Chapel at Windsor]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Renton. [276]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Four Quarters of the Globe bringing Treasures to Britannia. These five designs were made by command of their late Majesties, a prototypes for the compartments of a ceiling in one of the royal palaces. As an allegorical series, perhaps, nothing that he preceeded from the modern schools, equally combine so many of the higher properties of art. The figure of the guardian goddess of the favoured isle is finely imagined, and the four quarters of the globe are nobly personified. The contour of the groups, and the display of light, shodow, and colour, are arranged most harmoniously. These exquisite designs might be appropriately displayed in a rich cabinet, expressly made to receive them, as they would form four corner compartments and a centre piece. Such a cabinet would be of matchless beauty (Benjamin West)|The Four Quarters of the Globe bringing Treasures to Britannia. These five designs were made by command of their late Majesties, a prototypes for the compartments of a ceiling in one of the royal palaces. As an allegorical series, perhaps, nothing that he preceeded from the modern schools, equally combine so many of the higher properties of art. The figure of the guardian goddess of the favoured isle is finely imagined, and the four quarters of the globe are nobly personified. The contour of the groups, and the display of light, shodow, and colour, are arranged most harmoniously. These exquisite designs might be appropriately displayed in a rich cabinet, expressly made to receive them, as they would form four corner compartments and a centre piece. Such a cabinet would be of matchless beauty]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Hicks. [277]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Genius calling forth the Fine Arts. A composition worthy the inspiration which this classic fiction seems to bestow. The figure of Genius, with his flaming torch, has all the poetic fire of a Prometheus. This is a display of the power of that pencil which could embody the thoughts as fast as they flowed from the directing mind to the obedient hand (Benjamin West)|Genius calling forth the Fine Arts. A composition worthy the inspiration which this classic fiction seems to bestow. The figure of Genius, with his flaming torch, has all the poetic fire of a Prometheus. This is a display of the power of that pencil which could embody the thoughts as fast as they flowed from the directing mind to the obedient hand]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Hicks. [278]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Husbandry aided by Arts and Commerce. In this pastoral scene the groups are designed with that elegant simplicity with which the imagination paints Virgilian peasants. The time represents the season of harvest. Some are binding the golden sheaves, and others are gathering from the pole the clustering hops. The various ages from man to infancy, of those who people this autumnal scene, thus skilfully scattered, afforded the Artist the means of distributing to his picture all the hues and tints with which Pomona paints the rosy peach or stains the juicy grape (Benjamin West)|Husbandry aided by Arts and Commerce. In this pastoral scene the groups are designed with that elegant simplicity with which the imagination paints Virgilian peasants. The time represents the season of harvest. Some are binding the golden sheaves, and others are gathering from the pole the clustering hops. The various ages from man to infancy, of those who people this autumnal scene, thus skilfully scattered, afforded the Artist the means of distributing to his picture all the hues and tints with which Pomona paints the rosy peach or stains the juicy grape]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Bone. [279]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Manufactory giving Support to Industry. The grouping of this subject is elegantly conceived, and the colouring most tastefully distributed. Every part of the picture is richly diversified with busy episodes. The female figure, engaged in ornamenting a vase, is emblematical of the improving taste of the people; and the operations of the loom through all the previous stages of the material that is weaving into form, indicates the thriving state of the manufactories. The scene is a delightful allegory of national prosperity (Benjamin West)|Manufactory giving Support to Industry. The grouping of this subject is elegantly conceived, and the colouring most tastefully distributed. Every part of the picture is richly diversified with busy episodes. The female figure, engaged in ornamenting a vase, is emblematical of the improving taste of the people; and the operations of the loom through all the previous stages of the material that is weaving into form, indicates the thriving state of the manufactories. The scene is a delightful allegory of national prosperity]] réalisée par Benjamin West, vendue par Benjamin West, achetée par E Armstrong Putny. [280]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Marine and Inland Navigation enriching Britannia. The attributes, and other pictorial expletives, are tastefully arranged, and identified with skilful mastery. This, which is intended to form the centre compartment, though imposing in general effect, is not completely finished. The figure of Britannia is beautiful and dignified (Benjamin West)|Marine and Inland Navigation enriching Britannia. The attributes, and other pictorial expletives, are tastefully arranged, and identified with skilful mastery. This, which is intended to form the centre compartment, though imposing in general effect, is not completely finished. The figure of Britannia is beautiful and dignified]] réalisée par Benjamin West, vendue par Benjamin West, achetée par E Bell. [281]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Raising of Lazarus. Painted in chairo scuro. The original study for the great Altar - piece in Winchester Cathedral. A picture, as may be inferred from this prototype, designed in the epic style, and with a feeling which is no less original than grand (Benjamin West)|The Raising of Lazarus. Painted in chairo scuro. The original study for the great Altar - piece in Winchester Cathedral. A picture, as may be inferred from this prototype, designed in the epic style, and with a feeling which is no less original than grand]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Morgan [or] Morgen]]. [282]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Three Heads. These studies are the result of an experiment by the masterly hand of West, to ascertain the capacities of a menstruum, brought to this country by an ingenious Italian. It is to be regretted that it rested here, for its properties were such, as to induce the belief that the same menstruum had been used by the great masters of the old Italian school, and that much of the recondite character which is so admired in the chairo scuro of their works, was effected through its medium. The proprietor of this secret disappeared, to the great regret of the Artist, and perhaps to the disparagement of the art, which might have derived considerable aid from a discovery that promised new means to the professor, for rending his thoughts with superior facility, richness and effect (Benjamin West)|Three Heads. These studies are the result of an experiment by the masterly hand of West, to ascertain the capacities of a menstruum, brought to this country by an ingenious Italian. It is to be regretted that it rested here, for its properties were such, as to induce the belief that the same menstruum had been used by the great masters of the old Italian school, and that much of the recondite character which is so admired in the chairo scuro of their works, was effected through its medium. The proprietor of this secret disappeared, to the great regret of the Artist, and perhaps to the disparagement of the art, which might have derived considerable aid from a discovery that promised new means to the professor, for rending his thoughts with superior facility, richness and effect]] réalisée par Benjamin West, vendue par Benjamin West, achetée par [[Morgan [or] Morgen]]. [283]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[King Alfred dividing his loaf with the Pilgrim. The original study for the well known, and much admired great picture, placed in Stationers' Hall. This composition is admitted to be one of the finest examples of the great style, as applied to subjects taken from British history (Benjamin West)|King Alfred dividing his loaf with the Pilgrim. The original study for the well known, and much admired great picture, placed in Stationers' Hall. This composition is admitted to be one of the finest examples of the great style, as applied to subjects taken from British history]] réalisée par Benjamin West, vendue par Benjamin West, achetée par Cook. [284]
  • 1829.05.25/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Chryses invoking the Vengence of Apollo against the Greeks. "God of the silver bow, thy shafts employ,/ Avenge thy servant, and the Greeks destroy;/ Thus Chryses pray'd, the favo'ring pow'r attends,/ And from Olympus' lofty tops descends. -- Pope's Homer's Illiad, B.i. One of the early works of the master, though sufficiently well conceived to evince, that his perceptions were already open to the true gusto of design. The figure is animated, the expression just, and it is wrought with breadth (Benjamin West)|Chryses invoking the Vengence of Apollo against the Greeks. "God of the silver bow, thy shafts employ,/ Avenge thy servant, and the Greeks destroy;/ Thus Chryses pray'd, the favo'ring pow'r attends,/ And from Olympus' lofty tops descends. -- Pope's Homer's Illiad, B.i. One of the early works of the master, though sufficiently well conceived to evince, that his perceptions were already open to the true gusto of design. The figure is animated, the expression just, and it is wrought with breadth]] réalisée par Benjamin West, vendue par Benjamin West, achetée par John Taylor 92 Norton Street. [287]
  • 1829.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape View in Germany; in the foreground a Settler's Booth, the Hostess in conversation with Dragoons, who are regaling; a little boy is endeavouring to peep at the Warrior's Sword; to the right are the soldier's horses with several others feeding; in the front is a patch of water, at which a Dog is slaking his thirst: in the distance an Encampment, with Cavlary in conversation with the Piquet This picture is a chef d'oevre of the late Mr. de Loutherbourg R.A. and preserved as such by his widow; it affords abundant proofs of the talented powers of the artist; the composiiton is admirable, the drawing correct, and the colouring true to nature. (Mr de Loutherbourg R.A.)|A Landscape View in Germany; in the foreground a Settler's Booth, the Hostess in conversation with Dragoons, who are regaling; a little boy is endeavouring to peep at the Warrior's Sword; to the right are the soldier's horses with several others feeding; in the front is a patch of water, at which a Dog is slaking his thirst: in the distance an Encampment, with Cavlary in conversation with the Piquet This picture is a chef d'oevre of the late Mr. de Loutherbourg R.A. and preserved as such by his widow; it affords abundant proofs of the talented powers of the artist; the composiiton is admirable, the drawing correct, and the colouring true to nature.]] réalisée par Mr de Loutherbourg R.A., vendue par Mrs De Loutherbourg au prix de 86.2 £. [289]
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