Ventes d'œuvres le 1832.05.09

De Wikipast
Version datée du 30 mai 2021 à 14:17 par Unknown user (discussion) (Page créée avec « * 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme ''The Conversion of Saul. A fine st… »)
(diff) ← Version précédente | Voir la version actuelle (diff) | Version suivante → (diff)
Aller à la navigation Aller à la recherche
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Virgin, Infant Jesus, and St. John -- in a Landscape, with an Antique Ruin in the back-ground. A picture known by the name of the "Sleeping Jesus." Painted on thick panel. The young St. John, in an attitude of religious admiration, with his mouth half open, and hands scarcely closed, seems to have fixed his eyes on his beloved Master, expressive of a desire to behold him; and the fond mother acceding to his desire, gracefully and softly, raises the transparent veil that covers him (Raffaelle, or Raffaello Sanzio)|The Virgin, Infant Jesus, and St. John -- in a Landscape, with an Antique Ruin in the back-ground. A picture known by the name of the "Sleeping Jesus." Painted on thick panel. The young St. John, in an attitude of religious admiration, with his mouth half open, and hands scarcely closed, seems to have fixed his eyes on his beloved Master, expressive of a desire to behold him; and the fond mother acceding to his desire, gracefully and softly, raises the transparent veil that covers him]] réalisée par Raffaelle, or Raffaello Sanzio, vendue par [[[Taylor]]] au prix de 120 gs. [13]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[Samson and Dalilah. Here is a subject treated totally different to the usual manner. In this Picture the humorous Artist has inculcated a great moral lesson, in the fate of Samson, who appears on his knees, just "shorn of his strength," while "harlot Dalilah" is busy with the money which she has received as his price. The story is told much in the way that Hogarth would have treated it, but painted in a manner that that artist could not attain to. It is a singularly fine specimen of the Master, painted in his best time, and contains all his excellencies (Jan Steen)|Samson and Dalilah. Here is a subject treated totally different to the usual manner. In this Picture the humorous Artist has inculcated a great moral lesson, in the fate of Samson, who appears on his knees, just "shorn of his strength," while "harlot Dalilah" is busy with the money which she has received as his price. The story is told much in the way that Hogarth would have treated it, but painted in a manner that that artist could not attain to. It is a singularly fine specimen of the Master, painted in his best time, and contains all his excellencies]] réalisée par Jan Steen, vendue par [[[Taylor]]]. [18]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[St. Roche Pleading with God. A magnificent performance for drawing, colouring, and finishing, and a rare specimen of the talents of this great and early Master, to whose judgment Raffaelle submitted his own productions. -- To this picture the Artist has inscribed his his sic name, and the date, 1502 (Francesco Francia, or Raibolini)|St. Roche Pleading with God. A magnificent performance for drawing, colouring, and finishing, and a rare specimen of the talents of this great and early Master, to whose judgment Raffaelle submitted his own productions. -- To this picture the Artist has inscribed his his sic name, and the date, 1502]] réalisée par Francesco Francia, or Raibolini, vendue par [[[Taylor]]] au prix de 119.4 £. [19]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Virgin and Child. A charming speciment of the Raffaelle School of design, and coloured with all the tenderness and brilliance of Corregio; and although nearly two centuries old, possesses an extraordinary transparency, and the tints are as fresh as though it had just left the artist's easel (Giovanni Batista Salvi, called Sassoferrata)|The Virgin and Child. A charming speciment of the Raffaelle School of design, and coloured with all the tenderness and brilliance of Corregio; and although nearly two centuries old, possesses an extraordinary transparency, and the tints are as fresh as though it had just left the artist's easel]] réalisée par Giovanni Batista Salvi, called Sassoferrata, vendue par [[[Taylor]]]. [21]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Holy Family. Lanzi, in his Lives of the Painters, highly commends the brilliant colouring of this old Florentine Artist, the forerunner of Michael Angelo and Corregio. Formerly in the collection of King Charles the First. On panel (Gasparri Spinelli.- Born 1366; Died 1426)|The Holy Family. Lanzi, in his Lives of the Painters, highly commends the brilliant colouring of this old Florentine Artist, the forerunner of Michael Angelo and Corregio. Formerly in the collection of King Charles the First. On panel]] réalisée par Gasparri Spinelli.- Born 1366; Died 1426, vendue par [[[Taylor]]]. [37]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Dead Christ, and the Marys. A splendid specimen of the combined talents of these great Artists, and, for feeling and vigour of pencil, may be considered not unworthy of being placed in competition with the celebrated picture of the same subject, though differently treated, by their brother Annibale, and now in the collection of the Earl of Carlisle (Ludovico Caracci)|The Dead Christ, and the Marys. A splendid specimen of the combined talents of these great Artists, and, for feeling and vigour of pencil, may be considered not unworthy of being placed in competition with the celebrated picture of the same subject, though differently treated, by their brother Annibale, and now in the collection of the Earl of Carlisle]] réalisée par Ludovico Caracci, vendue par [[[Taylor]]]. [46]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[A copy in miniature, by this highly esteemed Artist, of the great picture in the Vatican of the Last Judgment, by Michael Angelo. -- This beautiful gem was formerly in the collection of Pope Clement the Eleventh, and His Holiness presented it to Cardinal Janson, who attended his inauguration, as Charge des Affaires de France, in whose family it remained till after the French Revolution. The numerous figures it contains are a study of drawing and variety, such as is seldom met with (Giulio G. Clovio)|A copy in miniature, by this highly esteemed Artist, of the great picture in the Vatican of the Last Judgment, by Michael Angelo. -- This beautiful gem was formerly in the collection of Pope Clement the Eleventh, and His Holiness presented it to Cardinal Janson, who attended his inauguration, as Charge des Affaires de France, in whose family it remained till after the French Revolution. The numerous figures it contains are a study of drawing and variety, such as is seldom met with]] réalisée par Giulio G. Clovio, vendue par [[[Taylor]]]. [57]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Holy Family -- with an Angel offering fruit to the Infant Saviour. Infantine simplicity and maternal fondness are here happily blended, and the whole picture treated in a poetical manner, while its colouring and arrangement are exquisite (Frate Bartolomeo di St. Marco)|The Holy Family -- with an Angel offering fruit to the Infant Saviour. Infantine simplicity and maternal fondness are here happily blended, and the whole picture treated in a poetical manner, while its colouring and arrangement are exquisite]] réalisée par Frate Bartolomeo di St. Marco, vendue par [[[Taylor]]]. [67]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[St. Mary of Egypt, who lived forty years in the Deserts a life of fasting and mortification, is finely conceived, and so expressed as to produce the most awful effect upon the spectator. The portrait of Petrarch is introduced below, reciting her praises: -- a curious piece of anachronism, frequently occurring in the ancient masters. It is on very thick panel, and appears to be unfinished, having apparently in some parts received only a second coat of paint, though the head of St. Mary is nearly finished, with a tone of colouring, and lightness of pencil, somewhat resembling the latter works of Guido. -- Raffaelle, during his stay at Florence, improved in his colouring under the tuition of the Frate, to whom, in return, it is said, he taught the rules of perspective (Frate Bartolomeo)|St. Mary of Egypt, who lived forty years in the Deserts a life of fasting and mortification, is finely conceived, and so expressed as to produce the most awful effect upon the spectator. The portrait of Petrarch is introduced below, reciting her praises: -- a curious piece of anachronism, frequently occurring in the ancient masters. It is on very thick panel, and appears to be unfinished, having apparently in some parts received only a second coat of paint, though the head of St. Mary is nearly finished, with a tone of colouring, and lightness of pencil, somewhat resembling the latter works of Guido. -- Raffaelle, during his stay at Florence, improved in his colouring under the tuition of the Frate, to whom, in return, it is said, he taught the rules of perspective]] réalisée par Frate Bartolomeo, vendue par [[[Taylor]]]. [77]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[Christ bearing his Cross. This sublime Picture of the Spanish school, is alone sufficient to justify the appellation given to this highly-distinguished Artist, in his own country, of the "Divine Morales." Specimens of this Master are very rare. The altar-piece of Magdalen Chapel at Oxford is generally attributed to him, and therefore particular attention is invited to this picture. The meekness and resignation pourtrayed in the suffering countenance of the Saviour, must strike every beholder, and we think it will be allowed to surpass the Oxford altar-piece, favourite as it is in that University.-- From the Calonne Collection (Morales)|Christ bearing his Cross. This sublime Picture of the Spanish school, is alone sufficient to justify the appellation given to this highly-distinguished Artist, in his own country, of the "Divine Morales." Specimens of this Master are very rare. The altar-piece of Magdalen Chapel at Oxford is generally attributed to him, and therefore particular attention is invited to this picture. The meekness and resignation pourtrayed in the suffering countenance of the Saviour, must strike every beholder, and we think it will be allowed to surpass the Oxford altar-piece, favourite as it is in that University.-- From the Calonne Collection]] réalisée par Morales, vendue par [[[Taylor]]]. [89]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[Lot and his Daughters; with the Destruction of the Condemned Cities in the Distance. A singular specimen of the Artist, who acquired the cognomen of Breughel de l'Enfer, from the fiery qualities of his pencil. On panel (Peter Petersz Breughel. -- Born  ; Died 1642)|Lot and his Daughters; with the Destruction of the Condemned Cities in the Distance. A singular specimen of the Artist, who acquired the cognomen of Breughel de l'Enfer, from the fiery qualities of his pencil. On panel]] réalisée par Peter Petersz Breughel. -- Born  ; Died 1642, vendue par [[[Taylor]]]. [93]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Prodigal Son. This noble gallery picture displays a grandeur of conception, and greatness of execution, that entitles it to considerable distinction: the composition is masterly and striking -- the drawing correct and beautiful -- the finishing elaborate, and such as is seldom seen in so grand a performance. The poor prodigal, corrected of his vices, returns humiliated to the house of his affectionate father, who, with the rest of the family, come out to meet him. The Head of the Mother, in particular, merits attention, as finely possessing a mixed feeling of pity and delight. The bold management of the chiaro-scuro, for which this celebrated Artist was distinguished, gives a powerful effect to the figures, and shews the architectural back-ground to great advantage (Cavaliere Mattia Preti, called Calabrese)|The Prodigal Son. This noble gallery picture displays a grandeur of conception, and greatness of execution, that entitles it to considerable distinction: the composition is masterly and striking -- the drawing correct and beautiful -- the finishing elaborate, and such as is seldom seen in so grand a performance. The poor prodigal, corrected of his vices, returns humiliated to the house of his affectionate father, who, with the rest of the family, come out to meet him. The Head of the Mother, in particular, merits attention, as finely possessing a mixed feeling of pity and delight. The bold management of the chiaro-scuro, for which this celebrated Artist was distinguished, gives a powerful effect to the figures, and shews the architectural back-ground to great advantage]] réalisée par Cavaliere Mattia Preti, called Calabrese, vendue par [[[Taylor]]]. [95]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Entombment. A grand composition by the founder of the Bolognese School, who was distinguished for his breadth of light and shadow, the simplicity of his colouring, and that solemn effect of twilight, which seems diffused over the whole of this masterly performance. -- It is a fine study of anatomical drawing -- for which this School is so justly celebrated (Ludovico Caracci)|The Entombment. A grand composition by the founder of the Bolognese School, who was distinguished for his breadth of light and shadow, the simplicity of his colouring, and that solemn effect of twilight, which seems diffused over the whole of this masterly performance. -- It is a fine study of anatomical drawing -- for which this School is so justly celebrated]] réalisée par Ludovico Caracci, vendue par [[[Taylor]]]. [96]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[Landscape, with St. Joseph in a Sitting Posture, bending the stem of a Lily in blossom towards the Infant Saviour, who is leaning over the right knee of his father, and extending his hand to reach the flower. The head of St. Joseph is particularly fine, and the whole composition treated with great elegance. -- From the collection of Sir Mark Masterman Sykes (Guido Reni)|Landscape, with St. Joseph in a Sitting Posture, bending the stem of a Lily in blossom towards the Infant Saviour, who is leaning over the right knee of his father, and extending his hand to reach the flower. The head of St. Joseph is particularly fine, and the whole composition treated with great elegance. -- From the collection of Sir Mark Masterman Sykes]] réalisée par Guido Reni, vendue par [[[Taylor]]]. [100]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Holy Family and Saint -- in a Landscape, with architectural back-ground. Circular, on thick panel. This fine specimen of so old a Master is in a perfect state of preservation, and evinces the dawn of that great style which was afterwards improved by his scholar Perugino, and perfected by Raffaelle (P. della Francesca, called Pietro Borghese. -- Born 1398; Died 1484)|The Holy Family and Saint -- in a Landscape, with architectural back-ground. Circular, on thick panel. This fine specimen of so old a Master is in a perfect state of preservation, and evinces the dawn of that great style which was afterwards improved by his scholar Perugino, and perfected by Raffaelle]] réalisée par P. della Francesca, called Pietro Borghese. -- Born 1398; Died 1484, vendue par [[[Taylor]]]. [110]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Holy Family. Painted on thick panel. In the foreground is seated the Virgin, with her right hand resting on an open book, and her left thrown lightly over the finely-drawn body of the Infant Saviour, who, on his knees, is resting his head on her lap: in the rear, near some steps leading to an arch-way, is St. Joseph conversing with the young St. John: further on are buildings, and St. Elisabeth reading. -- The composition of this fine picture, which is much in the style of Michael Angelo, shews that the commendations of that great Artist, said to have been bestowed on Pontormo, and to have created the jealousy of Andrea del Sarto, were not unmerited (Giacomno Carucci da Pontormo)|The Holy Family. Painted on thick panel. In the foreground is seated the Virgin, with her right hand resting on an open book, and her left thrown lightly over the finely-drawn body of the Infant Saviour, who, on his knees, is resting his head on her lap: in the rear, near some steps leading to an arch-way, is St. Joseph conversing with the young St. John: further on are buildings, and St. Elisabeth reading. -- The composition of this fine picture, which is much in the style of Michael Angelo, shews that the commendations of that great Artist, said to have been bestowed on Pontormo, and to have created the jealousy of Andrea del Sarto, were not unmerited]] réalisée par Giacomno Carucci da Pontormo, vendue par [[[Taylor]]]. [114]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Last Judgment. An elaborate performance, on copper, displaying the genius and invention of the Artist, upon the plan of the celebrated large picture in the Vatican, by Michael Angelo. -- Rothenhamer resided many years at Venice, and studied that fascinating school of colouring which is so visible in this fine picture (J. Rothenhamer)|The Last Judgment. An elaborate performance, on copper, displaying the genius and invention of the Artist, upon the plan of the celebrated large picture in the Vatican, by Michael Angelo. -- Rothenhamer resided many years at Venice, and studied that fascinating school of colouring which is so visible in this fine picture]] réalisée par J. Rothenhamer, vendue par [[[Taylor]]]. [118]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[Christ on the Mount of Olives. The visionary part of this exquisite little picture is equal to any of the finest works of this great Master; and the three Disciples sleeping on the foreground, are very grand. It was brought from Italy by M. Joubert, and passed into the collections of M. La Rouge, and John Trumbell, Esq. (Nicolo Poussin)|Christ on the Mount of Olives. The visionary part of this exquisite little picture is equal to any of the finest works of this great Master; and the three Disciples sleeping on the foreground, are very grand. It was brought from Italy by M. Joubert, and passed into the collections of M. La Rouge, and John Trumbell, Esq.]] réalisée par Nicolo Poussin, vendue par [[[Taylor]]]. [127]
  • 1832.05.09/ maison de ventes : Exeter Hall. Vente de l'œuvre décrite comme [[The Dead Christ, attended by Angels lamenting, and bearing away the Cross. This picture -- the subject of which is managed so as more generally to shock than please -- is here treated in an unusually different manner, and the Artist has judiciously managed his colouring in strict accordance with the subject (Bertholet Flameel)|The Dead Christ, attended by Angels lamenting, and bearing away the Cross. This picture -- the subject of which is managed so as more generally to shock than please -- is here treated in an unusually different manner, and the Artist has judiciously managed his colouring in strict accordance with the subject]] réalisée par Bertholet Flameel, vendue par [[[Taylor]]]. [137]
Récupérée de « https://wikipast.epfl.ch/index.php?title=Ventes_d%27œuvres_le_1832.05.09&oldid=3988827 »