Ventes d'œuvres le 1830.02.14

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Castle Landscape. Scene -- Daybreak. Rembrandt. A mass of twilight breaks upon the sight, and glimmers on the Tower with devious light, While morning drives the clouds of night away, And opes the landscape with a silvery grey. High on the hill, the ancient Castle's hall Recieves the streaming the streaming ray, -- while 'neath its wall, The humble hamlet in broad shade is thrown, Dark yet transparent, in rich colouring shown. Rembrandt! though born in humble home, Without the aid of Greece or Rome, With nature only for your guide, And native genius on your side; In graphic lore you here have given The counterpart of Earth and Heaven; By magic, and by wondrous art, A spell to gain the artist's heart. This is a work which will probably as much interest the painter of landscape as any other production in the present small but select Collection. On pannel. -- 3 feet 1 inch, by 2 feet 8 inches (Rembrandt)|The Castle Landscape. Scene -- Daybreak. Rembrandt. A mass of twilight breaks upon the sight, and glimmers on the Tower with devious light, While morning drives the clouds of night away, And opes the landscape with a silvery grey. High on the hill, the ancient Castle's hall Recieves the streaming the streaming ray, -- while 'neath its wall, The humble hamlet in broad shade is thrown, Dark yet transparent, in rich colouring shown. Rembrandt! though born in humble home, Without the aid of Greece or Rome, With nature only for your guide, And native genius on your side; In graphic lore you here have given The counterpart of Earth and Heaven; By magic, and by wondrous art, A spell to gain the artist's heart. This is a work which will probably as much interest the painter of landscape as any other production in the present small but select Collection. On pannel. -- 3 feet 1 inch, by 2 feet 8 inches]] réalisée par Rembrandt, vendue par [[[Buchanan]]]. [1]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Hunting and Hawking Party. Phil. Wowvermans. This fine composition was for many years in the possession of Monsieur de Gaignat, Secretaire du Roi, and has been engraved by Moureau, No. 57 of that work. It represents a party preparing to enjoy the pleasures of the chase, and is known under the title of "Le Conseil des Chasseurs." It was in the possession of the late Lord Liverpool, First Lord of the Treasury, and was sold by Mr. Christie, at the sale of his lordship's pictures, for 273l. Since that period a heavy yellow varnish has been removed, which has greatly improved its appearance. A group of five persons are represented in nearly the centre of the picture, four of whom are mounted, while a gentleman on foot, whose dark brown horse is held by a page, is engaged in conversation with a lady mounted on a grey horse, which is finely foreshortened. The falconer in his red coat, mounted on a white horse, appears to await the orders which he may recieve, to take up his ground for the day's sport; while two other gentlemen, one mounted on an iron-grey and the other on a cream-coloured horse, have despatched a running footman to give notice to those in advance, of the intention of the principal party. The surrounding scenery, rich and varied, presents a country well adapted for the purpose, and in which there can be no scarcity of game. Several of the dogs show good blood, and their strength and form indicate, that if a buck should cross their path, they would pay him every manner of attention, indeen some of the party appear too well mounted for a mere chasse au falcon. This picture is painted in the high enamelled style of the master. The countenance of each figure, and the form of each horse, improve, the more they are magnified by the means of a powerful glass. The group of beggars on the right of the picture, is admirable: nothing can exceed the truth with which they are depicted. On pannel, 22 inches by 20 inches (Phil. Wouwvermans)|Hunting and Hawking Party. Phil. Wowvermans. This fine composition was for many years in the possession of Monsieur de Gaignat, Secretaire du Roi, and has been engraved by Moureau, No. 57 of that work. It represents a party preparing to enjoy the pleasures of the chase, and is known under the title of "Le Conseil des Chasseurs." It was in the possession of the late Lord Liverpool, First Lord of the Treasury, and was sold by Mr. Christie, at the sale of his lordship's pictures, for 273l. Since that period a heavy yellow varnish has been removed, which has greatly improved its appearance. A group of five persons are represented in nearly the centre of the picture, four of whom are mounted, while a gentleman on foot, whose dark brown horse is held by a page, is engaged in conversation with a lady mounted on a grey horse, which is finely foreshortened. The falconer in his red coat, mounted on a white horse, appears to await the orders which he may recieve, to take up his ground for the day's sport; while two other gentlemen, one mounted on an iron-grey and the other on a cream-coloured horse, have despatched a running footman to give notice to those in advance, of the intention of the principal party. The surrounding scenery, rich and varied, presents a country well adapted for the purpose, and in which there can be no scarcity of game. Several of the dogs show good blood, and their strength and form indicate, that if a buck should cross their path, they would pay him every manner of attention, indeen some of the party appear too well mounted for a mere chasse au falcon. This picture is painted in the high enamelled style of the master. The countenance of each figure, and the form of each horse, improve, the more they are magnified by the means of a powerful glass. The group of beggars on the right of the picture, is admirable: nothing can exceed the truth with which they are depicted. On pannel, 22 inches by 20 inches]] réalisée par Phil. Wouwvermans, vendue par [[[Buchanan]]]. [2]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[A Burgomaster of Amsterdam. Rembrandt. This picture is the portrait of one of the persons who is represented in the celebrated picture of the Night Watch." It was purchased by Mr. Buchanan from the family for which it was painted, through the means of the Greffier De Vries of Amsterdam, in 1818. It is painted in the high finished manner of the master, and before he adopts that free style which characterizes all his later portraits. The date of the picture is 1645: he was therfore thirty-five years old when it was executed, being about the period at which the works of this master are most prized in Holland, because they are most finished. From the time that he got so much money for his etchings, he adopted a loos and rapid style of execution, which, although full of talent, often betrays haste and carelessness. The finest picture which has come to England in his bravura manner, is that which belonged to the Danoot Collection, and is particularly noticed by Sir Joshua Reynolds in his "Tour through Flanders and Holland." It is now in the Lansdowne Gallery. Size, 3 feet 4 inches, by 2 feet 19 inches. On pannel (Rembrandt)|A Burgomaster of Amsterdam. Rembrandt. This picture is the portrait of one of the persons who is represented in the celebrated picture of the Night Watch." It was purchased by Mr. Buchanan from the family for which it was painted, through the means of the Greffier De Vries of Amsterdam, in 1818. It is painted in the high finished manner of the master, and before he adopts that free style which characterizes all his later portraits. The date of the picture is 1645: he was therfore thirty-five years old when it was executed, being about the period at which the works of this master are most prized in Holland, because they are most finished. From the time that he got so much money for his etchings, he adopted a loos and rapid style of execution, which, although full of talent, often betrays haste and carelessness. The finest picture which has come to England in his bravura manner, is that which belonged to the Danoot Collection, and is particularly noticed by Sir Joshua Reynolds in his "Tour through Flanders and Holland." It is now in the Lansdowne Gallery. Size, 3 feet 4 inches, by 2 feet 19 inches. On pannel]] réalisée par Rembrandt, vendue par [[[Buchanan]]]. [3]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Adoration of the Magi. Bathazar Di Peruzzi. Among the great painters who shone in the world of art, during the pontificate of Leo X, was Balthazar di Peruzzi. He painted in fresco, like the other great men of his period, and very few of his pictures being executed in oil, his works are scarcely known out of Italy. He was employed to decorate the walls of the Palace of the Farnesina, in fresco, in conjunction with Raphael; and that palace still offers to the connoisseur sufficient proof of his great talents. Among the few pictures which he has executed in oil is that now before us. It was painted for Leo X., and is nearly a reception of the fresco, which was in the house of the Count Bentivolio at Bologna, and has been engraved by Aug. Caracci, with this difference, that he has added the portrait of his patron Leo, with those of several attendants, among which his own portrait is introduced, holding a brace of dogs in couples. Whether we regard this picture as a magnificent composition, painted with all the power and force of Julio Romano, or as a work containing portraits of the leading painters of that period, and who are represented as the wise men of the east, or their attendants, carrying offerings to the Virgin and infant Jesus, it becomes equally interesting to the connoisseur or the antiquarian. Certain it is, that no work of the master in this country is, in its general composition, powerful execution, or in the grand gusto of the high Italian school, at all to be compared to it. It was formerly in the Royal Collection of Naples, and was carried thence to France, during the period of the Revolution. Among the portraits of eminent painters which this picture contains, are those of Michael Angelo, Raphael, Titian, Giorgione, Vasari, Paul Veronese, &c. The present picture will maintain its importance in any Gallery of Europe, even if placed by the side of the works of Raphael, Julio Romano, or Sebastian del Piombo. It is probably the only important work of the Master which is to be found in England, and as such woul be of high importance for a public Gallery. Size, 4 feet 2, by 3 feet 8 (Balthazar di Peruzzi)|Adoration of the Magi. Bathazar Di Peruzzi. Among the great painters who shone in the world of art, during the pontificate of Leo X, was Balthazar di Peruzzi. He painted in fresco, like the other great men of his period, and very few of his pictures being executed in oil, his works are scarcely known out of Italy. He was employed to decorate the walls of the Palace of the Farnesina, in fresco, in conjunction with Raphael; and that palace still offers to the connoisseur sufficient proof of his great talents. Among the few pictures which he has executed in oil is that now before us. It was painted for Leo X., and is nearly a reception of the fresco, which was in the house of the Count Bentivolio at Bologna, and has been engraved by Aug. Caracci, with this difference, that he has added the portrait of his patron Leo, with those of several attendants, among which his own portrait is introduced, holding a brace of dogs in couples. Whether we regard this picture as a magnificent composition, painted with all the power and force of Julio Romano, or as a work containing portraits of the leading painters of that period, and who are represented as the wise men of the east, or their attendants, carrying offerings to the Virgin and infant Jesus, it becomes equally interesting to the connoisseur or the antiquarian. Certain it is, that no work of the master in this country is, in its general composition, powerful execution, or in the grand gusto of the high Italian school, at all to be compared to it. It was formerly in the Royal Collection of Naples, and was carried thence to France, during the period of the Revolution. Among the portraits of eminent painters which this picture contains, are those of Michael Angelo, Raphael, Titian, Giorgione, Vasari, Paul Veronese, &c. The present picture will maintain its importance in any Gallery of Europe, even if placed by the side of the works of Raphael, Julio Romano, or Sebastian del Piombo. It is probably the only important work of the Master which is to be found in England, and as such woul be of high importance for a public Gallery. Size, 4 feet 2, by 3 feet 8]] réalisée par Balthazar di Peruzzi, vendue par [[[Buchanan]]]. [4]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[A Hawking Party. -- "Les Adieux." Philip Wouvermans. This little picture, painted at the best period of the master, and one of his most beautiful subjects, is known in the world of art under the title of "Les Adieux". It was formerly in the celebrated collection of the Duchess de Valentinois, and afterwards passed into that of Danoot of Brussels, in whose catalogue it is described as Follows: "Au milieu du premier plan un domestique tient un cheval blanc richement sellé et bridé; à la droite une damem assise sur un cheval bai, fait ses adieux à son petit enfant, qu'une servante tient élevé sur ses bras; à gauche un cavalier, monté sur un autre cheval bai, tient un faucon sur sa main; à côté de ce cavalier un domestique nègre tient deux chiens en laisse; à droit un mendiant est assis par terre contre un piédestal; derrire lui, et sur le second plan, un cavalier descend les degrès de la terrasses d'un château en ruine; un petit garçon, du haut d'un pidestal d'une colonne cassée, regarde les apprêts de ce départ pour la chasse; vers la gauche du second plan un fauconnier est déjà en route; le fond est un paysage. Ce Tableau est de la plus grande finesse; les figures et les chevaux sont d'un dessin correct, et la couleur est admirable; la composition est ravissante sous tous les rapports. Les figures ont 9 pouces de proportion. Il a été gravé par A. Laurent, et il est connu sous le nom des Adieux." This picture is painted on pannel, and is ? inches, by ? inches (Philip Wouvermans)|A Hawking Party. -- "Les Adieux." Philip Wouvermans. This little picture, painted at the best period of the master, and one of his most beautiful subjects, is known in the world of art under the title of "Les Adieux". It was formerly in the celebrated collection of the Duchess de Valentinois, and afterwards passed into that of Danoot of Brussels, in whose catalogue it is described as Follows: "Au milieu du premier plan un domestique tient un cheval blanc richement sellé et bridé; à la droite une damem assise sur un cheval bai, fait ses adieux à son petit enfant, qu'une servante tient élevé sur ses bras; à gauche un cavalier, monté sur un autre cheval bai, tient un faucon sur sa main; à côté de ce cavalier un domestique nègre tient deux chiens en laisse; à droit un mendiant est assis par terre contre un piédestal; derrire lui, et sur le second plan, un cavalier descend les degrès de la terrasses d'un château en ruine; un petit garçon, du haut d'un pidestal d'une colonne cassée, regarde les apprêts de ce départ pour la chasse; vers la gauche du second plan un fauconnier est déjà en route; le fond est un paysage. Ce Tableau est de la plus grande finesse; les figures et les chevaux sont d'un dessin correct, et la couleur est admirable; la composition est ravissante sous tous les rapports. Les figures ont 9 pouces de proportion. Il a été gravé par A. Laurent, et il est connu sous le nom des Adieux." This picture is painted on pannel, and is ? inches, by ? inches]] réalisée par Philip Wouvermans, vendue par [[[Buchanan]]]. [5]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Portrait of the Marquis of Mantua. Raphael. There is a sunshine in the contenance of this youthful nobleman, which might dispel the gloom of winter; while the hand and the genius of Raphael are clearly depicted in every trace of the character. It was painted about the same period as the Joan of Arragon, now in the French Gallery; and the connoisseur will be struck with the affinity of execution which exists between the two pictures. To say that this picture will meet with the admiration of every person of refined taste, and who is possessed of a competent knowledge of the works of the great masters, is no more than its merits have a right to expect; but when its admirer is informed that it was ranked as one of the most precious ornaments of the Palace of St. James's in the time of King Charles the First, -- that it hung in a conspicuous place of the Presence Chamber, as being the portrait of the personage who at a more advanced period of life formed the celebrated Mantua Collection, afterwards bought by Charles the First, and that it was sold for the then large sume of 200l., at the sale of that monarch's pictures, he will have to congratulate himself on his discernment, and at the impression which the first glance of this picture must have created. Th Portrait will be found particularly described at No. 10. of the Catalogue of the pictures of King Charles the First. Size, 1 foot 5 1/2 inches by 1 foot 8 1/2 inches (Raphael)|Portrait of the Marquis of Mantua. Raphael. There is a sunshine in the contenance of this youthful nobleman, which might dispel the gloom of winter; while the hand and the genius of Raphael are clearly depicted in every trace of the character. It was painted about the same period as the Joan of Arragon, now in the French Gallery; and the connoisseur will be struck with the affinity of execution which exists between the two pictures. To say that this picture will meet with the admiration of every person of refined taste, and who is possessed of a competent knowledge of the works of the great masters, is no more than its merits have a right to expect; but when its admirer is informed that it was ranked as one of the most precious ornaments of the Palace of St. James's in the time of King Charles the First, -- that it hung in a conspicuous place of the Presence Chamber, as being the portrait of the personage who at a more advanced period of life formed the celebrated Mantua Collection, afterwards bought by Charles the First, and that it was sold for the then large sume of 200l., at the sale of that monarch's pictures, he will have to congratulate himself on his discernment, and at the impression which the first glance of this picture must have created. Th Portrait will be found particularly described at No. 10. of the Catalogue of the pictures of King Charles the First. Size, 1 foot 5 1/2 inches by 1 foot 8 1/2 inches]] réalisée par Raphael, vendue par [[[Buchanan]]]. [6]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Niobe. Richard Wilson. It is impossible to look at this picture without feeling the classical spirit with which our Wilson was penetrated, and which he could throw upon his canvas, making it, as it were, the shadow and the echo of ancient poetry. Emulous with Claude, he has often introduced into his sunny scenes, the loves and the graces, dancing nymphs, and other bright creations of Greek mythology, and with the happiest effect, as may be seen in his "Apollo and the Seasons," in this same gallery; but here he has taken a still loftier flight, and has boldly grasped one of the most awful fables of the Pagan world -- the wrath of an offended goddess; the punishment of a proud but hapless mother in her numerous offspring -- the cause of her pride, and of all her consequent woe! Wilson has raised himself with his subject, and the picture before us cedes nothing in sublimity, grandness of passion, and soul-moving pathos, to the verses in which Ovid records the death of the descendants of Tantalus, and the fate of "Niobe turned to stone." Indeed the deep tragic tone that reigns throughout this composition is not equalled by the Roman poet, and a counterpart to it might be looked for in the dark, imaginative, and passionate outpourings of AEschylus. The attitude and action of Apollo, the avenger of his mother's wrongs, are amazingly grand; and we feel the force and magic of art, when the painter can create on a little speck of canvas like this, so much of the essentially sublime. A finger may cover it -- yet, that miniature figure has a grandeur in it that may again make us refer to the Greeks, and to such immortal works of their genius as the Apollo di Belvedere, the Farnesian Hercules, or the Gladiator. The "God of the unerring bow" stands forth in light, but clouds dark as his celestial ire, heaped and confused like tumultuous passions, canopy and environ him. The death-shafts already sped have thinned the bold and beauteous family of her, who, with her seven sons and seven daughters around her, durst compare herself with Latona. The dead lie in peace! the living expect the inevitable blow, and who could have represented better than Wilson has here done, the condition of the hapless parent? Her eye is fixed on the wrathful and death-dealing god; her arms are thrown out, as if she courted the next shaft for her own humbled head. She looks no longer on her offspring; she has forseen the whole of her hapless destiny, and is absorbed in awe, in silent terror, -- in the one with -- to cease to be! Even the daughter who has thrown herself in dread on her lap, (A youger and a favourite child perhaps!) attracts no portion of her attention, and withdraws not her frantic gaze from the avenging divinity. She cannot feel thus, and live on; and in the tense, rigid attitude into which the painter has thrown her, you see the incipient metemorphosis, and that the hapless Niobe is becoming a stone. The mountain landscape is dark and sublime. like every thing in the picture; and though fanciful it may be amusing to remark, that an English traveller, (Charles MacFarlane, Esq.) who has lately visited Mount Sipylus, the scene of the dread fable, traces a resemblance between the harsh conical rocks, as here represented, and the features of the real mountain; where, at a short distance from Magnesia, Doctor Chandler, and some other writers, imagined they could still see the stone -- the form of the too proud, but too severly punished daughter of Tantalus. This picture was painted for Sir Peter Leicester, by whom it was ceded to the Honourable Charles Greville. Wilson recieved three hundred and fifty guineas for painting it. It point of execution, as well as subject, it has always been considered one of his most powerful works. Size, 4 feet 4, by 3 feet 3 (Richard Wilson)|The Niobe. Richard Wilson. It is impossible to look at this picture without feeling the classical spirit with which our Wilson was penetrated, and which he could throw upon his canvas, making it, as it were, the shadow and the echo of ancient poetry. Emulous with Claude, he has often introduced into his sunny scenes, the loves and the graces, dancing nymphs, and other bright creations of Greek mythology, and with the happiest effect, as may be seen in his "Apollo and the Seasons," in this same gallery; but here he has taken a still loftier flight, and has boldly grasped one of the most awful fables of the Pagan world -- the wrath of an offended goddess; the punishment of a proud but hapless mother in her numerous offspring -- the cause of her pride, and of all her consequent woe! Wilson has raised himself with his subject, and the picture before us cedes nothing in sublimity, grandness of passion, and soul-moving pathos, to the verses in which Ovid records the death of the descendants of Tantalus, and the fate of "Niobe turned to stone." Indeed the deep tragic tone that reigns throughout this composition is not equalled by the Roman poet, and a counterpart to it might be looked for in the dark, imaginative, and passionate outpourings of AEschylus. The attitude and action of Apollo, the avenger of his mother's wrongs, are amazingly grand; and we feel the force and magic of art, when the painter can create on a little speck of canvas like this, so much of the essentially sublime. A finger may cover it -- yet, that miniature figure has a grandeur in it that may again make us refer to the Greeks, and to such immortal works of their genius as the Apollo di Belvedere, the Farnesian Hercules, or the Gladiator. The "God of the unerring bow" stands forth in light, but clouds dark as his celestial ire, heaped and confused like tumultuous passions, canopy and environ him. The death-shafts already sped have thinned the bold and beauteous family of her, who, with her seven sons and seven daughters around her, durst compare herself with Latona. The dead lie in peace! the living expect the inevitable blow, and who could have represented better than Wilson has here done, the condition of the hapless parent? Her eye is fixed on the wrathful and death-dealing god; her arms are thrown out, as if she courted the next shaft for her own humbled head. She looks no longer on her offspring; she has forseen the whole of her hapless destiny, and is absorbed in awe, in silent terror, -- in the one with -- to cease to be! Even the daughter who has thrown herself in dread on her lap, (A youger and a favourite child perhaps!) attracts no portion of her attention, and withdraws not her frantic gaze from the avenging divinity. She cannot feel thus, and live on; and in the tense, rigid attitude into which the painter has thrown her, you see the incipient metemorphosis, and that the hapless Niobe is becoming a stone. The mountain landscape is dark and sublime. like every thing in the picture; and though fanciful it may be amusing to remark, that an English traveller, (Charles MacFarlane, Esq.) who has lately visited Mount Sipylus, the scene of the dread fable, traces a resemblance between the harsh conical rocks, as here represented, and the features of the real mountain; where, at a short distance from Magnesia, Doctor Chandler, and some other writers, imagined they could still see the stone -- the form of the too proud, but too severly punished daughter of Tantalus. This picture was painted for Sir Peter Leicester, by whom it was ceded to the Honourable Charles Greville. Wilson recieved three hundred and fifty guineas for painting it. It point of execution, as well as subject, it has always been considered one of his most powerful works. Size, 4 feet 4, by 3 feet 3]] réalisée par Richard Wilson, vendue par [[[Buchanan]]]. [7]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Our Saviour Betrayed. Vandyk. Few pictures of the Flemish school possess more interest than the finished study by Vandyck, which is in this gallery; and very few works by Vandyck himself possess so much force or freedom of execution, as the picture now before us. It was painted by Vandyck at the express request of Rubens, previous to his leaving the school of his friend and master; and what now be considered as giving this picturea still greater interest is, that Rubens has introduced two figures, which will easily be recognised by the experienced connoisseur, thus uniting the talents of these distinguished painters in the same work. The subject of this picture represents one of those events which immediatly preceded the termination of our Saviour's mission; and the treatment of it is calculated to excite a deep interest in those who will afford it due consideration. John xviii. 1.3. "When Jesus had spoken these words, he went forth with his disciples over the brook Cedron, where was a garden, into which he entered with his disciples. 3. "Judas then having recieved a band of men and officers from the chief priests and Pharisees, cometh hither with lanters, and torches, and weaopons," &. There probably never was a more just or striking represention of the bustle of a crowd, hurrying on to the attainment of its object, than is given in this splendid composition. The whole is in action, and full of a rich variety of character. The scene, although laid at night, has no obscure part of it. Its tones, though carried to the greatest depth, and equalled only by those of Rembrandt, are clear and transparent throughout; while the reflection of light on the armour of the soldiers from the great firebrand which is carried aloft, sparkles through the leaves and branches of the trees with a splendour which renders daylight of this interesting work of art. But while we admire the great powers of execution which this picture contains, we must not allow to pass unnoticed its higher claim to being classed as an elevated composition. Nothing can exceed the dignified expression and sublimity of character which the principal personage bears, or the mixed and furious expression in the various countenances of those who surround him, forming an antithesis of the most perfect order that the art of painting can produce. It has certainly never been surpassed by Vandyck himself, and it places him on a par with the greatest Masters of the Italian schools. The late lamented President of the Royal Academy called on the proprietor, but a very short time before his death, for the express purpose of exemining this picture, when he bestowed on it the highest encomiums, and declared it to be "a most precious picture for the study of a School of Art". It is painted on canvas, and is 4 feet 8 inches, by 3 feet 7 inches (Vandyck)|Our Saviour Betrayed. Vandyk. Few pictures of the Flemish school possess more interest than the finished study by Vandyck, which is in this gallery; and very few works by Vandyck himself possess so much force or freedom of execution, as the picture now before us. It was painted by Vandyck at the express request of Rubens, previous to his leaving the school of his friend and master; and what now be considered as giving this picturea still greater interest is, that Rubens has introduced two figures, which will easily be recognised by the experienced connoisseur, thus uniting the talents of these distinguished painters in the same work. The subject of this picture represents one of those events which immediatly preceded the termination of our Saviour's mission; and the treatment of it is calculated to excite a deep interest in those who will afford it due consideration. John xviii. 1.3. "When Jesus had spoken these words, he went forth with his disciples over the brook Cedron, where was a garden, into which he entered with his disciples. 3. "Judas then having recieved a band of men and officers from the chief priests and Pharisees, cometh hither with lanters, and torches, and weaopons," &. There probably never was a more just or striking represention of the bustle of a crowd, hurrying on to the attainment of its object, than is given in this splendid composition. The whole is in action, and full of a rich variety of character. The scene, although laid at night, has no obscure part of it. Its tones, though carried to the greatest depth, and equalled only by those of Rembrandt, are clear and transparent throughout; while the reflection of light on the armour of the soldiers from the great firebrand which is carried aloft, sparkles through the leaves and branches of the trees with a splendour which renders daylight of this interesting work of art. But while we admire the great powers of execution which this picture contains, we must not allow to pass unnoticed its higher claim to being classed as an elevated composition. Nothing can exceed the dignified expression and sublimity of character which the principal personage bears, or the mixed and furious expression in the various countenances of those who surround him, forming an antithesis of the most perfect order that the art of painting can produce. It has certainly never been surpassed by Vandyck himself, and it places him on a par with the greatest Masters of the Italian schools. The late lamented President of the Royal Academy called on the proprietor, but a very short time before his death, for the express purpose of exemining this picture, when he bestowed on it the highest encomiums, and declared it to be "a most precious picture for the study of a School of Art". It is painted on canvas, and is 4 feet 8 inches, by 3 feet 7 inches]] réalisée par Vandyck, vendue par [[[Buchanan]]]. [8]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Siege of Antwerp. Lingleback. This has always been considerted the chef d'oeuvre of this master. It presents the amusing, varied, and interseting details of a Camp; and to be justly appreciated must be patiently examined. From the extreme point of view where the approaches to the place are distinctly described, through the gradations of intervening space, the subject is filled with groups, each holding its proper place in the line of perspective, all full of intersest, and the figures executed in the most perfect manner. Size, 4 feet 4 inches, by 3 feet 1 inch (Lingleback)|The Siege of Antwerp. Lingleback. This has always been considerted the chef d'oeuvre of this master. It presents the amusing, varied, and interseting details of a Camp; and to be justly appreciated must be patiently examined. From the extreme point of view where the approaches to the place are distinctly described, through the gradations of intervening space, the subject is filled with groups, each holding its proper place in the line of perspective, all full of intersest, and the figures executed in the most perfect manner. Size, 4 feet 4 inches, by 3 feet 1 inch]] réalisée par Lingleback, vendue par [[[Buchanan]]]. [9]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[This beautiful calm, so rich in composition. may be regarded as one of the finest things of tha master. It also comes from the Danoot Collestion. The original Catalogue of that gallery makes the following observation on its excellence. "Rien n'est plus séduisant que cette charmante marine; le ciel en est léger, les eaux en sont limpides; tot est clair et argentin; c'est une composition des plus variées et des plus aimables en ce genre." The size of the picture is 24 by 22 inches. On cloth The collection of Danoot, of Brussels (William van de Velde)|This beautiful calm, so rich in composition. may be regarded as one of the finest things of tha master. It also comes from the Danoot Collestion. The original Catalogue of that gallery makes the following observation on its excellence. "Rien n'est plus séduisant que cette charmante marine; le ciel en est léger, les eaux en sont limpides; tot est clair et argentin; c'est une composition des plus variées et des plus aimables en ce genre." The size of the picture is 24 by 22 inches. On cloth The collection of Danoot, of Brussels]] réalisée par William van de Velde, vendue par [[[Buchanan]]]. [10]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Assumption of the Virgin. Agostino Caracci. A grand and noble composition of this Master; the characters of the apostles finely pourtrayed, the drawing of the figures perfectly correct, and the colouring rich and powerful. It would form an interseting centre for any important collection of works of a high class, to which it is well calculated to give importance. Size, 7 1/2 feet by 5 (Agostino Caracci)|The Assumption of the Virgin. Agostino Caracci. A grand and noble composition of this Master; the characters of the apostles finely pourtrayed, the drawing of the figures perfectly correct, and the colouring rich and powerful. It would form an interseting centre for any important collection of works of a high class, to which it is well calculated to give importance. Size, 7 1/2 feet by 5]] réalisée par Agostino Caracci, vendue par [[[Buchanan]]]. [11]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Return from Egypt. Rubens. Divested of every other consideration, and of the great science and beuaty with which this fine picture is treated, the subject itself must be full of interest and delight to every one who beholds it, and who, in the true spirit of Christianity, chooses to contemplate it as one of those events, which has so strongly evinced the devine will of an all-protecting Providence. Driven by the cruel edict of Herod from the residence of a friendly home, and oblidged to seek shelter in an unknown land and among strangers, the period had arrived when the Holy Family might return to their own land. The Virgin and St. Joseph are represented leading the Divine Child between them, who casts on his mother a look of the most tender regard, while nothing can exceed the appearance of a placid joy, which is depicted on the countenance of the Virgin in this delightful composition. It is that which every observant eye must have recognised on the cheek of a mother, who looks forward with confidence and with hope. This picture, which may justly be considered as one of the most important works of art that have come to this country, and which is certainly one of the most sublime and elevated compositions of the Master, was painted by Rubens, by special commission, for the Jesuits' church of Antwerp, where it remained as a grand altar piece until the secularization of that religious order, which took place several years previous to the Frech Revolution. It was then purchased by Mr. Danoot the banker, of Brussels, in whoe collection it has remained, until now brought to England by Mr. Buchanan. It is hardly necessary to offer any remark on the excellence of a composition which speaks so powerfully for itself; suffice it therefore to say, that it was painted at the best period of the Master, and after he had studied and well considered the works of the high Italian school. The picture is painted in pannel, and is 8 feet 6 inches high, by 6 fet wide (Rubens)|The Return from Egypt. Rubens. Divested of every other consideration, and of the great science and beuaty with which this fine picture is treated, the subject itself must be full of interest and delight to every one who beholds it, and who, in the true spirit of Christianity, chooses to contemplate it as one of those events, which has so strongly evinced the devine will of an all-protecting Providence. Driven by the cruel edict of Herod from the residence of a friendly home, and oblidged to seek shelter in an unknown land and among strangers, the period had arrived when the Holy Family might return to their own land. The Virgin and St. Joseph are represented leading the Divine Child between them, who casts on his mother a look of the most tender regard, while nothing can exceed the appearance of a placid joy, which is depicted on the countenance of the Virgin in this delightful composition. It is that which every observant eye must have recognised on the cheek of a mother, who looks forward with confidence and with hope. This picture, which may justly be considered as one of the most important works of art that have come to this country, and which is certainly one of the most sublime and elevated compositions of the Master, was painted by Rubens, by special commission, for the Jesuits' church of Antwerp, where it remained as a grand altar piece until the secularization of that religious order, which took place several years previous to the Frech Revolution. It was then purchased by Mr. Danoot the banker, of Brussels, in whoe collection it has remained, until now brought to England by Mr. Buchanan. It is hardly necessary to offer any remark on the excellence of a composition which speaks so powerfully for itself; suffice it therefore to say, that it was painted at the best period of the Master, and after he had studied and well considered the works of the high Italian school. The picture is painted in pannel, and is 8 feet 6 inches high, by 6 fet wide]] réalisée par Rubens, vendue par [[[Buchanan]]]. [12]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Meleager and Atalanta. Richard Wilson. If the observations which have been offered on the subject of the picture of Apollo and the Muses be correct, as regards the great talent and refined taste of this distinguished Artist, so will it be allowed that the same rich vein of poetic feeling runs throughout the picture now before us. The spirited action and energy of the various groups engaged in the chase, must excite an interest of probably a different class, but the subject is certainly not less imposing. The site of this picture is grand and noble. The boar has been driven by the hunters into a position, where his whole force becomes requisite te extricate himself, and he has accordingly made a most desperate and successful attack upon Meleager, who appears stretched on the ground from a deadly wound inflicted by the furious animal. This scene is rendered the more interesting by the combination of surrounding objects which it presents. A rapid torrent of surrounding objects which it presents. A rapid torrent rushes over a mass of rock and forms a cascade, the spray of which ascends to the clouds. A castle of considerable magnitude occupies the middle distance, while the intervening grounds are finely descriptive of that class of rugged country, where an animal of this description would most naturally seek his safety. It forms a fine counterpart to the Arcadian scene, so happily reprsented in the companion picture; and so long as landscape of a high poetic charachter is felt and admired in this country, these pictures cannot fail to be justly appreciated. The time will no doubt arrive, when they will bear a very different value than that at which they are now estimated. Size of the picture 4 feet 4 by 3 feet 3 inches, on canvas (Richard Wilson)|Meleager and Atalanta. Richard Wilson. If the observations which have been offered on the subject of the picture of Apollo and the Muses be correct, as regards the great talent and refined taste of this distinguished Artist, so will it be allowed that the same rich vein of poetic feeling runs throughout the picture now before us. The spirited action and energy of the various groups engaged in the chase, must excite an interest of probably a different class, but the subject is certainly not less imposing. The site of this picture is grand and noble. The boar has been driven by the hunters into a position, where his whole force becomes requisite te extricate himself, and he has accordingly made a most desperate and successful attack upon Meleager, who appears stretched on the ground from a deadly wound inflicted by the furious animal. This scene is rendered the more interesting by the combination of surrounding objects which it presents. A rapid torrent of surrounding objects which it presents. A rapid torrent rushes over a mass of rock and forms a cascade, the spray of which ascends to the clouds. A castle of considerable magnitude occupies the middle distance, while the intervening grounds are finely descriptive of that class of rugged country, where an animal of this description would most naturally seek his safety. It forms a fine counterpart to the Arcadian scene, so happily reprsented in the companion picture; and so long as landscape of a high poetic charachter is felt and admired in this country, these pictures cannot fail to be justly appreciated. The time will no doubt arrive, when they will bear a very different value than that at which they are now estimated. Size of the picture 4 feet 4 by 3 feet 3 inches, on canvas]] réalisée par Richard Wilson, vendue par [[[Buchanan]]]. [13]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[This picture had been long known in the world of art from the print of it by Le Bas, under the title of Les Philosophes Bacchiques; or, the Jovial Philosophers. It belonged at one period to the fine collection of the Comte de Vence; and on the disposal of that cabinet, it passed into the possession of Monsieur Danoot, of Brussels. No one can behold the joyous look of the principal figure in this little piece without partaking of his hilarity. He sets care entirely at defience, and with all the gaiety of the old French adage he seems to say, -- "Qui boijt, et ne resboijt, Il ne scaijt ce quij bon siojy." This picture is painted in the high enamelled style of this master. It is on copper, and is ? inches by ? inches (David Teniers, Junior)|This picture had been long known in the world of art from the print of it by Le Bas, under the title of Les Philosophes Bacchiques; or, the Jovial Philosophers. It belonged at one period to the fine collection of the Comte de Vence; and on the disposal of that cabinet, it passed into the possession of Monsieur Danoot, of Brussels. No one can behold the joyous look of the principal figure in this little piece without partaking of his hilarity. He sets care entirely at defience, and with all the gaiety of the old French adage he seems to say, -- "Qui boijt, et ne resboijt, Il ne scaijt ce quij bon siojy." This picture is painted in the high enamelled style of this master. It is on copper, and is ? inches by ? inches]] réalisée par David Teniers, Junior, vendue par [[[Buchanan]]]. [14]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Virgin and Child, with the Magdalen. Titian. Nothing can exceed the delicacy or beauty of the tone in this charming composition; it is perfect of its kind, and proves beyond all contradiction, how well Titian has deserved the title "The Prince of Colourists". This Picture formerly held a place on the walls of the Borghese Palace. It was acquired by the late Mr. Fagan, at the period when the French army occupied Rome. When it can to England, it was covered with a heavy oil, which, from time, had become of a reddish brown, and completely obsured the genuine colour of the picture. To get rid of this, it was necessary that the picture should be re-lined, in the process of which two most important documents on the otiginal canvas were discovered, which proved not only its authenticity, but for whom the picture was painted; one of these was containeed in a large shield at the top of the picture, in which Titian in his own hand, and in the same character of letter as that on his Picture of the Bacchus and Ariadne, now in the National Gallery, has written in dry colour, called Rosso Venetiano -- TICICNVS. F., after which follow several lines which have bcome illegible. The second is smaller shield at the corner of the Picture, in which are designed the Arms of the Family for whom the Picture was painted -- probably those of the Borghese, as the picture is known to have been in the possession of that family for a very long period previous to the French army having visited Rome, and stil bears the No. which it held in the Catalogue of the Borghese pictures, viz. 126, painted at the bottom of the picture. Very few pictures by this great master are of more real importance than that now before us; and not one certainly exists, which can be better authenticated. Size of the picture 3 feet 2 by 2 feet 6. On cloth (Titian)|The Virgin and Child, with the Magdalen. Titian. Nothing can exceed the delicacy or beauty of the tone in this charming composition; it is perfect of its kind, and proves beyond all contradiction, how well Titian has deserved the title "The Prince of Colourists". This Picture formerly held a place on the walls of the Borghese Palace. It was acquired by the late Mr. Fagan, at the period when the French army occupied Rome. When it can to England, it was covered with a heavy oil, which, from time, had become of a reddish brown, and completely obsured the genuine colour of the picture. To get rid of this, it was necessary that the picture should be re-lined, in the process of which two most important documents on the otiginal canvas were discovered, which proved not only its authenticity, but for whom the picture was painted; one of these was containeed in a large shield at the top of the picture, in which Titian in his own hand, and in the same character of letter as that on his Picture of the Bacchus and Ariadne, now in the National Gallery, has written in dry colour, called Rosso Venetiano -- TICICNVS. F., after which follow several lines which have bcome illegible. The second is smaller shield at the corner of the Picture, in which are designed the Arms of the Family for whom the Picture was painted -- probably those of the Borghese, as the picture is known to have been in the possession of that family for a very long period previous to the French army having visited Rome, and stil bears the No. which it held in the Catalogue of the Borghese pictures, viz. 126, painted at the bottom of the picture. Very few pictures by this great master are of more real importance than that now before us; and not one certainly exists, which can be better authenticated. Size of the picture 3 feet 2 by 2 feet 6. On cloth]] réalisée par Titian, vendue par [[[Buchanan]]]. [15]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[It would be unnecessary to say a word on the subject or the excellence of this little gem, the celebrity of which is so well known throughout Europe, were it not that the recollections of such objects often afford pleasure even at a considerable distance of time to those who may have seen and admired them. This circumstance of itself sometimes renders a descriptive catalogue desirable, and even valuable; while the Catalogue raisonné of the French, as regards matters of art, always conveys a much more clear and distinct idea of a picture to those who cannot see it, than the usual dry manner of making out catalogues in this country. This brilliant little picture represents a butt-ground in the vicinity of a Flemish village, where eleven peasants amuse themselves with the bow, at the short distance. Four of these converse together, until their turn to shoot has arrived, while one of the party, with his coat off, is taking a steady aim at the mark, and from the square position of his right elbow seems perfectlt to understand the sport, at which the Flemings so much excel. The other figures are dispersed throughout the picture with judgment, and seem to give all due attention to the skill of the archer; while he who has previosly delivered his arrow runs forward with alacrity to satisfy himself of its exact position, and distance from the bull's eye. On the right of the spectator, a number of cottages skirted with wood run diagonally across the picture, and lead the eye by gradations to the extreme distance. The left side of the picture is also varied by a group of cottages, over which is seen the spire of the village church; while beautiful masses of clouds of a silvery hue, float on the light breeze; the tout ensemble presenting one of the most delightful compositions of this esteemed master. Sir Joshua Reynolds, in his "Journey to Flanders and Holland," in noticing this picture, says -- "A small picture, by young Teniers, of boors shooting at a butt or target, in his best manner. His name and the date are on it, which I took down to mark the part of his life when he was in his zenith of perfection; the date is 1645; he was then thirty-five years old, being born in 1610." Size of the picture 22 by 16 inches. On copper The collection of Danoot, of Brussels (David Teniers, Jun.)|It would be unnecessary to say a word on the subject or the excellence of this little gem, the celebrity of which is so well known throughout Europe, were it not that the recollections of such objects often afford pleasure even at a considerable distance of time to those who may have seen and admired them. This circumstance of itself sometimes renders a descriptive catalogue desirable, and even valuable; while the Catalogue raisonné of the French, as regards matters of art, always conveys a much more clear and distinct idea of a picture to those who cannot see it, than the usual dry manner of making out catalogues in this country. This brilliant little picture represents a butt-ground in the vicinity of a Flemish village, where eleven peasants amuse themselves with the bow, at the short distance. Four of these converse together, until their turn to shoot has arrived, while one of the party, with his coat off, is taking a steady aim at the mark, and from the square position of his right elbow seems perfectlt to understand the sport, at which the Flemings so much excel. The other figures are dispersed throughout the picture with judgment, and seem to give all due attention to the skill of the archer; while he who has previosly delivered his arrow runs forward with alacrity to satisfy himself of its exact position, and distance from the bull's eye. On the right of the spectator, a number of cottages skirted with wood run diagonally across the picture, and lead the eye by gradations to the extreme distance. The left side of the picture is also varied by a group of cottages, over which is seen the spire of the village church; while beautiful masses of clouds of a silvery hue, float on the light breeze; the tout ensemble presenting one of the most delightful compositions of this esteemed master. Sir Joshua Reynolds, in his "Journey to Flanders and Holland," in noticing this picture, says -- "A small picture, by young Teniers, of boors shooting at a butt or target, in his best manner. His name and the date are on it, which I took down to mark the part of his life when he was in his zenith of perfection; the date is 1645; he was then thirty-five years old, being born in 1610." Size of the picture 22 by 16 inches. On copper The collection of Danoot, of Brussels]] réalisée par David Teniers, Jun., vendue par [[[Buchanan]]]. [16]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Portrait of the Duke D'Albert. Rubens. Whatever comes from the pencil of Rubens carries with it the stamp of a master. Whether it be historical ar allergorical composition, landscape, animals ferae naturae, or a simple portrait, we cannot but feel, that genius and talent directed the hand which has pourtrayed them. Ther present pourtrait is that of the Duc d'Albert, governor of the Netherlands. It was long in the possession, and a favourite picture of the Baron Denon, Director of the Gallery of the Louvre, and certainly has gained consequence from the estimation it was held in by so great a judge. As representing a fair complexioned German, the master has managed it with all that lightness of pencilling and suavity of colouring, which he would have used had he painted a delicate female; at the same time the countenance is full of that fine marking, and dignity of character, which must convince the spectator that the picture before us is a very true and just representation of that personage. On canvas, 2 feet by 16 inches (Rubens)|Portrait of the Duke D'Albert. Rubens. Whatever comes from the pencil of Rubens carries with it the stamp of a master. Whether it be historical ar allergorical composition, landscape, animals ferae naturae, or a simple portrait, we cannot but feel, that genius and talent directed the hand which has pourtrayed them. Ther present pourtrait is that of the Duc d'Albert, governor of the Netherlands. It was long in the possession, and a favourite picture of the Baron Denon, Director of the Gallery of the Louvre, and certainly has gained consequence from the estimation it was held in by so great a judge. As representing a fair complexioned German, the master has managed it with all that lightness of pencilling and suavity of colouring, which he would have used had he painted a delicate female; at the same time the countenance is full of that fine marking, and dignity of character, which must convince the spectator that the picture before us is a very true and just representation of that personage. On canvas, 2 feet by 16 inches]] réalisée par Rubens, vendue par [[[Buchanan]]]. [17]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[La Gazete. David Teniers, Junior. This fine picture, so well known to connoisseurs, comes from the Orleans Collection, and was sold, on its first exhibition in this country, to Sir Philip Stevens. Mr. Slade, who purchased and had the direction of the whole of the Flemish part of the Orleans' Pictures, considered it as the finest Teniers in the Orleans Gallery. On referring to the engraving from the pictures of the Palais Royal, we find the following description to prove the estimation in which it was there held: "Ce tableau est du meilleur tems et de la plus belle manière de David Teniers: ce sont toujours des buveurs, mais l'art avec lequel ce maitre sçait varier da touche, et prendre la nature sur le fait, donne à toutes ces sortes de sujets un interêt toujours nouveau, quoique la scène, les personnages, et les acessoires soient presque toujours les mêmes. "Ce sujet est une tabige dans lequelle on voit plusieurs fumeurs assis près du feu. Un jeune homme entre et leur apporte la Gazete. Dans une arrière chambre sont des buveurs à table; une femme du dehors passe sa tête par une lucèrne pour les regarder, "L'on remarque dans ce tableau des charactèrs de tête d'une grand vérité -- des plans d'une grande netteté, et une belle transparance de tons dans la couleur. Une legèreté de touche est admirable, et un belle harmonie ne laisse rien à desirer." This piece was sold last year at the sale of Lord Rendlesham's pictures, since which time a very yellow varnish has been removed from its surface, and it now appears in all its pristine beauty. On pannel. 18 inches by 24 inches (David Teniers, Junior)|La Gazete. David Teniers, Junior. This fine picture, so well known to connoisseurs, comes from the Orleans Collection, and was sold, on its first exhibition in this country, to Sir Philip Stevens. Mr. Slade, who purchased and had the direction of the whole of the Flemish part of the Orleans' Pictures, considered it as the finest Teniers in the Orleans Gallery. On referring to the engraving from the pictures of the Palais Royal, we find the following description to prove the estimation in which it was there held: "Ce tableau est du meilleur tems et de la plus belle manière de David Teniers: ce sont toujours des buveurs, mais l'art avec lequel ce maitre sçait varier da touche, et prendre la nature sur le fait, donne à toutes ces sortes de sujets un interêt toujours nouveau, quoique la scène, les personnages, et les acessoires soient presque toujours les mêmes. "Ce sujet est une tabige dans lequelle on voit plusieurs fumeurs assis près du feu. Un jeune homme entre et leur apporte la Gazete. Dans une arrière chambre sont des buveurs à table; une femme du dehors passe sa tête par une lucèrne pour les regarder, "L'on remarque dans ce tableau des charactèrs de tête d'une grand vérité -- des plans d'une grande netteté, et une belle transparance de tons dans la couleur. Une legèreté de touche est admirable, et un belle harmonie ne laisse rien à desirer." This piece was sold last year at the sale of Lord Rendlesham's pictures, since which time a very yellow varnish has been removed from its surface, and it now appears in all its pristine beauty. On pannel. 18 inches by 24 inches]] réalisée par David Teniers, Junior, vendue par [[[Buchanan]]]. [18]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[View on the Rhine. Albert Cuyp. Few master's works have risen so rapidly or so deservedly into repute in this country, as those of Cuyp and of Hobbima. For many years they were either very little known, or, like the works of Richard Wilson, not sufficiently appreciated; but when fashion had once given the turn in their favour, they soon overcame the prejudices of ignorance, and rose into the highest estimation. The present is one of the most important and valuable of the works of Cuyp. In a wide and extended Strath of the Rhine, two cavaliers ride leisurely along, enjoying the beauty of the surrounding scenery. On the left of these persons a fine meass of trees rises, under the shade of which a shepherd with his flock, and a peasant with his mule, appear to shelter themselves from the heat of an afternoon's sun, that illuminates the whole subjest with a warm, pure, and transparent. On the oppisite side two cows are lying on a sunny bank, while a person habited as a domestic, rides past them at full gallop, evidently charged with some mission for the two gentlemen who are approaching the fore-ground. In advance of this group, and in the centre of the picture, wild and rich masses of brambles, underwood, and dock-weeds, spring-up; the thorny branches, and broad green leaves of which, seem to court the sparkling rays of the sun. The middle grounds and the view on the river are exceedingly tender, while the distant landscape over a fortified town, probably Nimeguen, is lost in the aërial tints of the horizon, presenting one of those beautiful scenes which every one must remember with pleasure, who has ever visited the Rhingau. On looking at this picture attentively, and comparing it with Nature, one would imagine that the painter had dipped his pencil in sunshine. -- In all its parts, it is a perfest example of this fascinating master's works. One can hardly leave this enchanting scenery, without recalling to mind one of those favourite national songs, so much sung in that country, in praise of old Father Rhine. It commences: The Rhine! The Rhine! May on thy flowing river, The sun for ever shine, And on thy banks, May freedom dwell for ever. Be Blessing on the Rhine! This picture is 5 feet 8 inches in length, by 4 feet. On cloth (Albert Cuyp)|View on the Rhine. Albert Cuyp. Few master's works have risen so rapidly or so deservedly into repute in this country, as those of Cuyp and of Hobbima. For many years they were either very little known, or, like the works of Richard Wilson, not sufficiently appreciated; but when fashion had once given the turn in their favour, they soon overcame the prejudices of ignorance, and rose into the highest estimation. The present is one of the most important and valuable of the works of Cuyp. In a wide and extended Strath of the Rhine, two cavaliers ride leisurely along, enjoying the beauty of the surrounding scenery. On the left of these persons a fine meass of trees rises, under the shade of which a shepherd with his flock, and a peasant with his mule, appear to shelter themselves from the heat of an afternoon's sun, that illuminates the whole subjest with a warm, pure, and transparent. On the oppisite side two cows are lying on a sunny bank, while a person habited as a domestic, rides past them at full gallop, evidently charged with some mission for the two gentlemen who are approaching the fore-ground. In advance of this group, and in the centre of the picture, wild and rich masses of brambles, underwood, and dock-weeds, spring-up; the thorny branches, and broad green leaves of which, seem to court the sparkling rays of the sun. The middle grounds and the view on the river are exceedingly tender, while the distant landscape over a fortified town, probably Nimeguen, is lost in the aërial tints of the horizon, presenting one of those beautiful scenes which every one must remember with pleasure, who has ever visited the Rhingau. On looking at this picture attentively, and comparing it with Nature, one would imagine that the painter had dipped his pencil in sunshine. -- In all its parts, it is a perfest example of this fascinating master's works. One can hardly leave this enchanting scenery, without recalling to mind one of those favourite national songs, so much sung in that country, in praise of old Father Rhine. It commences: The Rhine! The Rhine! May on thy flowing river, The sun for ever shine, And on thy banks, May freedom dwell for ever. Be Blessing on the Rhine! This picture is 5 feet 8 inches in length, by 4 feet. On cloth]] réalisée par Albert Cuyp, vendue par [[[Buchanan]]]. [19]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[St. Peter. Guido. This head is full of sublimity, and evinces the fine feeling and sentiment of the master, in the character which he has so nobly pourtrayed. It is painted in his light and flowing manner, and is probably a finished study for his famous picture of the Doctors of the Church, which was formerly at Houghton, and was sold by Lord Orford to the Empress Catherine. It comes from the Colonna palace of Rome, and was long in the collection of the late Lord Radstock, than whom no man loved the fine arts more truly, or enthuisiastically. This picture is of an oval shape, on canvas (Guido)|St. Peter. Guido. This head is full of sublimity, and evinces the fine feeling and sentiment of the master, in the character which he has so nobly pourtrayed. It is painted in his light and flowing manner, and is probably a finished study for his famous picture of the Doctors of the Church, which was formerly at Houghton, and was sold by Lord Orford to the Empress Catherine. It comes from the Colonna palace of Rome, and was long in the collection of the late Lord Radstock, than whom no man loved the fine arts more truly, or enthuisiastically. This picture is of an oval shape, on canvas]] réalisée par Guido, vendue par [[[Buchanan]]]. [20]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Triumph of Venus. David Teniers, Jun. In this beautiful little picture, Teniers has evidently exerted himself, to prove that he could paint a poetical composition, as well as he could delineate the humours of a Flemish fête. Under the title of the Triumph of Venus, he has introduced the potrtraits of his own family and friends, many of whom are familiar to those who are acquainted with the works of this master. The portrait of his wife, in the character of a mermaid, is that of the female who dances in the foreground of most of his kermesses. Nothing can exceed the high finishing or beauty of his children in this picture. Albano himself, the painter of Loves and Graces, could not exel them. It is painted at the best period of the master, and probably about the time he composed his celebrated picture "Le Tir à l'arc". It formed one of the Danoot collection of Brussels. On copper, 16 by 12 inches (David Teniers, Jun.)|The Triumph of Venus. David Teniers, Jun. In this beautiful little picture, Teniers has evidently exerted himself, to prove that he could paint a poetical composition, as well as he could delineate the humours of a Flemish fête. Under the title of the Triumph of Venus, he has introduced the potrtraits of his own family and friends, many of whom are familiar to those who are acquainted with the works of this master. The portrait of his wife, in the character of a mermaid, is that of the female who dances in the foreground of most of his kermesses. Nothing can exceed the high finishing or beauty of his children in this picture. Albano himself, the painter of Loves and Graces, could not exel them. It is painted at the best period of the master, and probably about the time he composed his celebrated picture "Le Tir à l'arc". It formed one of the Danoot collection of Brussels. On copper, 16 by 12 inches]] réalisée par David Teniers, Jun., vendue par [[[Buchanan]]]. [21]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[The Party of Pleasure. Weenix (J.B.) This is one of the Danoot pictures, and is described in the Catalogue as follows. -- "Au centre du Tableau est un ponton prêt à partir; on y voit une dame assise qui pince de la guitare, et vis-à-vis d'elle est un cavalier qui l'accompagne de la flûte; à Côté de celui-ci est une autre dame qui tient un verre à la main; un esclave tient une cruche dans la main droite et s'appuie du bras gauche sur le bord du ponton; plus loin un cavalier fait nager un chien, et un matelot travaille à fraire partir le ponton; à gauche on voit un autre matelot qui met le pied dans le ponton, tandis qu'une femme, avec un enfant, semble le prier de pouvoir passer aussi; un jeune homme, tenant un chien en laisse, veut l'empêcher de s'élancer dans la barque; dans le fond on aperçoit un fort, que se prolonge de la gauche au milieu; ensuite quantité de vaisseaux forment une ligne jusqu'à la droit de l'horison. Ce Tableau, plein de mérite d'intérêt, est piquant d'effect; la composition en est charmante; il peut-être considéré comme un oeuvre des plus remarquables de cet aimable artiste." This picture is painted on pannel, and is 24 by 22 inches (Weenix (J.B.))|The Party of Pleasure. Weenix (J.B.) This is one of the Danoot pictures, and is described in the Catalogue as follows. -- "Au centre du Tableau est un ponton prêt à partir; on y voit une dame assise qui pince de la guitare, et vis-à-vis d'elle est un cavalier qui l'accompagne de la flûte; à Côté de celui-ci est une autre dame qui tient un verre à la main; un esclave tient une cruche dans la main droite et s'appuie du bras gauche sur le bord du ponton; plus loin un cavalier fait nager un chien, et un matelot travaille à fraire partir le ponton; à gauche on voit un autre matelot qui met le pied dans le ponton, tandis qu'une femme, avec un enfant, semble le prier de pouvoir passer aussi; un jeune homme, tenant un chien en laisse, veut l'empêcher de s'élancer dans la barque; dans le fond on aperçoit un fort, que se prolonge de la gauche au milieu; ensuite quantité de vaisseaux forment une ligne jusqu'à la droit de l'horison. Ce Tableau, plein de mérite d'intérêt, est piquant d'effect; la composition en est charmante; il peut-être considéré comme un oeuvre des plus remarquables de cet aimable artiste." This picture is painted on pannel, and is 24 by 22 inches]] réalisée par Weenix (J.B.), vendue par [[[Buchanan]]]. [22]

• 1830.02.14/ maison de ventes : Buchanan (William). Vente de l'œuvre décrite comme [[Apollo and the Seasons. For elegance of composition and beauty of execution this charming picture may be justly ranked as one of the finest productions of modern art. The name of Richard Wilson must ever convey pleasing associations to the amateur of landscape painting, as having placed that branch of modern art on a par with the greatest masters of the best periods. In classical composition he vies with Nicholas and Gaspar Poussin. In aërial effect, the purity of atmosphere, he yields in nothing to Claude Lorraine. On the banks of a river, where the wild geranium spreads out its broad leaf in great profusion, a group of four nymphs appear dancing to the sound of Apollo's lyre. -- The Scenery that bounds this local is truly classic. On the right of the spectator, and a little removed from the first plan, stands the Temple of Apollo, which, as opposed to the broad rays of a setting sun, is finely kept in that species of middle light, the proper distribution of which so often forms the principal charm of the chiar'oscuro; while the waving branches of a light spreading beech tree lend their aid to produce that brilliancy of effect, so delightful in nature, and which reigns throughout this enchanting picture. The middle ground forms that assemblage of interesting objects which so often presents itself to travellers in the beautiful country if Italy; a river of importance winds its way to some grand estuary, through grounds studded with the remains os ancient buildings, once probably the residence of the Roman Patricii, and the depositories of ancient art; while groups of fine trees, introduced with judgment and taste, mark the hand of the great master. The distance is formed by a chain of mountains that seems to bound the Mediterranean sea, and is enveloped by the intense heat of a summer's day. On a work of so much importance, and which must already be so well known to the world of art, from Woolett's fine engraving, it would probably be deemes superfluous to make any remark, were it not that the picture itself possesses a quality which the art of engraving cannot possibly convey, and that is, its colouring. In summer it is like nature; and in winter it appears like summer. This picture is on canvass, and is 4 feet 4 by 3 feet 3 inches (Richard Wilson)|Apollo and the Seasons. For elegance of composition and beauty of execution this charming picture may be justly ranked as one of the finest productions of modern art. The name of Richard Wilson must ever convey pleasing associations to the amateur of landscape painting, as having placed that branch of modern art on a par with the greatest masters of the best periods. In classical composition he vies with Nicholas and Gaspar Poussin. In aërial effect, the purity of atmosphere, he yields in nothing to Claude Lorraine. On the banks of a river, where the wild geranium spreads out its broad leaf in great profusion, a group of four nymphs appear dancing to the sound of Apollo's lyre. -- The Scenery that bounds this local is truly classic. On the right of the spectator, and a little removed from the first plan, stands the Temple of Apollo, which, as opposed to the broad rays of a setting sun, is finely kept in that species of middle light, the proper distribution of which so often forms the principal charm of the chiar'oscuro; while the waving branches of a light spreading beech tree lend their aid to produce that brilliancy of effect, so delightful in nature, and which reigns throughout this enchanting picture. The middle ground forms that assemblage of interesting objects which so often presents itself to travellers in the beautiful country if Italy; a river of importance winds its way to some grand estuary, through grounds studded with the remains os ancient buildings, once probably the residence of the Roman Patricii, and the depositories of ancient art; while groups of fine trees, introduced with judgment and taste, mark the hand of the great master. The distance is formed by a chain of mountains that seems to bound the Mediterranean sea, and is enveloped by the intense heat of a summer's day. On a work of so much importance, and which must already be so well known to the world of art, from Woolett's fine engraving, it would probably be deemes superfluous to make any remark, were it not that the picture itself possesses a quality which the art of engraving cannot possibly convey, and that is, its colouring. In summer it is like nature; and in winter it appears like summer. This picture is on canvass, and is 4 feet 4 by 3 feet 3 inches]] réalisée par Richard Wilson, vendue par [[[Buchanan]]]. [23]