Ventes d'œuvres le 1831.11.18

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  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Six Historical Gallery Paintings. No. 6. Thetis requesting a new suit of armour from Vulcan, for Achilles after the death of Patroclus. Size, 7 feet 10, by 9 feet. Then calling forth Her spouse the glorious artist, thus she said; Haste Vulcan, Thetes wants thee, linger not; To whom the artist of the skies replied, A goddess then whom justly I respect, And venerate, is here; * * * * * He spake, and vast in bulk, and hot with toil, Rose limping from his anvil stock. * * * * * Therefore at thy knees, Suppliant I fall, imploring from thine art, A Shield, and Helmet, Greaves of shapely form, With clasps secured; and corslet for my son. Iliad, Book XVIII. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa (Antonio Balestra)|Six Historical Gallery Paintings. No. 6. Thetis requesting a new suit of armour from Vulcan, for Achilles after the death of Patroclus. Size, 7 feet 10, by 9 feet. Then calling forth Her spouse the glorious artist, thus she said; Haste Vulcan, Thetes wants thee, linger not; To whom the artist of the skies replied, A goddess then whom justly I respect, And venerate, is here; * * * * * He spake, and vast in bulk, and hot with toil, Rose limping from his anvil stock. * * * * * Therefore at thy knees, Suppliant I fall, imploring from thine art, A Shield, and Helmet, Greaves of shapely form, With clasps secured; and corslet for my son. Iliad, Book XVIII. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa]] réalisée par Antonio Balestra, achetée par Clark Esq Yorkshire au prix de 50.8 £. [2]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Six Historical Gallery Paintings. No. 5. Thetis appearing to Achilles lamenting Briseis. Size, 5 feet 4, by 9 feet. Then wept Achilles, and apart from all, With eyes directed to the gloomy deep, And arms outstretched; his mother suppliant sought. Iliad, Book I. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa (Antonio Balestra)|Six Historical Gallery Paintings. No. 5. Thetis appearing to Achilles lamenting Briseis. Size, 5 feet 4, by 9 feet. Then wept Achilles, and apart from all, With eyes directed to the gloomy deep, And arms outstretched; his mother suppliant sought. Iliad, Book I. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa]] réalisée par Antonio Balestra, achetée par Clark Esq Yorkshire au prix de 50.8 £. [3]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Six Historical Gallery Paintings. No. 4. Thetis dipping Achilles in the water from the Styx. Size, 7 feet 5, by 9 feet. The circumstance of Thetis dipping her son at his birth in the river Styx, which rendered his whole body invulnerable, except the heel which she held in her hand; from not occurring in Homer, must be regarded as a fiction of later times. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa (Antonio Balestra)|Six Historical Gallery Paintings. No. 4. Thetis dipping Achilles in the water from the Styx. Size, 7 feet 5, by 9 feet. The circumstance of Thetis dipping her son at his birth in the river Styx, which rendered his whole body invulnerable, except the heel which she held in her hand; from not occurring in Homer, must be regarded as a fiction of later times. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa]] réalisée par Antonio Balestra, achetée par Clark Esq Yorkshire au prix de 50.8 £. [4]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Six Historical Gallery Paintings. No. 3. Venus appearing to AEneas and Achates. Size, 5 feet 4, by 9 feet. Meantime in shades of night AEneas lies: Care seized his soul, and sleep forsook his eyes. But when the sun restored the cheerful day, He rose, the coast and country to survey, Anxious and eager to discover more. It look'd a wild, cultivated shore: But, whether human kind, or beasts alone, Possessed the new found region, was unknown Beneath a ledge of rocks his fleet he hides: Tall trees surround the mountain's shady sides: The bending brow above, a safe retreat provides. Armed with two pointed darts, he leaves his friends; And true Achates on his steps attends. Lost in the deep recesses of the wood, Before his eyes his goddess-mother stood -- A huntress in her habit and her mein: Her dress a maid, her air confessed a Queen. Bare wree her knees, and knots her garments bind; Loose was her hair, and wanton'd in the wind; Her hand sustained a bow, her quiver hung behind. Dryden's Virgil, AEneid, I. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa (Antonio Balestra)|Six Historical Gallery Paintings. No. 3. Venus appearing to AEneas and Achates. Size, 5 feet 4, by 9 feet. Meantime in shades of night AEneas lies: Care seized his soul, and sleep forsook his eyes. But when the sun restored the cheerful day, He rose, the coast and country to survey, Anxious and eager to discover more. It look'd a wild, cultivated shore: But, whether human kind, or beasts alone, Possessed the new found region, was unknown Beneath a ledge of rocks his fleet he hides: Tall trees surround the mountain's shady sides: The bending brow above, a safe retreat provides. Armed with two pointed darts, he leaves his friends; And true Achates on his steps attends. Lost in the deep recesses of the wood, Before his eyes his goddess-mother stood -- A huntress in her habit and her mein: Her dress a maid, her air confessed a Queen. Bare wree her knees, and knots her garments bind; Loose was her hair, and wanton'd in the wind; Her hand sustained a bow, her quiver hung behind. Dryden's Virgil, AEneid, I. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa]] réalisée par Antonio Balestra, achetée par Clark Esq Yorkshire au prix de 50.8 £. [5]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Six Historical Gallery Paintings. No. 2. The Rape of Helen. Size, 9 feet, by 9 feet. In the third year of the marriage of Helen and Menelaus, Paris arrived at Sparta with a dazzling retinue, seduced the Queen, and carried her to his father's palace. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa (Antonio Balestra)|Six Historical Gallery Paintings. No. 2. The Rape of Helen. Size, 9 feet, by 9 feet. In the third year of the marriage of Helen and Menelaus, Paris arrived at Sparta with a dazzling retinue, seduced the Queen, and carried her to his father's palace. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa]] réalisée par Antonio Balestra, achetée par Clark Esq Yorkshire au prix de 50.8 £. [6]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Six Historical Gallery Paintings. No. 1. The Sacrifice of Iphegenia. Size, 8 feet 7 inches, by 9 feet. Vide the account of her behaviour at the Altar, described with inimimitable beauty, by AEchylus in his tragedy of Agamemnan. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa (Antonio Balestra)|Six Historical Gallery Paintings. No. 1. The Sacrifice of Iphegenia. Size, 8 feet 7 inches, by 9 feet. Vide the account of her behaviour at the Altar, described with inimimitable beauty, by AEchylus in his tragedy of Agamemnan. These grand Gallery Paintings, (suited to ornament the hall, lobby, or staircase of the most splendid mansion in the kingdom) are acknowledged to be the chef d'oeuvres of Balestra, and were obtained by Mons. Stiers from out of the Aldobrandini Palace at Rome, as fit to adorn even his Collection, -- famed as it has long been, as one of the most select in Europe. Their subject, taken from the Iliad, Virgil's AEneid, and the Agamemnon of AEschylus, is chosen with infinite judgment, and handled in the most able manner. Balestra was celebrated for his intimate acquaintance with the ancient Mythology, by which he was led to indulge in those representations which gratify the scholar by their apt and pleasing reminiscences while the elegance and graceful propriety of his execution, afford delight to the connoisseur. These compositions, in which he has succeeded in combining with his own, the excellencies of Raphael, Correggio, and the Caracci, are masterly and striking proofs of his skill, when he chose to exert it. His Men are full of energy and expression, and the Females truly heavenly. Strict attention is paid to costume: the draperies are grand and appropriate; while his figures display a finished grace and correctness of delineation seldom, if ever, found in works of their size. His colouring -- rich, transparent, and glowing, harmonizes with the subject; and in the management of the chiaro-scuro, and of his Landscapes and Backgrounds, one is reminded of the picturesque effect and brilliancy of tone evinced by his great contemporary, Salvator Rosa]] réalisée par Antonio Balestra, achetée par Clark Esq Yorkshire au prix de 50.8 £. [7]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Virgin and Child. This is a subject that has employed the Pencil of almost every Artist of distinction; but how few have succeeded in giving it the grace and propriety of expression of which Sasso Ferato here shews it to be capable. Every part of this Picture is expressive of this great Master's mind and powers; from the same Collection Murat, king of Naples (Sasso Feratto)|The Virgin and Child. This is a subject that has employed the Pencil of almost every Artist of distinction; but how few have succeeded in giving it the grace and propriety of expression of which Sasso Ferato here shews it to be capable. Every part of this Picture is expressive of this great Master's mind and powers; from the same Collection Murat, king of Naples]] réalisée par Sasso Feratto au prix de 14.0 £. [8]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Saints Presenting a Venetian Nobleman to the Virgin and Child. This Picture has evidently been painted, by Giorgione, for the Nobleman whose Portrait is introduced, and who is in the act of kneeling to the Infant. Composed in a style of great elegance, and exhibits sweetness of character, with delicate and refined expression; from the same Collection Murat, king of Naples (Giorgione)|Saints Presenting a Venetian Nobleman to the Virgin and Child. This Picture has evidently been painted, by Giorgione, for the Nobleman whose Portrait is introduced, and who is in the act of kneeling to the Infant. Composed in a style of great elegance, and exhibits sweetness of character, with delicate and refined expression; from the same Collection Murat, king of Naples]] réalisée par Giorgione, achetée par J Johnston Esqr au prix de 30.9 £. [9]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Holy Family, with a Bishop Offering Fruit. The graceful elegance diffused by this Prince of Painters over every production of his Pencil, is a criterion by which their originality is recognised where similarity of drawing or colouring excites a doubt in the mind of the Connoisseur. It would be difficult to adduce a finer proof of his polished manner, where infantine playfulness, and maternal tenderness and affection, are introduced with more simple elegance and interesting beauty; the playful child stretching his little arms, enchants by his natural simplicity; and the character of Joseph, arranged in complete harmony with the subordinate parts, form a group and union peculiarly captivating. This beautiful composition is well known as having formed part of the Collection of Murat, king of Naples, which was rich in the works of this great Master (Titian)|Holy Family, with a Bishop Offering Fruit. The graceful elegance diffused by this Prince of Painters over every production of his Pencil, is a criterion by which their originality is recognised where similarity of drawing or colouring excites a doubt in the mind of the Connoisseur. It would be difficult to adduce a finer proof of his polished manner, where infantine playfulness, and maternal tenderness and affection, are introduced with more simple elegance and interesting beauty; the playful child stretching his little arms, enchants by his natural simplicity; and the character of Joseph, arranged in complete harmony with the subordinate parts, form a group and union peculiarly captivating. This beautiful composition is well known as having formed part of the Collection of Murat, king of Naples, which was rich in the works of this great Master]] réalisée par Titian au prix de 86.2 £. [10]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Jupiter and Io, Companion. The scarity of this Master's Works is not the only inducement to connoissuers to purchase them at high prices; they have an intrinsic merit to recommend them; and, trusting to their own excellencies, they are sure of being highly appreciated. These Specimens are authenticated as his undoubted works, and are from the Splendid Gallery of the King of Holland (Greuze)|Jupiter and Io, Companion. The scarity of this Master's Works is not the only inducement to connoissuers to purchase them at high prices; they have an intrinsic merit to recommend them; and, trusting to their own excellencies, they are sure of being highly appreciated. These Specimens are authenticated as his undoubted works, and are from the Splendid Gallery of the King of Holland]] réalisée par Greuze. [11]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[A Bacchante The scarity of this Master's Works is not the only inducement to connoissuers to purchase them at high prices; they have an intrinsic merit to recommend them; and, trusting to their own excellencies, they are sure of being highly appreciated. These Specimens are authenticated as his undoubted works, and are from the Splendid Gallery of the King of Holland (Greuze)|A Bacchante The scarity of this Master's Works is not the only inducement to connoissuers to purchase them at high prices; they have an intrinsic merit to recommend them; and, trusting to their own excellencies, they are sure of being highly appreciated. These Specimens are authenticated as his undoubted works, and are from the Splendid Gallery of the King of Holland]] réalisée par Greuze. [12]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[Interior of a Church. The truth of representation is conspicuous in the works of Neefs. He seems to have been determined that every part of his buildings should be known, as well as their general appearance. His great Architectural knowledge, and his deep acquaintance with the laws of Perspective, joined to a correct eye, and a taste for elegant disposition, place his performances at the summit of his department of the Art. To render his Works more valuable, he usually had the Figures introduced by a skilful friend. Teniers has been employed on this occasion; a Splendid Specimen, and in fine preservation, from the above Collection of Baron Luckhaust (Neefs)|Interior of a Church. The truth of representation is conspicuous in the works of Neefs. He seems to have been determined that every part of his buildings should be known, as well as their general appearance. His great Architectural knowledge, and his deep acquaintance with the laws of Perspective, joined to a correct eye, and a taste for elegant disposition, place his performances at the summit of his department of the Art. To render his Works more valuable, he usually had the Figures introduced by a skilful friend. Teniers has been employed on this occasion; a Splendid Specimen, and in fine preservation, from the above Collection of Baron Luckhaust]] réalisée par Neefs au prix de 18.18 £. [16]
  • 1831.11.18/ maison de ventes : Wright (Francis). Vente de l'œuvre décrite comme [[The Fire of London in 1666, the View taken from the Tower, below London Bridge, which is shewn in it's original state, as well as the Old Cathedral of St Paul's, a genuine Specimen of this esteemed Master, from the celebrated Collection of Baron Luckhaust (A. Cuyp)|The Fire of London in 1666, the View taken from the Tower, below London Bridge, which is shewn in it's original state, as well as the Old Cathedral of St Paul's, a genuine Specimen of this esteemed Master, from the celebrated Collection of Baron Luckhaust]] réalisée par A. Cuyp, achetée par Henry Witham Esqr au prix de 57.19 £. [17]
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