Ventes d'œuvres le 1831.07.16

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  • 1831.07.16/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Bard. Many attempts had been made by the painters of our school to personify the descriptions of our native poets, but rarely with success. Few subjects selected for the painter's or the sculptor's art are more difficult to embody, than those which have been sketched by the pen of a master poet. The extensive powers of poetic description, admit of similies that are not within the compas of those graphic arts. The imagination is wrought upon by the commanding influence of words, and the reader of a poem like this, fancies a pleasing, though perhaps an indefinite vision of the person of the inspired bard, as described:- "Loose his beard and flowing hair, Streams like a meteor to the troubled air." But this undefined vision, which constitutes one of the many charms excited by poetry, is too often dispelled at once, by the painter's or the sculptor's attempt to personify it by translation into this respective art. Not withstanding these difficulties, this personification of Gray's Bard, on its appearance on the walls of Somerset House, obtained for the venerable president the unqualified applause of contemporary painters, and all who possessed a genuine feeling for this imitative art. Mr. West's greatest powers perhaps were developed in the perception of character. His King Lear and the Bard, have always been quoted amongst the finest examples illustrative of this very difficult department of design. The lofty rock on which he has placed the Bard, is the summit of a site, as romantic as the imagination of the poet, and the eagles skimming in mid-way air over the glen, is a pictorial episode in perfect accordance with the sentiment of the poem. It is a finely conceived and masterly illustration of the thinking of Gray. The late Mrs Siddons on beholding this composition in Mr. West's studio, immediately on its completion, with a voice, and gesture, which none but herself could express, quoting the line of the Bard, exclaimed, "Ruin seize thee ruthless king!" This great actress complimented Mr. West by observing, "had the poet been the painter of the Bard, he must have painted it thus." (Benjamin West, P.R.A.)|The Bard. Many attempts had been made by the painters of our school to personify the descriptions of our native poets, but rarely with success. Few subjects selected for the painter's or the sculptor's art are more difficult to embody, than those which have been sketched by the pen of a master poet. The extensive powers of poetic description, admit of similies that are not within the compas of those graphic arts. The imagination is wrought upon by the commanding influence of words, and the reader of a poem like this, fancies a pleasing, though perhaps an indefinite vision of the person of the inspired bard, as described:- "Loose his beard and flowing hair, Streams like a meteor to the troubled air." But this undefined vision, which constitutes one of the many charms excited by poetry, is too often dispelled at once, by the painter's or the sculptor's attempt to personify it by translation into this respective art. Not withstanding these difficulties, this personification of Gray's Bard, on its appearance on the walls of Somerset House, obtained for the venerable president the unqualified applause of contemporary painters, and all who possessed a genuine feeling for this imitative art. Mr. West's greatest powers perhaps were developed in the perception of character. His King Lear and the Bard, have always been quoted amongst the finest examples illustrative of this very difficult department of design. The lofty rock on which he has placed the Bard, is the summit of a site, as romantic as the imagination of the poet, and the eagles skimming in mid-way air over the glen, is a pictorial episode in perfect accordance with the sentiment of the poem. It is a finely conceived and masterly illustration of the thinking of Gray. The late Mrs Siddons on beholding this composition in Mr. West's studio, immediately on its completion, with a voice, and gesture, which none but herself could express, quoting the line of the Bard, exclaimed, "Ruin seize thee ruthless king!" This great actress complimented Mr. West by observing, "had the poet been the painter of the Bard, he must have painted it thus."]] réalisée par Benjamin West, P.R.A., vendue par Raphael West. [1]
  • 1831.07.16/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Deluge, Should it happen that any great personage were about to erect a chapel on his demesne, the three Scriptural subjects, about to be submitted to the amateurs of art, afford an opportunity of displaying them therein, with a compatibiltity of effect, that could not fail to meet the approbation of the whole world of taste. Supposing that the altar of such a chapel, were so constructed, as to admit of three compartments, richly ornamented, with suitable marble frame work, or borders, the centre to admit of the upright picture of the Crucifixion; that to the right, the Expulsion, and that to the left, the Deluge. These would supply an uniform series, descriptive of three of the most awfully impressive events recorded in the Old and New testament. One is a record of the first manifestation of the displeasure of the Almighty towards the being, man, in the expulsion of Adam and Eve from Paradise, for disobedience to his holy command. The second records the still more awfull consequences of Sin, in the Wreck of a World, swallowed by the Raging Waters, and the Destruction for the whole Human Race, saving one Righteous Family; and the third, the awful Death of the Divine Christ, through whom the countless myriads of the posterity of Noah, who had again re-peopled the earth, who had again re-peopled the earth, obtained the promise of Eternal Life. Such a series so placed, could not but tend to awaken even the most torpid mind, to a certain sense of serious meditation. These three impressive compositions, were painted by command of His later Majesty King George the Third, for the projected Royal Chapel, in Windsor Castle. It is sufficiently known that they were not only considered by his majesty, but by all the skilled in the knowledge of the art of painting to be three of the finest specimens of the British School, and worthy of comparision with the best works of the old masters. (Benjamin West, P.R.A.)|The Deluge, Should it happen that any great personage were about to erect a chapel on his demesne, the three Scriptural subjects, about to be submitted to the amateurs of art, afford an opportunity of displaying them therein, with a compatibiltity of effect, that could not fail to meet the approbation of the whole world of taste. Supposing that the altar of such a chapel, were so constructed, as to admit of three compartments, richly ornamented, with suitable marble frame work, or borders, the centre to admit of the upright picture of the Crucifixion; that to the right, the Expulsion, and that to the left, the Deluge. These would supply an uniform series, descriptive of three of the most awfully impressive events recorded in the Old and New testament. One is a record of the first manifestation of the displeasure of the Almighty towards the being, man, in the expulsion of Adam and Eve from Paradise, for disobedience to his holy command. The second records the still more awfull consequences of Sin, in the Wreck of a World, swallowed by the Raging Waters, and the Destruction for the whole Human Race, saving one Righteous Family; and the third, the awful Death of the Divine Christ, through whom the countless myriads of the posterity of Noah, who had again re-peopled the earth, who had again re-peopled the earth, obtained the promise of Eternal Life. Such a series so placed, could not but tend to awaken even the most torpid mind, to a certain sense of serious meditation. These three impressive compositions, were painted by command of His later Majesty King George the Third, for the projected Royal Chapel, in Windsor Castle. It is sufficiently known that they were not only considered by his majesty, but by all the skilled in the knowledge of the art of painting to be three of the finest specimens of the British School, and worthy of comparision with the best works of the old masters.]] réalisée par Benjamin West, P.R.A., vendue par Raphael West. [2]
  • 1831.07.16/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Adam and Eve Expelled From Paradise. The late Sir Thomas Lawrence, than whom no one held the genius and talent of Mr. West in higher estimation, expressed, as his opinion, that this picture was in pathos, one of the finest compositions that had emanated from any school of art. There have been several pictures of the olden school representative of this useful subject, the expulsion of our first parents from the Garden of Eden, certain of which exhibit many of the finest properties of the art; but it would be difficult to name any one of the many, which in the attributes of thinking, or design, can compete with this. It has been objected, and indeed with truth on too many occasions, that Mr. West did not render justice to his own fine perceptions, by neglecting to bestow that patient consideration upon the completing of his compositiions, which they demanded. This fault, however much it many be lamented, has been common to those painters, who have been gifted by nature, with an aptitude for invention, such having found it irksome to dwell long upon the same subject: the fecundity of their imaginations indeed being impatient to give birth to new compositions, long before all that was demanded to the perfection of the last could be accomplished. These pictures however, on which Mr. West bestowed the full exertion of his powers, and on which he laboured for the manintenance of that reputation, which he acquired early in life, were not only studied with becoming care, but as highly wrought, and as finely executed as the best works of the old Italian masters. The present it might be presumed, would be a congenial period for the disposal of this very fine and impressive Scriptural picture, for as an altar-piece, it would from its convenient size, suit one of the many new and elegant chapels, which have been lately erected, and which have contributed so much to the architectural improvement of the British metropolis (Benjamin West, P.R.A.)|Adam and Eve Expelled From Paradise. The late Sir Thomas Lawrence, than whom no one held the genius and talent of Mr. West in higher estimation, expressed, as his opinion, that this picture was in pathos, one of the finest compositions that had emanated from any school of art. There have been several pictures of the olden school representative of this useful subject, the expulsion of our first parents from the Garden of Eden, certain of which exhibit many of the finest properties of the art; but it would be difficult to name any one of the many, which in the attributes of thinking, or design, can compete with this. It has been objected, and indeed with truth on too many occasions, that Mr. West did not render justice to his own fine perceptions, by neglecting to bestow that patient consideration upon the completing of his compositiions, which they demanded. This fault, however much it many be lamented, has been common to those painters, who have been gifted by nature, with an aptitude for invention, such having found it irksome to dwell long upon the same subject: the fecundity of their imaginations indeed being impatient to give birth to new compositions, long before all that was demanded to the perfection of the last could be accomplished. These pictures however, on which Mr. West bestowed the full exertion of his powers, and on which he laboured for the manintenance of that reputation, which he acquired early in life, were not only studied with becoming care, but as highly wrought, and as finely executed as the best works of the old Italian masters. The present it might be presumed, would be a congenial period for the disposal of this very fine and impressive Scriptural picture, for as an altar-piece, it would from its convenient size, suit one of the many new and elegant chapels, which have been lately erected, and which have contributed so much to the architectural improvement of the British metropolis]] réalisée par Benjamin West, P.R.A., vendue par Raphael West. [3]
  • 1831.07.16/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Crucifixion It is well known that for many years objections have very generally prevailed against the admission of pictures into our churches or chapels, so much so indeed, that although the noblemen and gentlemen directors of the British Institution, in their enlightened and patriotic zeal for the promotion of the fine arts of the country, purchased certain fine pictures of subjects taken from the Old and New Testament, for the purpose of presenting them as altar pieces to the church, yet the proffered gift has been declined, upon the general feeling that the adorning of a protestant place of worship with pictures, was derogatory to the spirit of devotion as intended by the reformation. There have been and still are those however, whose opinions upon this subject from their religious consistency, and holiness of life may be quoted as authorities opposed to such narrow views. His Majesty George III. a sovereign whose orthodoxy as a protestant prince, and holiness of life are recorded in the memory of the pious, it is well known was so desirous that our places of public worship should be adorned with works of art, that he had projected a chapel to be erected by Mr. James Wyatt, within the ancient palace of Windsor, which was to to be enriched with paintings and sculpture. His Majesty was of opinion indeed, that the best efforts of human genius, could not be better employed, than in the illustration of the awful and sublime events recorded in the Holy Scriptures, and that no place was so befitting to receive them as the national temple dedicated to the solemnities of devotion. This very masterly composition embraces in its various grouping all the prominent circumstances of the awful and sublime event which it records, and cannot be contemplated but with reverence for the Divine Being who is thus pathetically represented, accomplishing in his Holy Person, the last and most inestimable act of that Heavenly mission by which mankind became heirs to immortality. Mr. West, of all the painters who have studied Biblical history with reference to their art, has, it is believed, produced the greatest number of subjects taken therefrom, and however others may have excelled in certain professional mastery, in their pictoral representaions of sacred events, few have equalled, and none perhaps have excelled him in that dramatic perception, which is indispensable in painting the story proposed, so as to speak to the general understanding of every class of readers of the Old and New Testament (Benjamin West)|The Crucifixion It is well known that for many years objections have very generally prevailed against the admission of pictures into our churches or chapels, so much so indeed, that although the noblemen and gentlemen directors of the British Institution, in their enlightened and patriotic zeal for the promotion of the fine arts of the country, purchased certain fine pictures of subjects taken from the Old and New Testament, for the purpose of presenting them as altar pieces to the church, yet the proffered gift has been declined, upon the general feeling that the adorning of a protestant place of worship with pictures, was derogatory to the spirit of devotion as intended by the reformation. There have been and still are those however, whose opinions upon this subject from their religious consistency, and holiness of life may be quoted as authorities opposed to such narrow views. His Majesty George III. a sovereign whose orthodoxy as a protestant prince, and holiness of life are recorded in the memory of the pious, it is well known was so desirous that our places of public worship should be adorned with works of art, that he had projected a chapel to be erected by Mr. James Wyatt, within the ancient palace of Windsor, which was to to be enriched with paintings and sculpture. His Majesty was of opinion indeed, that the best efforts of human genius, could not be better employed, than in the illustration of the awful and sublime events recorded in the Holy Scriptures, and that no place was so befitting to receive them as the national temple dedicated to the solemnities of devotion. This very masterly composition embraces in its various grouping all the prominent circumstances of the awful and sublime event which it records, and cannot be contemplated but with reverence for the Divine Being who is thus pathetically represented, accomplishing in his Holy Person, the last and most inestimable act of that Heavenly mission by which mankind became heirs to immortality. Mr. West, of all the painters who have studied Biblical history with reference to their art, has, it is believed, produced the greatest number of subjects taken therefrom, and however others may have excelled in certain professional mastery, in their pictoral representaions of sacred events, few have equalled, and none perhaps have excelled him in that dramatic perception, which is indispensable in painting the story proposed, so as to speak to the general understanding of every class of readers of the Old and New Testament]] réalisée par Benjamin West, vendue par Raphael West au prix de 45 gs. [4]
  • 1831.07.16/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Mark Anthony reading the will of Julius Caesar Whatever epic subject came under the consideration of this distinguised painter, the same vigor of perception is displayed in the general arrangement of the design, wherein all the action tends to elucidate the story. In this composition the painter has exhibitied his usual mastery of expression, in giving to the countenance of every individual the impress of the workings of the mind, as wrought upon by the eloquence of Mark Anthony, thus appealing to their passions on beholding the bleeding corse of the murdered sovereign. The whole scene, even to the most minute feature of its many episodes, tends to one point, the public commotion which is suddenly excited by the skilful address of the friend of Caesar, in his appeal to the passions of the multitude. The compossiion is imposing and grand, and may be considered as a splendid Gallery picture. (Benjamin West, P.R.A.)|Mark Anthony reading the will of Julius Caesar Whatever epic subject came under the consideration of this distinguised painter, the same vigor of perception is displayed in the general arrangement of the design, wherein all the action tends to elucidate the story. In this composition the painter has exhibitied his usual mastery of expression, in giving to the countenance of every individual the impress of the workings of the mind, as wrought upon by the eloquence of Mark Anthony, thus appealing to their passions on beholding the bleeding corse of the murdered sovereign. The whole scene, even to the most minute feature of its many episodes, tends to one point, the public commotion which is suddenly excited by the skilful address of the friend of Caesar, in his appeal to the passions of the multitude. The compossiion is imposing and grand, and may be considered as a splendid Gallery picture.]] réalisée par Benjamin West, P.R.A., vendue par Raphael West. [5]
  • 1831.07.16/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[Ecce Homo The most enlightened amongst the contemporaries of the late Mr. West, held his connoisseurship, particularly with reference to the works of the great Italian masters, in the highest estimation. Indeed, scarcely a valuable picture was imported to this country, during many years, that was not submitted by its proprietor, or those to whom it was consigned, for his opinion: Hence, on his authority a picure might almost without dispute, be received as an original. Sir Joshua Reynolds, himself an able connoisseur, frequently referrred his own opinion for the confirmation of Mr. West, candidly acknowledging, that his "perception forhands" was superior to his own. Indeed, not excepting that of the late Mr. Tresham, his authority upon this point was considered superior to that of any other judge of art. If this fine picture then had not been the property of the late Mr. West, it might enhance its value to give his opinion of its transcendant merit; yet, as Mr. West could never be tempted to part with it, and as he was not suspected to be wanting in candor and integrity, his word may be quoted, in conjunction with that of his friend Sir Joshua, who was of opinion that it "might be considered as one of the very finest productions of the painter's art." This indeed has been the opinion of all the most distinguished judges of the age. As an exemplar to the rising school of painters, this magnificent Guido, it is presumed, would be judiciously appointed, by a conspicuous place in the National Gallery. (Guido)|Ecce Homo The most enlightened amongst the contemporaries of the late Mr. West, held his connoisseurship, particularly with reference to the works of the great Italian masters, in the highest estimation. Indeed, scarcely a valuable picture was imported to this country, during many years, that was not submitted by its proprietor, or those to whom it was consigned, for his opinion: Hence, on his authority a picure might almost without dispute, be received as an original. Sir Joshua Reynolds, himself an able connoisseur, frequently referrred his own opinion for the confirmation of Mr. West, candidly acknowledging, that his "perception forhands" was superior to his own. Indeed, not excepting that of the late Mr. Tresham, his authority upon this point was considered superior to that of any other judge of art. If this fine picture then had not been the property of the late Mr. West, it might enhance its value to give his opinion of its transcendant merit; yet, as Mr. West could never be tempted to part with it, and as he was not suspected to be wanting in candor and integrity, his word may be quoted, in conjunction with that of his friend Sir Joshua, who was of opinion that it "might be considered as one of the very finest productions of the painter's art." This indeed has been the opinion of all the most distinguished judges of the age. As an exemplar to the rising school of painters, this magnificent Guido, it is presumed, would be judiciously appointed, by a conspicuous place in the National Gallery.]] réalisée par Guido, vendue par Raphael West, achetée par Smith for Rogers au prix de 190 gs. [7]
  • 1831.07.16/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Bath of Diana. This splenid sketch, as indisputably the work of his masterly hand, is a study for the magnificent picture of the same subject by Titian, which forms one of the graphc stars of the Stafford Gallery. It should be added, that these sketches were possessed by Mr. West, for at least half a century, and were held by him and his learned coterie, in the highest estimation, as invaluable specimens, to the artist at least, of the pouring forth of the first thoughts of this inimitable colourist. (Titian)|The Bath of Diana. This splenid sketch, as indisputably the work of his masterly hand, is a study for the magnificent picture of the same subject by Titian, which forms one of the graphc stars of the Stafford Gallery. It should be added, that these sketches were possessed by Mr. West, for at least half a century, and were held by him and his learned coterie, in the highest estimation, as invaluable specimens, to the artist at least, of the pouring forth of the first thoughts of this inimitable colourist.]] réalisée par Titian, vendue par Raphael West au prix de 24.10 £. [8]
  • 1831.07.16/ maison de ventes : Robins (Henry J. & George Henry). Vente de l'œuvre décrite comme [[The Last Supper. Truly has it been observed of late, with reference to the ship loads of old masters that succeed each other for the English market, that, all the pictures that have ever been painted, from a century before the age of Michael Angelo to the present Year of our Lord, One Thousand, Eight Hundred and Thirty-one, have by some Guardian Spirit, been miraculously preserved from the common fate of almost all the other handy works of man, -- Pictures alone seem indistructible. It happens, however, that of these importations of almost countlesss Raffaell's and Corregggio's, Titian's and Tintoretto's, and a host of other works of high sounding name, that scarecely one in a hundred is worth the amount of its freight: hence a genuine picture is still as estimable in the market, as sterling gold; for those which are known to be the works of the illustrious hands to which they are assigned, are not to be ob tained, but through channels that are rarely open, and when opened, are exposed to that spirited competition, which will enrich a gallery, at a commensurate expense. That this sketch is the work of the hand of Titian, is obvious from its own evidence. -- It is substantiated moreover, by the collateral evidence of veritable picture history, on the authority of which, this has been held, without dispute, to be the first sketch by Titian for his famous picture of the same subject, in the gallery of the palace of the Escurial. As a genuine specimen of this great master of the Venetian School, it may be pronounced worthy a place in a collection of first rate repute (Titian)|The Last Supper. Truly has it been observed of late, with reference to the ship loads of old masters that succeed each other for the English market, that, all the pictures that have ever been painted, from a century before the age of Michael Angelo to the present Year of our Lord, One Thousand, Eight Hundred and Thirty-one, have by some Guardian Spirit, been miraculously preserved from the common fate of almost all the other handy works of man, -- Pictures alone seem indistructible. It happens, however, that of these importations of almost countlesss Raffaell's and Corregggio's, Titian's and Tintoretto's, and a host of other works of high sounding name, that scarecely one in a hundred is worth the amount of its freight: hence a genuine picture is still as estimable in the market, as sterling gold; for those which are known to be the works of the illustrious hands to which they are assigned, are not to be ob tained, but through channels that are rarely open, and when opened, are exposed to that spirited competition, which will enrich a gallery, at a commensurate expense. That this sketch is the work of the hand of Titian, is obvious from its own evidence. -- It is substantiated moreover, by the collateral evidence of veritable picture history, on the authority of which, this has been held, without dispute, to be the first sketch by Titian for his famous picture of the same subject, in the gallery of the palace of the Escurial. As a genuine specimen of this great master of the Venetian School, it may be pronounced worthy a place in a collection of first rate repute]] réalisée par Titian, vendue par Raphael West au prix de 94.10 £. [9]
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