Ventes d'œuvres le 1833.05.11

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  • 1833.05.11/ -. Vente de l'œuvre décrite comme [[Oval Portrait, Supposed by Amateurs to be an original of Robert Burns; but having no sure authority for stating it as such, the Proprietor leaves it to the decision of competent judges. The portrait evinces the touch of a fine master Portraits of Distinguished Characters (artiste anonyme)|Oval Portrait, Supposed by Amateurs to be an original of Robert Burns; but having no sure authority for stating it as such, the Proprietor leaves it to the decision of competent judges. The portrait evinces the touch of a fine master Portraits of Distinguished Characters]] réalisée par un.e artiste anonyme au prix de 1.10 £. [14]
  • 1833.05.11/ -. Vente de l'œuvre décrite comme [[The celebrated Portrait of Sir John Fielding, as Chairman of Quarter-Sessions in the city of Westminster, This celebrated Scotsman, though blind from his youth, administered justice with a keen penetration and sagacity that gained him lasting reputation as a justice. He was also the author of different works of reputed merit, and half-brother to Henry Fielding, author, engraved Portraits of Distinguished Characters (Rev. Wm. Peters, R.A.)|The celebrated Portrait of Sir John Fielding, as Chairman of Quarter-Sessions in the city of Westminster, This celebrated Scotsman, though blind from his youth, administered justice with a keen penetration and sagacity that gained him lasting reputation as a justice. He was also the author of different works of reputed merit, and half-brother to Henry Fielding, author, engraved Portraits of Distinguished Characters]] réalisée par Rev. Wm. Peters, R.A.. [15]
  • 1833.05.11/ -. Vente de l'œuvre décrite comme [[Do. Half-length Portrait of John Knox, Painted from the orignal of Hans Holbein at Oxford, by the celebrated Mary Beale, artist, and pupil of Sir Peter Lely, and formerly in library of Archbishop Tillotson Portraits of Distinguished Characters (Mary Beale)|Do. Half-length Portrait of John Knox, Painted from the orignal of Hans Holbein at Oxford, by the celebrated Mary Beale, artist, and pupil of Sir Peter Lely, and formerly in library of Archbishop Tillotson Portraits of Distinguished Characters]] réalisée par Mary Beale. [32]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ and the Samaritan Woman. Panel; height 13 3/4 inches, width 21 1/4. Teniers, one of the greatest and most versatile geniuses of his age, often took pleasure in imitating the manner of other painters, and he had a particular talent in imitating Le Bassan, Paolo Veronese, Giacomo Tintoretto, and others. There are some of these imitations done with so much art that the most experienced eye is surprised at the first coup-d'oeil. The picture described under this number is a most interesting work of this kind. It represents Christ sitting near a well, revealing to the Samaritan woman the events she has met with in her life. The woman, who is astonished at the divine science he displays, appears quite surprised, and listens with particular attention. A spaniel is sitting in the front, and in the back-ground of the picture we perceive three apostles. It is certain that those who are ignorant of the different manners of painting by Teniers would be mistaken in this work, in which he has tried to imitate Tintoretto. But, having closely considered it, the connoisseur will discover in several parts the characteristic touch of the Flemish painter, which he has not been able to conceal throughout this painting (David Teniers)|Christ and the Samaritan Woman. Panel; height 13 3/4 inches, width 21 1/4. Teniers, one of the greatest and most versatile geniuses of his age, often took pleasure in imitating the manner of other painters, and he had a particular talent in imitating Le Bassan, Paolo Veronese, Giacomo Tintoretto, and others. There are some of these imitations done with so much art that the most experienced eye is surprised at the first coup-d'oeil. The picture described under this number is a most interesting work of this kind. It represents Christ sitting near a well, revealing to the Samaritan woman the events she has met with in her life. The woman, who is astonished at the divine science he displays, appears quite surprised, and listens with particular attention. A spaniel is sitting in the front, and in the back-ground of the picture we perceive three apostles. It is certain that those who are ignorant of the different manners of painting by Teniers would be mistaken in this work, in which he has tried to imitate Tintoretto. But, having closely considered it, the connoisseur will discover in several parts the characteristic touch of the Flemish painter, which he has not been able to conceal throughout this painting]] réalisée par David Teniers, vendue par Nieuwenhuys au prix de 67.4 £. [43]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape. Canvass; height 58 1/2 inches, width 67. It is believed that no landscape ever came from the pencil of this painter of more importance than this. It presents a view bringing to mind the beautiful environs of Haerlem. On the left is a sandy hillock adorned by several trees; some old planks sustain a hedge which borders the road. Here Van de Velde has strolled with his family. The servant is sitting on the trunk of an old tree giving flowers to the little girl on her lap; the artist, accompanied by his wife, is in the act of stopping to give the nurse time to rest; a little boy is holding a dog by a cord while it is quenching its thirst at a pond. On the second site is a carriage with two dappled grey horses; the coachman is ready at the first order of Van de Velde to continue their journey. On the right is a shepherd lying on the grass watching his flock, his pipe in his hand, which often gives a zest to this rural retreat. Further on, at the end of the wood, is a house, partly hidden by some large trees; a river divides the more remote parts of the view, and several animals are there grazing about. A fine autumnal sky enlightens the scenery. Nothing can be more true, it is nature's self! It was the principal ornament of the collection of Monsieur van der Pals of Rotterdam, and many amateurs have made journies for the purpose of seeing this chef-d'oeuvre. Signed A.V. Velde, 1667 (Adrian Van De Velde)|A Landscape. Canvass; height 58 1/2 inches, width 67. It is believed that no landscape ever came from the pencil of this painter of more importance than this. It presents a view bringing to mind the beautiful environs of Haerlem. On the left is a sandy hillock adorned by several trees; some old planks sustain a hedge which borders the road. Here Van de Velde has strolled with his family. The servant is sitting on the trunk of an old tree giving flowers to the little girl on her lap; the artist, accompanied by his wife, is in the act of stopping to give the nurse time to rest; a little boy is holding a dog by a cord while it is quenching its thirst at a pond. On the second site is a carriage with two dappled grey horses; the coachman is ready at the first order of Van de Velde to continue their journey. On the right is a shepherd lying on the grass watching his flock, his pipe in his hand, which often gives a zest to this rural retreat. Further on, at the end of the wood, is a house, partly hidden by some large trees; a river divides the more remote parts of the view, and several animals are there grazing about. A fine autumnal sky enlightens the scenery. Nothing can be more true, it is nature's self! It was the principal ornament of the collection of Monsieur van der Pals of Rotterdam, and many amateurs have made journies for the purpose of seeing this chef-d'oeuvre. Signed A.V. Velde, 1667]] réalisée par Adrian Van De Velde, vendue par Nieuwenhuys au prix de 1375.10 £. [44]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Virgin. Panel; height 11 3/4 inches, width 9. This rare painting by Raphael is considered as one of the choicest specimens of his talent. It represents the Virgin in a sitting posture, a scarlet robe closely drawn round her figure, a dark green band encircles her waist, the sleeves of her dress are yellow, and a clear blue mantle lined with yellow is passed round her knees. The Infant Jesus is in her lap playfully holding the Virgin's bodice, whilst she holds one of his feet and looks down upon him with extreme tenderness, as if to prevent him quitting her. There is a curtain drapery in the back-ground; and some curious jars, with a bottle cased in straw-work, on a shelf. Raphael painted this picture after having left Pietro Perugino, and when he adopted his second manner which rendered him so celebrated. The purity of the design is sublime. The graceful movements, united to the most ingenuous expression, form in the tout ensemble a style of grandeur surpassing all imagination. The engraving of it is to be found in Crozat's work, under No. 24, and is there noted among the number of the most beautiful paintings at that time in France. It is also engraved in the Gallery of the Palais Royal, under No. 8 of Raphael's pictures. It is known, at the time of the National Assembly in 1790, the late Duke of Orleans, for the purpose of raising money to keep up the agitation of the national spirit, by which he hoped ultimately to profit, sold all his paintings of the Italian and French schools for 750,000 francs to Mr. Walkuers, a banker of Brussels, who resold them a few days after to Monsieur Laborde de Mereville for 900,000 francs. But the storm of the French revolution soon obliged Monsieur Laborde to quit Paris and fly to England; and thus France was deprived of these master-pieces of art. The Duke of Bridgewater, the Earl of Carlisle, and the Earl Gower, now Duke of Sutherland, purchased the whole of them for £ 41,000 or £ 43,000 sterling: and they were exhibited to the public for six months, at the expiration of which time they were sold at a fixed price. It was then for the first time that those famous pictures passed into the collections of private individuals. George Hibbert, Esq. bought on this occasion (1799) some of the most distinguished pieces; amongst others this precious Raphaël for 500 guineas (Raffaello Sanzio Da Urbino)|The Holy Virgin. Panel; height 11 3/4 inches, width 9. This rare painting by Raphael is considered as one of the choicest specimens of his talent. It represents the Virgin in a sitting posture, a scarlet robe closely drawn round her figure, a dark green band encircles her waist, the sleeves of her dress are yellow, and a clear blue mantle lined with yellow is passed round her knees. The Infant Jesus is in her lap playfully holding the Virgin's bodice, whilst she holds one of his feet and looks down upon him with extreme tenderness, as if to prevent him quitting her. There is a curtain drapery in the back-ground; and some curious jars, with a bottle cased in straw-work, on a shelf. Raphael painted this picture after having left Pietro Perugino, and when he adopted his second manner which rendered him so celebrated. The purity of the design is sublime. The graceful movements, united to the most ingenuous expression, form in the tout ensemble a style of grandeur surpassing all imagination. The engraving of it is to be found in Crozat's work, under No. 24, and is there noted among the number of the most beautiful paintings at that time in France. It is also engraved in the Gallery of the Palais Royal, under No. 8 of Raphael's pictures. It is known, at the time of the National Assembly in 1790, the late Duke of Orleans, for the purpose of raising money to keep up the agitation of the national spirit, by which he hoped ultimately to profit, sold all his paintings of the Italian and French schools for 750,000 francs to Mr. Walkuers, a banker of Brussels, who resold them a few days after to Monsieur Laborde de Mereville for 900,000 francs. But the storm of the French revolution soon obliged Monsieur Laborde to quit Paris and fly to England; and thus France was deprived of these master-pieces of art. The Duke of Bridgewater, the Earl of Carlisle, and the Earl Gower, now Duke of Sutherland, purchased the whole of them for £ 41,000 or £ 43,000 sterling: and they were exhibited to the public for six months, at the expiration of which time they were sold at a fixed price. It was then for the first time that those famous pictures passed into the collections of private individuals. George Hibbert, Esq. bought on this occasion (1799) some of the most distinguished pieces; amongst others this precious Raphaël for 500 guineas]] réalisée par Raffaello Sanzio Da Urbino, vendue par Nieuwenhuys au prix de 472.10 £. [45]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Water-Mills. Canvass; height 32 inches, width 26. At the first glance this landscape captivates the eye by the beautiful effect of light and by the harmony of colour which pervades the whole. The rays of the sun, partially concealed by clouds, and these again reflected in the water, strike forcibly the centre of the picture, and thus give a tone of reality which produces a perfect illusion. The painter has, in this production, surpassed every expectation, and he must have taken this view in the open air and in the face of nature. The great road which runs along the river is adorned with a tuft of beautiful trees, and truns to the left behind some branches, then leads on gradually towards the three millers' cottages, which are situated in a most picturesque spot, on which the principal light is thrown. The water-mills, the wooden bridges, the walks bordered by trees and shrubs, offer a most rural and smiling aspect. There are several figures walking or fishing. These are by the hand of Storck, and are worthy of Adrian van de Velde The two following chefs-d'oeuvres formed the principal ornaments in the collection of George Watson Taylor, Esq., of Erlestoke Park This and the following magnificent production were bought by Monsieur Reynders at Amsterdam in 1788, in whose possesion they remained till 1817, when they were purchased by G.W. Taylor, esq. (Minderhout Hobbema)|The Water-Mills. Canvass; height 32 inches, width 26. At the first glance this landscape captivates the eye by the beautiful effect of light and by the harmony of colour which pervades the whole. The rays of the sun, partially concealed by clouds, and these again reflected in the water, strike forcibly the centre of the picture, and thus give a tone of reality which produces a perfect illusion. The painter has, in this production, surpassed every expectation, and he must have taken this view in the open air and in the face of nature. The great road which runs along the river is adorned with a tuft of beautiful trees, and truns to the left behind some branches, then leads on gradually towards the three millers' cottages, which are situated in a most picturesque spot, on which the principal light is thrown. The water-mills, the wooden bridges, the walks bordered by trees and shrubs, offer a most rural and smiling aspect. There are several figures walking or fishing. These are by the hand of Storck, and are worthy of Adrian van de Velde The two following chefs-d'oeuvres formed the principal ornaments in the collection of George Watson Taylor, Esq., of Erlestoke Park This and the following magnificent production were bought by Monsieur Reynders at Amsterdam in 1788, in whose possesion they remained till 1817, when they were purchased by G.W. Taylor, esq.]] réalisée par Minderhout Hobbema, vendue par Nieuwenhuys au prix de 1008.0 £. [46]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape in the Drenthe Country. Canvass; height 32 inches, width 26. This landscape proves how well the Dutch painter understood the contrasts of nature; the point of view is happily chosen, and produces a picquant effect. The beautiful groups of trees, the forms and the foliage of which are designed with so much elegance, are admirably detached from the clouded sky. A road which crosses the second site is every where richly wooded, and adorned with several habitations; the village steeple is perceived in the distance: this part is vividly illumined by an autumnal sun approaching the decline of day, which throws the shadows broadly through a mass of beech-trees in the foreground, under which is a cottage. A countryman is bringing in his harvest of wheat. Several travellers, having approached by a second route nearer to the rivulet (which forms the front of the picture), are reposing from the fatigues of their journey. A poor child crying is apparently scolded by the mother, while another woman endeavours to frighten it by the barking of a dog. This and the following magnificent production were bought by Monsieur Reynders at Amsterdam in 1788, in whose possesion they remained till 1817, when they were purchased by G.W. Taylor, esq. The two following chefs-d'oeuvres formed the principal ornaments in the collection of George Watson Taylor, Esq., of Erlestoke Park (Minderhout Hobbema)|A Landscape in the Drenthe Country. Canvass; height 32 inches, width 26. This landscape proves how well the Dutch painter understood the contrasts of nature; the point of view is happily chosen, and produces a picquant effect. The beautiful groups of trees, the forms and the foliage of which are designed with so much elegance, are admirably detached from the clouded sky. A road which crosses the second site is every where richly wooded, and adorned with several habitations; the village steeple is perceived in the distance: this part is vividly illumined by an autumnal sun approaching the decline of day, which throws the shadows broadly through a mass of beech-trees in the foreground, under which is a cottage. A countryman is bringing in his harvest of wheat. Several travellers, having approached by a second route nearer to the rivulet (which forms the front of the picture), are reposing from the fatigues of their journey. A poor child crying is apparently scolded by the mother, while another woman endeavours to frighten it by the barking of a dog. This and the following magnificent production were bought by Monsieur Reynders at Amsterdam in 1788, in whose possesion they remained till 1817, when they were purchased by G.W. Taylor, esq. The two following chefs-d'oeuvres formed the principal ornaments in the collection of George Watson Taylor, Esq., of Erlestoke Park]] réalisée par Minderhout Hobbema, vendue par Nieuwenhuys au prix de 798.0 £. [47]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A violent Storm at Sea. Canvass; height 5 feet 8 inches, width 11 feet 2 inches. An author may relate the dangers encountered by the intrepid navigator, but from description alone we can form no just idea of the hazards that surround him. It required the transcendent genius of Backhuyzen to pourtray a tempest in all its horrors. On examining this painting we are struck with wonder; every thing is in motion, the winds lash the waves with furious violence, and cover the sea with foam. Several Dutch East-Indiamen appear in the utmost danger, and the sailors are using every exertion to keep clear of the mountainous coast, on which they are driving with impetuosity. But unfortunately the pilot cannot always weather the storm, and we perceive its truth in this instance exemplified in the three vessels that form the principal action in the picture. The first, a large merchant-ship, has only one sail set, and with its assistance the crew are striving by every manoeuver to gain the open sea. The vessel bearing the Dutch arms on the stern is also in imminent peril, two of her masts are snapt, one of them overboard; all her safety depends on the one still standing. The third appears in frightful distress; whirlpools of water surround her on all sides, and threaten instantly to plunge her into the raging abyss. Other vessels are seen at a distance, whose safety may be considered precarious. The horizon, gilded by the setting sun, is discovered beneath the dark clouds, and the surface of the water is enlightened by its reflected rays, producing a magnificent but awful effect. This classic picture, the most considerable that is known of the master, was painted for William the Third, Prince of Orange, afterwards King of England, who placed it in the Stadthouse of Amsterdam, where it remained with the other paintings afterwards transferred to the Royal Museum of the same city. The directors of the fine arts put them into a public sale in 1827, when Mr. Nieuwenhuys had the good fortune to obtain it in a journey he made to Holland. (Ludolph Backhuyzen)|A violent Storm at Sea. Canvass; height 5 feet 8 inches, width 11 feet 2 inches. An author may relate the dangers encountered by the intrepid navigator, but from description alone we can form no just idea of the hazards that surround him. It required the transcendent genius of Backhuyzen to pourtray a tempest in all its horrors. On examining this painting we are struck with wonder; every thing is in motion, the winds lash the waves with furious violence, and cover the sea with foam. Several Dutch East-Indiamen appear in the utmost danger, and the sailors are using every exertion to keep clear of the mountainous coast, on which they are driving with impetuosity. But unfortunately the pilot cannot always weather the storm, and we perceive its truth in this instance exemplified in the three vessels that form the principal action in the picture. The first, a large merchant-ship, has only one sail set, and with its assistance the crew are striving by every manoeuver to gain the open sea. The vessel bearing the Dutch arms on the stern is also in imminent peril, two of her masts are snapt, one of them overboard; all her safety depends on the one still standing. The third appears in frightful distress; whirlpools of water surround her on all sides, and threaten instantly to plunge her into the raging abyss. Other vessels are seen at a distance, whose safety may be considered precarious. The horizon, gilded by the setting sun, is discovered beneath the dark clouds, and the surface of the water is enlightened by its reflected rays, producing a magnificent but awful effect. This classic picture, the most considerable that is known of the master, was painted for William the Third, Prince of Orange, afterwards King of England, who placed it in the Stadthouse of Amsterdam, where it remained with the other paintings afterwards transferred to the Royal Museum of the same city. The directors of the fine arts put them into a public sale in 1827, when Mr. Nieuwenhuys had the good fortune to obtain it in a journey he made to Holland.]] réalisée par Ludolph Backhuyzen, vendue par Nieuwenhuys au prix de 640.10 £. [48]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[La Chasse aux Canards. Panel; height 14 inches, width 12 1/2. The sky is clouded and indicates the approach of a storm. The ground of the country, which is mountainous, is crossed by a road, which inclines towards a piece of water, along which are several travellers who are following their route. In front is a cart loaded with sand, drawn by a brown horse, near which the driver is standing; three horses of different colours are at a distance. Upon that part of the sandy ground which receives the great effect of light, is a sportsman in the act of firing at wild fowl. The colour is of a clear and brilliant tone, the touch is easy and sprightly, and it would be difficult to find a second picture as scientifically executed. It comes from the collection of Mr. Gerrit Muller of Amsterdam, where it was sold the 2d April, 1827, under No. 82 in the catalogue (Philip Wouwermans)|La Chasse aux Canards. Panel; height 14 inches, width 12 1/2. The sky is clouded and indicates the approach of a storm. The ground of the country, which is mountainous, is crossed by a road, which inclines towards a piece of water, along which are several travellers who are following their route. In front is a cart loaded with sand, drawn by a brown horse, near which the driver is standing; three horses of different colours are at a distance. Upon that part of the sandy ground which receives the great effect of light, is a sportsman in the act of firing at wild fowl. The colour is of a clear and brilliant tone, the touch is easy and sprightly, and it would be difficult to find a second picture as scientifically executed. It comes from the collection of Mr. Gerrit Muller of Amsterdam, where it was sold the 2d April, 1827, under No. 82 in the catalogue]] réalisée par Philip Wouwermans, vendue par Nieuwenhuys, achetée par Artis au prix de 220.10 £. [49]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View of the Stadt-house of Amsterdam. Panel; height 26 inches, width 21 3/4. The paintings of this artist are looked upon as prodigies of art; he was so exact an imitator of nature, that not only did he copy the number of bricks in a building, but indicated the appearance imprinted by the hand of time. In examining his works closely, it can hardly he conceived how he was able to find a pencil to produce such wonders. This picture is in every respect a remarkable specimen of this celebrated man, and is one of the most capital pieces he ever executed. It represents the Stadt-house of Amsterdam, with a part of the Square and of the buildings surrounding it. More than thirty figures of Adrian Van de Velde, in his finest manner, serve to adorn it. It was formerly the principal ornament in the collection of De Haes of Amsterdam (John Van Der Heyden)|View of the Stadt-house of Amsterdam. Panel; height 26 inches, width 21 3/4. The paintings of this artist are looked upon as prodigies of art; he was so exact an imitator of nature, that not only did he copy the number of bricks in a building, but indicated the appearance imprinted by the hand of time. In examining his works closely, it can hardly he conceived how he was able to find a pencil to produce such wonders. This picture is in every respect a remarkable specimen of this celebrated man, and is one of the most capital pieces he ever executed. It represents the Stadt-house of Amsterdam, with a part of the Square and of the buildings surrounding it. More than thirty figures of Adrian Van de Velde, in his finest manner, serve to adorn it. It was formerly the principal ornament in the collection of De Haes of Amsterdam]] réalisée par John Van Der Heyden, vendue par Nieuwenhuys au prix de 462.0 £. [50]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Frozen Canal. Canvass; height 37 inches, width 47 1/2. This painting, which presents all the splendour of the surprising talent of Isaac Van Ostade, is one of the finest pictures known by this master. It represents a frozen canal, bordered on the right by a dike; upon its elevation is seen a cottage and travellers; on the left is another elevation, where a hut and some trees throw a shade over the fore-ground. In the middle of the canal two men are in conversation; one of them is leaning on his sledge, upon which is placed a barrel and a basket. Near them are several boys, one is putting on his skates whilst another is looking on. A lady and gentleman are sitting in a sledge to which a white horse is harnessed, and the conductor is preparing for departure. Many other figures animate every part of the scene. The btilliant and golden tone of colour produced by the effect of the setting sun is wonderful. Formerly in the collection of General Verdier, sold at Paris in 1810, and then became one of the ornaments of the gallery of Le Chevalier Sebastian Erard (Isaac Van Ostade)|A Frozen Canal. Canvass; height 37 inches, width 47 1/2. This painting, which presents all the splendour of the surprising talent of Isaac Van Ostade, is one of the finest pictures known by this master. It represents a frozen canal, bordered on the right by a dike; upon its elevation is seen a cottage and travellers; on the left is another elevation, where a hut and some trees throw a shade over the fore-ground. In the middle of the canal two men are in conversation; one of them is leaning on his sledge, upon which is placed a barrel and a basket. Near them are several boys, one is putting on his skates whilst another is looking on. A lady and gentleman are sitting in a sledge to which a white horse is harnessed, and the conductor is preparing for departure. Many other figures animate every part of the scene. The btilliant and golden tone of colour produced by the effect of the setting sun is wonderful. Formerly in the collection of General Verdier, sold at Paris in 1810, and then became one of the ornaments of the gallery of Le Chevalier Sebastian Erard]] réalisée par Isaac Van Ostade, vendue par Nieuwenhuys, achetée par Marquis of Lansdowne au prix de 336.0 £. [51]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Spanish Gipsy. Canvass; height 52 inches, width 43. This capital picture is of an extraordinary force of colouring; the effect of the clair-obscure is magical, and the whole is painted with a boldness which displays all the power of the great master so unique and talented. The composition consists of four figures, and a goat, the size of nature. A gipsy, dressed in a red turban, is supporting a child sitting on the back of the goat, which she drives with her right hand, in order to make it proceed before her. Two girls are enjoying this amusement. A rising ground, entangled with briars and rose-bushes, forms the back-ground. Rembrandt has surpassed all other painters in the clair-obscure, and in producing striking effects; he was the inventor of a manner of painting till then unknown. He is inimitable! Daring to undertake every thing his mind inspired him with, each touch of colour which came from his pallet appeared on the cloth sparkling with light. This picture comes from the collection of Monsieur J.A. Brentano of Amsterdam, where it was sold the 13th May, 1822. Exhibited in the British Gallery in 1824 (Rembrandt Van Ryn)|The Spanish Gipsy. Canvass; height 52 inches, width 43. This capital picture is of an extraordinary force of colouring; the effect of the clair-obscure is magical, and the whole is painted with a boldness which displays all the power of the great master so unique and talented. The composition consists of four figures, and a goat, the size of nature. A gipsy, dressed in a red turban, is supporting a child sitting on the back of the goat, which she drives with her right hand, in order to make it proceed before her. Two girls are enjoying this amusement. A rising ground, entangled with briars and rose-bushes, forms the back-ground. Rembrandt has surpassed all other painters in the clair-obscure, and in producing striking effects; he was the inventor of a manner of painting till then unknown. He is inimitable! Daring to undertake every thing his mind inspired him with, each touch of colour which came from his pallet appeared on the cloth sparkling with light. This picture comes from the collection of Monsieur J.A. Brentano of Amsterdam, where it was sold the 13th May, 1822. Exhibited in the British Gallery in 1824]] réalisée par Rembrandt Van Ryn, vendue par Nieuwenhuys au prix de 640.13 £. [52]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The approach of a Storm. Canvass; height 25 3/4 inches, width 30. A part of the picture is illumined by a bright day; from the horizon on the left a storm coming on, darkens the sky, and throws a tone of demi-tint on two beautiful vessels of war in full sail. Two fishing-boats are coming towards the shore; the nearest is lowering her sails and entering the harbour to avoid the approaching storm. Several sailors wait the arrival of their comrades. This fine painting comes from the Backer family of Amsterdam (Ludolph Backhuyzen)|The approach of a Storm. Canvass; height 25 3/4 inches, width 30. A part of the picture is illumined by a bright day; from the horizon on the left a storm coming on, darkens the sky, and throws a tone of demi-tint on two beautiful vessels of war in full sail. Two fishing-boats are coming towards the shore; the nearest is lowering her sails and entering the harbour to avoid the approaching storm. Several sailors wait the arrival of their comrades. This fine painting comes from the Backer family of Amsterdam]] réalisée par Ludolph Backhuyzen, vendue par Nieuwenhuys au prix de 136.10 £. [53]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Entrance of a Port in Holland. Canvass; height 25 1/2 inches, width 30 1/2. At the extremity of a jetty is the entrance of a harbour, where several boats are assembled; on the left two boatmen are in the water for the purpose of pushing off the heads of their craft ready to go to sea, the reflux of which occasions a slight motion on the surface, insensibly stretching towards the shore: here two sailors, one of whom has a basket on his back, and the other carrying a plank under his arm, are in conversation. In the distance are several men-of-war, the nearest lowering sails. It is inconceivable how the painter has been able, on a canvass of such small dimensions, to produce the appearance of so considerable an extent; the motion of the clouds is quite remarkable, and the clearness of the atmospheric gradation disappearing in the horizon presents nature herself to our eyes. This chef-d'oeuvre, which has been described by several writers, formerly adorned the collection of the late Mr. Gerrit Muller of Amsterdam (William Van De Velde)|The Entrance of a Port in Holland. Canvass; height 25 1/2 inches, width 30 1/2. At the extremity of a jetty is the entrance of a harbour, where several boats are assembled; on the left two boatmen are in the water for the purpose of pushing off the heads of their craft ready to go to sea, the reflux of which occasions a slight motion on the surface, insensibly stretching towards the shore: here two sailors, one of whom has a basket on his back, and the other carrying a plank under his arm, are in conversation. In the distance are several men-of-war, the nearest lowering sails. It is inconceivable how the painter has been able, on a canvass of such small dimensions, to produce the appearance of so considerable an extent; the motion of the clouds is quite remarkable, and the clearness of the atmospheric gradation disappearing in the horizon presents nature herself to our eyes. This chef-d'oeuvre, which has been described by several writers, formerly adorned the collection of the late Mr. Gerrit Muller of Amsterdam]] réalisée par William Van De Velde, vendue par Nieuwenhuys au prix de 745.10 £. [54]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Sea-Port of the Mediterranean. Canvass; height 30 inches, width 38 1/2. The effect of the setting sun by Claude Lorraine is so beautifully pourtrayed, so true to nature, that the art of painting conceals itself in skill so perfect. The waves are rippled at the entrance of a harbour; on the left a fountain partly hides a vessel with three masts, carrying guns, and the flag of France: part of the crew of the vessel are employed in furling their sails. A boat almost alongside is bringing bales of merchandize; a second boat, which has just reached the beach, is also laden with goods, which the sailors are employed in disembarking. On the right is a triumphal arch, ornamented with pillars; further on are two towers, and also an embattled wall and other edifices. Not far off two frigates are floating at anchor; the sun a little above the horizon, spreads upon the objects the most brilliant lustre. This beautiful picture, of the richest composition, is one of those subjects to which connoisseurs give the preference. In former times it adorned the palace of the Duke Cardinal of Richelieu, and the drawing of this painting is found in the Liber Veritatis, tome i. No. 6 (Claude Lorraine, or Gelée)|A Sea-Port of the Mediterranean. Canvass; height 30 inches, width 38 1/2. The effect of the setting sun by Claude Lorraine is so beautifully pourtrayed, so true to nature, that the art of painting conceals itself in skill so perfect. The waves are rippled at the entrance of a harbour; on the left a fountain partly hides a vessel with three masts, carrying guns, and the flag of France: part of the crew of the vessel are employed in furling their sails. A boat almost alongside is bringing bales of merchandize; a second boat, which has just reached the beach, is also laden with goods, which the sailors are employed in disembarking. On the right is a triumphal arch, ornamented with pillars; further on are two towers, and also an embattled wall and other edifices. Not far off two frigates are floating at anchor; the sun a little above the horizon, spreads upon the objects the most brilliant lustre. This beautiful picture, of the richest composition, is one of those subjects to which connoisseurs give the preference. In former times it adorned the palace of the Duke Cardinal of Richelieu, and the drawing of this painting is found in the Liber Veritatis, tome i. No. 6]] réalisée par Claude Lorraine, or Gelée, vendue par Nieuwenhuys, achetée par Corbett au prix de 409.10 £. [55]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[L'Abreuvoir. Panel; height 18 inches, width 24 1/2. This picture, which amateurs have always considered as one of the most charming chef-d'oeuvres of Wouwermans, represents a view upon the borders of a large river. On the left is a rising ground, upon which are seen a cluster of trees and a picturesque house, with a gate serving as a barrier. At the foot of this elevation glides the stream; beyond it the eye is led over a vast extent of country. The blue tint, and the light which brightens the clouds, foretel the rising morn; hostlers bringing their horses to water, and other figures are variously grouped, producing an effect altogether grand and striking. Upon the top of the hill two women are watching the linen which they have laid down to bleach. A man comes forward with two horses, -- the one he leads kicks out at a dog that is barking at him. But it is in the fore-ground that the most striking part of the picture is collected together, and where the inimitable talent of the artist shines forth in all its perfection. There many beautiful horses, varying in colour and position, nimbly move about; some, mounted by grooms, are in the water; others are coming out, or passing on; boys are bathing, and women washing linen. A ferry-boat, with horses and figures on board, is seen on the river in the distance, with other boats. This brilliant picture has been engraved by J. Moyreau, and formed part of the famous cabinet of the Countess De Verrue, the first and the most extraordinary perhaps that was ever formed in France by a private individual. It afterwards became one of the chief ornaments of the valuable collection of Joseph Barchard, Esq. (Philip Wouwermans)|L'Abreuvoir. Panel; height 18 inches, width 24 1/2. This picture, which amateurs have always considered as one of the most charming chef-d'oeuvres of Wouwermans, represents a view upon the borders of a large river. On the left is a rising ground, upon which are seen a cluster of trees and a picturesque house, with a gate serving as a barrier. At the foot of this elevation glides the stream; beyond it the eye is led over a vast extent of country. The blue tint, and the light which brightens the clouds, foretel the rising morn; hostlers bringing their horses to water, and other figures are variously grouped, producing an effect altogether grand and striking. Upon the top of the hill two women are watching the linen which they have laid down to bleach. A man comes forward with two horses, -- the one he leads kicks out at a dog that is barking at him. But it is in the fore-ground that the most striking part of the picture is collected together, and where the inimitable talent of the artist shines forth in all its perfection. There many beautiful horses, varying in colour and position, nimbly move about; some, mounted by grooms, are in the water; others are coming out, or passing on; boys are bathing, and women washing linen. A ferry-boat, with horses and figures on board, is seen on the river in the distance, with other boats. This brilliant picture has been engraved by J. Moyreau, and formed part of the famous cabinet of the Countess De Verrue, the first and the most extraordinary perhaps that was ever formed in France by a private individual. It afterwards became one of the chief ornaments of the valuable collection of Joseph Barchard, Esq.]] réalisée par Philip Wouwermans, vendue par Nieuwenhuys au prix de 955.10 £. [56]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Pastoral Landscape. Canvass; height 22 1/2 inches, width 27 1/4. To the left, on a rising ground, shadowed by a hut, a young female peasant is sitting, apparently much interested in the conversation of a shepherd. A group of four cows, differently marked, seven sheep, and a ram, form the principal features in this master-piece. The fecundity of Van de Velde's genius is without example. He has painted history also; but it is in pastoral scenes in which he has particularly distinguished himself. Simple in his choice, his delight was in the representation of romantic landscapes, with the shepherd looking after his flock. And if the artist has not employed his pen in the poetry of his subject, he has at all events possessed the talent of making the truth of his ingenious pencil fully understood and admired. Signed A.V. Velde, 1668. From the collection of Mme. Montez, sold at Rotterdam in 1825. (Adrian Van De Velde)|A Pastoral Landscape. Canvass; height 22 1/2 inches, width 27 1/4. To the left, on a rising ground, shadowed by a hut, a young female peasant is sitting, apparently much interested in the conversation of a shepherd. A group of four cows, differently marked, seven sheep, and a ram, form the principal features in this master-piece. The fecundity of Van de Velde's genius is without example. He has painted history also; but it is in pastoral scenes in which he has particularly distinguished himself. Simple in his choice, his delight was in the representation of romantic landscapes, with the shepherd looking after his flock. And if the artist has not employed his pen in the poetry of his subject, he has at all events possessed the talent of making the truth of his ingenious pencil fully understood and admired. Signed A.V. Velde, 1668. From the collection of Mme. Montez, sold at Rotterdam in 1825.]] réalisée par Adrian Van De Velde, vendue par Nieuwenhuys au prix de 477.15 £. [57]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Marriage at Cana. Panel; height 25 inches, width 32 1/4*. This picture is composed of more than forty-five figures, ten of which are on the first site, where we particularly remark a young woman sitting; she holds a glass to her mouth to taste the liquid it contains. The expression of tasting is perfectly well given: two men in Asiatic costume, and another woman, are looking on her attentively, and seem interested to know what she thinks of the quality of the draught. A pretty child is leaning on a cask, and seems to say, There is no more wine, the cask is empty. Amongst the rest is a young man dressed in a red waistcoat, pointing towards a fountain, and holding a conversation with an old man who is leaning on the railing. There is every where something to amuse; and in following the flight of steps, a banquet is spread and the married couple sitting under a canopy. The guests at the wedding are all occupied, each according to the conversation that engages him. In the orchestra, which is raised on columns the musicians are playing. Beyond the vestibule is the garden, where the sky, illumined by a setting sun, indicates the near approach of evening. The painter evidently intended to represent the miracle of changing water into wine, as Christ, near the centre of the picture, is pointing to some large flagons that are brought to him. The power of J. Steen's capacity is admirable in this picture; the characters are beautifully expressed, and the finish exquisite. Bought at Paris, at the sale of M. Constantin, in 1829. *footnote: Mr. John Smith has made a mistake in his Catalogue raisonné, part iv., page 31, No. 100, when he says that this picture by John Steen comes from the collection of Mr. Fabricius, sold at Haerlem in 1749. In the Catalogues by Gerard Hoet, vol. ii. page 263, it will be found by the measurement that the error is positive. Gerard Hoet speaks, in No. 13 of his catalogue, of an upright picture, representing the Wedding at Cana, in height 2 feet 1 inch, and in width 1 foot 8 inches, Dutch measure; so that the picture of Mr. Fabricius cannot be that described under No. 117 in this collection, this being oblong. Mr. Smith says also that it has formed part of the collection of M. Van Hoeck Jantz, (sold at Amsterdam the 7th April, 1706). Gerard Hoet mentions a picture in that catalogue representing the Wedding of Cana; but he gives no description of it, nor any dimensions which can prove that it is the same painting. As John Steen has repeatedly painted this subject, it is improper to refer to those ancient catalogues, which are for the most part extremely vague, and can only lead to error. -- J.N. (John Steen)|The Marriage at Cana. Panel; height 25 inches, width 32 1/4*. This picture is composed of more than forty-five figures, ten of which are on the first site, where we particularly remark a young woman sitting; she holds a glass to her mouth to taste the liquid it contains. The expression of tasting is perfectly well given: two men in Asiatic costume, and another woman, are looking on her attentively, and seem interested to know what she thinks of the quality of the draught. A pretty child is leaning on a cask, and seems to say, There is no more wine, the cask is empty. Amongst the rest is a young man dressed in a red waistcoat, pointing towards a fountain, and holding a conversation with an old man who is leaning on the railing. There is every where something to amuse; and in following the flight of steps, a banquet is spread and the married couple sitting under a canopy. The guests at the wedding are all occupied, each according to the conversation that engages him. In the orchestra, which is raised on columns the musicians are playing. Beyond the vestibule is the garden, where the sky, illumined by a setting sun, indicates the near approach of evening. The painter evidently intended to represent the miracle of changing water into wine, as Christ, near the centre of the picture, is pointing to some large flagons that are brought to him. The power of J. Steen's capacity is admirable in this picture; the characters are beautifully expressed, and the finish exquisite. Bought at Paris, at the sale of M. Constantin, in 1829. *footnote: Mr. John Smith has made a mistake in his Catalogue raisonné, part iv., page 31, No. 100, when he says that this picture by John Steen comes from the collection of Mr. Fabricius, sold at Haerlem in 1749. In the Catalogues by Gerard Hoet, vol. ii. page 263, it will be found by the measurement that the error is positive. Gerard Hoet speaks, in No. 13 of his catalogue, of an upright picture, representing the Wedding at Cana, in height 2 feet 1 inch, and in width 1 foot 8 inches, Dutch measure; so that the picture of Mr. Fabricius cannot be that described under No. 117 in this collection, this being oblong. Mr. Smith says also that it has formed part of the collection of M. Van Hoeck Jantz, (sold at Amsterdam the 7th April, 1706). Gerard Hoet mentions a picture in that catalogue representing the Wedding of Cana; but he gives no description of it, nor any dimensions which can prove that it is the same painting. As John Steen has repeatedly painted this subject, it is improper to refer to those ancient catalogues, which are for the most part extremely vague, and can only lead to error. -- J.N.]] réalisée par John Steen, vendue par Nieuwenhuys, achetée par Norton au prix de 194.5 £. [58]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View of a Port in the Levant. Panel; height 17 inches, width 21 1/4. A lady elegantly dressed is walking, followed by a servant carrying a parasol, a pretty spaniel barking before her. Another dog has seized a poor cripple who is asking alms. To the left are sitting in the shade a Cavalier and a Turk conversing together; farther off is a fountain adorned with the statue of Diana, by which stands a peasant and a woman with an ass, loaded with several lambs; sailors are occupied in loading and unloading merchandize. Nothing can be more charming than this delightful picture: it is of a clear and brilliant tone; the time chosen is morning (Nicholas Berchem)|View of a Port in the Levant. Panel; height 17 inches, width 21 1/4. A lady elegantly dressed is walking, followed by a servant carrying a parasol, a pretty spaniel barking before her. Another dog has seized a poor cripple who is asking alms. To the left are sitting in the shade a Cavalier and a Turk conversing together; farther off is a fountain adorned with the statue of Diana, by which stands a peasant and a woman with an ass, loaded with several lambs; sailors are occupied in loading and unloading merchandize. Nothing can be more charming than this delightful picture: it is of a clear and brilliant tone; the time chosen is morning]] réalisée par Nicholas Berchem, vendue par Nieuwenhuys, achetée par Artis au prix de 289.16 £. [59]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. Copper; height 16 inches, width 11 3/4. The infant Jesus is sitting on the knees of his mother, holding her with tenderness; she places her hand on the shoulder of the child St. John, who is on his knees before her. St. Joseph, sitting near them, contemplates this amiable scene. A vase placed on an elevation bears a branch of the fleur de lis. Through an opening in the hall, which is adorned with several ornaments, we discover a small but pretty country view. This cabinet picture is full of energy and expression, and the whole characterizes the style of the great master. It comes from the Borghese Palace (Annibal Caracci)|The Holy Family. Copper; height 16 inches, width 11 3/4. The infant Jesus is sitting on the knees of his mother, holding her with tenderness; she places her hand on the shoulder of the child St. John, who is on his knees before her. St. Joseph, sitting near them, contemplates this amiable scene. A vase placed on an elevation bears a branch of the fleur de lis. Through an opening in the hall, which is adorned with several ornaments, we discover a small but pretty country view. This cabinet picture is full of energy and expression, and the whole characterizes the style of the great master. It comes from the Borghese Palace]] réalisée par Annibal Caracci, vendue par Nieuwenhuys au prix de 116.11 £. [60]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Silenus. Canvass; height 52 1/2 inches, width 43. The old Silenus, tettering in his intoxication, holds a vase negligently in his hand, spilling his liquor; a satyr who is supporting him by the arm has his head adorned with a chaplet of vine-leaves, and embraces a Bacchante, who holds a tambourine. This piece, which we may consider for its bold execution as a study of art, comes from the collection of Mr. Vink Wessel, of Antwerp, where it was sold in 1814. Engraved by Bolswert, and etched by Vanden Steen (Anthony Van Dyck)|Silenus. Canvass; height 52 1/2 inches, width 43. The old Silenus, tettering in his intoxication, holds a vase negligently in his hand, spilling his liquor; a satyr who is supporting him by the arm has his head adorned with a chaplet of vine-leaves, and embraces a Bacchante, who holds a tambourine. This piece, which we may consider for its bold execution as a study of art, comes from the collection of Mr. Vink Wessel, of Antwerp, where it was sold in 1814. Engraved by Bolswert, and etched by Vanden Steen]] réalisée par Anthony Van Dyck, vendue par Nieuwenhuys au prix de 68.5 £. [61]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of Francis de Quenoy. Canvass; height 30 1/2 inches, width 32 3/4. For portrait one cannot sufficiently admire the sublime pencil of Van Dyck. He has represented with such success the characters of his age, that it seems a print of life itself; not only do you see the person he has represented, but also the very thoughts are found expressed on the countenance. And in this respect this celebrated painter has risen to the greatest degree of excellence that is in the power of art to produce. The face of the celebrated sculptor is interesting; his look is full of expression, and denotes a character tinged with melancholy. His brown hair is softly executed; a fuff falls flat on his black mantle, which is very full, and covers the greater part of his person. He holds in his hand an antique head of a faun sculptured in marble. Van Dyck has taken particular care in the execution of this work, and it ranks amongst the finest productions of this wonderful master; he has employed all his talent to produce a chef-d'oeuvre in representing his friend the celebrated Du Quenoy. At the bottom of the engraving, which was taken from this picture if 1751, by P. Van Blecke, there is found written, Francesco Di Quesnoy, called il Fiammingo, a sculptor; born at Brussels in the year 1594, and died at Leghorn the 12th July, 1643, by a slow poison given him by his brother, who confessed the fact before he suffered. -- Bellori (Anthony Van Dyck)|The Portrait of Francis de Quenoy. Canvass; height 30 1/2 inches, width 32 3/4. For portrait one cannot sufficiently admire the sublime pencil of Van Dyck. He has represented with such success the characters of his age, that it seems a print of life itself; not only do you see the person he has represented, but also the very thoughts are found expressed on the countenance. And in this respect this celebrated painter has risen to the greatest degree of excellence that is in the power of art to produce. The face of the celebrated sculptor is interesting; his look is full of expression, and denotes a character tinged with melancholy. His brown hair is softly executed; a fuff falls flat on his black mantle, which is very full, and covers the greater part of his person. He holds in his hand an antique head of a faun sculptured in marble. Van Dyck has taken particular care in the execution of this work, and it ranks amongst the finest productions of this wonderful master; he has employed all his talent to produce a chef-d'oeuvre in representing his friend the celebrated Du Quenoy. At the bottom of the engraving, which was taken from this picture if 1751, by P. Van Blecke, there is found written, Francesco Di Quesnoy, called il Fiammingo, a sculptor; born at Brussels in the year 1594, and died at Leghorn the 12th July, 1643, by a slow poison given him by his brother, who confessed the fact before he suffered. -- Bellori]] réalisée par Anthony Van Dyck, vendue par Nieuwenhuys au prix de 362.5 £. [62]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. Panel; height 33 1/2 inches, width 24. The paintings of this master are become scarce; this one formed part of the Brentano collection, and also of that of the Prince of Orange. It represents the Virgin with her child standing before her; on her right is St. Peter, and on the left St. John; three Cherubim are seen in the clouds. The high finish of this ancient painting is executed with the most scrupulous exactness to nature, and partakes of the early character of his time (Giovanni Bellini)|The Holy Family. Panel; height 33 1/2 inches, width 24. The paintings of this master are become scarce; this one formed part of the Brentano collection, and also of that of the Prince of Orange. It represents the Virgin with her child standing before her; on her right is St. Peter, and on the left St. John; three Cherubim are seen in the clouds. The high finish of this ancient painting is executed with the most scrupulous exactness to nature, and partakes of the early character of his time]] réalisée par Giovanni Bellini, vendue par Nieuwenhuys au prix de 157.10 £. [63]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Storm. Canvass; height 30 1/2 inches, width 26. The sea presents a terrific appearance; a vessel of war, which forms the principal object, is driving before the wind with the fore-sail loose; all the others are furled: the impetuous gale has carried away the main and mizen top-masts, and she is at the mercy of the waves. To the left, a fishing-boat, with all sails lowered, is buffetting with the raging ocean. This piece is painted in the boldest style; it forms a pendant to the preceding, and is also signed in full length, W.V. Velde f. (William Van De Velde)|A Storm. Canvass; height 30 1/2 inches, width 26. The sea presents a terrific appearance; a vessel of war, which forms the principal object, is driving before the wind with the fore-sail loose; all the others are furled: the impetuous gale has carried away the main and mizen top-masts, and she is at the mercy of the waves. To the left, a fishing-boat, with all sails lowered, is buffetting with the raging ocean. This piece is painted in the boldest style; it forms a pendant to the preceding, and is also signed in full length, W.V. Velde f.]] réalisée par William Van De Velde, vendue par Nieuwenhuys, achetée par Bevan Harley St au prix de 126.0 £. [64]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Calm. Canvass; height 30 1/2 inches, width 26. A salute announces the arrival of a man-of-war; the crew are all occupied, some lowering the sails, others preparing to let go the anchor. Two shallops, one of them full of sailors, are rowing towards the shore, which is perceptible in the distance, where another vessel of war is discovered. Van de Velde has painted pictures more varied and considerable than this, but in point of skill he never surpassed the present production; the free touch and transparency of the beautiful tints, so characteristic of this great master, are here represented with all their brilliancy and power. Signed, W.V. Velde f. (William Van De Velde)|A Calm. Canvass; height 30 1/2 inches, width 26. A salute announces the arrival of a man-of-war; the crew are all occupied, some lowering the sails, others preparing to let go the anchor. Two shallops, one of them full of sailors, are rowing towards the shore, which is perceptible in the distance, where another vessel of war is discovered. Van de Velde has painted pictures more varied and considerable than this, but in point of skill he never surpassed the present production; the free touch and transparency of the beautiful tints, so characteristic of this great master, are here represented with all their brilliancy and power. Signed, W.V. Velde f.]] réalisée par William Van De Velde, vendue par Nieuwenhuys au prix de 210.0 £. [65]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Portrait of an Old Man of Rank. Panel; height 74 inches, width 36 1/2. In the back-ground of the picture, under the coat of arms, is found the date 1611. Rubens must therefore have been 34 years of age when he painted this portrait. It is in a sitting position, his two hands on his arm-chair; his countenance indicates advanced age, his open forehead shews a slight scar; we may suppose in his youth he was one of those gallant spirits who fought for his own renown or that of his country. His dress is simple yet elegant; a black robe lined with fur falls over his breast, and a ruff plaited with great exactness surrounds his neck. This portrait has much character and remarkable expression. Rubens has taken particular care in this work, and the skilful penciling denotes it to be one of his most finished productions. It comes from the collection of the Prince of Orange (Peter Paul Rubens)|The Portrait of an Old Man of Rank. Panel; height 74 inches, width 36 1/2. In the back-ground of the picture, under the coat of arms, is found the date 1611. Rubens must therefore have been 34 years of age when he painted this portrait. It is in a sitting position, his two hands on his arm-chair; his countenance indicates advanced age, his open forehead shews a slight scar; we may suppose in his youth he was one of those gallant spirits who fought for his own renown or that of his country. His dress is simple yet elegant; a black robe lined with fur falls over his breast, and a ruff plaited with great exactness surrounds his neck. This portrait has much character and remarkable expression. Rubens has taken particular care in this work, and the skilful penciling denotes it to be one of his most finished productions. It comes from the collection of the Prince of Orange]] réalisée par Peter Paul Rubens, vendue par Nieuwenhuys au prix de 635.5 £. [66]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. Panel; height 16 1/4 inches, width 22. In a ruined building the infant Jesus is sitting upon the knees of the Virgin, the little St. John, who holds a lamb in his arms, is standing near St. Anne; another saint is sitting behind her. Joseph, who is leaning upon a pillar, is in conversation with St. Thomas, whose head is covered with a red cap. Every part of the distant landscape is executed with a lively touch and brilliant colour. This picture was painted at the best period of the master, after he had studied and well considered the works of Michael Angelo and Raphael. It was one of the choicest ornaments of the collection of the late George James Cholmondeley, Esq. Exhibited in the British Gallery in 1829 (Benvenuto Garofalo)|The Holy Family. Panel; height 16 1/4 inches, width 22. In a ruined building the infant Jesus is sitting upon the knees of the Virgin, the little St. John, who holds a lamb in his arms, is standing near St. Anne; another saint is sitting behind her. Joseph, who is leaning upon a pillar, is in conversation with St. Thomas, whose head is covered with a red cap. Every part of the distant landscape is executed with a lively touch and brilliant colour. This picture was painted at the best period of the master, after he had studied and well considered the works of Michael Angelo and Raphael. It was one of the choicest ornaments of the collection of the late George James Cholmondeley, Esq. Exhibited in the British Gallery in 1829]] réalisée par Benvenuto Garofalo, vendue par Nieuwenhuys, achetée par P Norton au prix de 116.11 £. [67]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Entrance to a Harbour. Canvass; height 22 1/2 inches, width 27. A fresh breeze. To the right is the jetty or entrance to the harbour; some persons are standing looking towards the left, where a beautiful vessel of war is seen with all her sails set, scudding before the wind, and firing a gun. A boat, carrying the admiral's flag and full of sailors, reaches her to put them on board. Another vessel of war is already in the offing, and several smaller vessels are sailing in different directions. From the collection of Count Pourtales (Ludolph Backhuyzen)|Entrance to a Harbour. Canvass; height 22 1/2 inches, width 27. A fresh breeze. To the right is the jetty or entrance to the harbour; some persons are standing looking towards the left, where a beautiful vessel of war is seen with all her sails set, scudding before the wind, and firing a gun. A boat, carrying the admiral's flag and full of sailors, reaches her to put them on board. Another vessel of war is already in the offing, and several smaller vessels are sailing in different directions. From the collection of Count Pourtales]] réalisée par Ludolph Backhuyzen, vendue par Nieuwenhuys, achetée par P Norton au prix de 136.10 £. [68]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of a Bey of Tunis. Panel; height 39 inches, width 28. This prince wears a white turban, a part of the drapery falling upon his breast, thus shewing to advantage the twaney hue of his skin, and giving a martial air to his appearance. His green African robe is arranged with ease; one hand holds his sword, the other is resting on his hip. He is looking with a serious eye towards the right, and seems to be deeply contemplating the objects which surround him. Rubens has introduced in the back-ground of the landscape the ruins of the palace of the Alhambra at Grenada. This picture is vigorously painted, and its vivid colour shews how well Rubens knew how to appreciate the excellence of the Venetian school (Peter Paul Rubens)|Portrait of a Bey of Tunis. Panel; height 39 inches, width 28. This prince wears a white turban, a part of the drapery falling upon his breast, thus shewing to advantage the twaney hue of his skin, and giving a martial air to his appearance. His green African robe is arranged with ease; one hand holds his sword, the other is resting on his hip. He is looking with a serious eye towards the right, and seems to be deeply contemplating the objects which surround him. Rubens has introduced in the back-ground of the landscape the ruins of the palace of the Alhambra at Grenada. This picture is vigorously painted, and its vivid colour shews how well Rubens knew how to appreciate the excellence of the Venetian school]] réalisée par Peter Paul Rubens, vendue par Nieuwenhuys au prix de 183.15 £. [69]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Le Bonet Rouge. Panel; height 17 1/2 inches, width 15. Adrian Van Ostade has represented himself in the dress of a peasant; he wears a red cap, sitting with his pipe in his hand, apparently lost in thought. Behind him is a woman leaning on a door half opened, where is seen a yard, and the exterior of a public-house. Several villagers are there assembled round a table, enjoying themselves. This part is vividly illumined and very picturesque. This painting is the more remarkable, as the figures are of a size larger than generally seen by this celebrated master. No painter ever composed these subjects better than Ostade, nor drew with greater truth the native characters of the boors of Holland: it is impossible, in the art of colouring, for richness and effect to be surpassed (Adrian Van Ostade)|Le Bonet Rouge. Panel; height 17 1/2 inches, width 15. Adrian Van Ostade has represented himself in the dress of a peasant; he wears a red cap, sitting with his pipe in his hand, apparently lost in thought. Behind him is a woman leaning on a door half opened, where is seen a yard, and the exterior of a public-house. Several villagers are there assembled round a table, enjoying themselves. This part is vividly illumined and very picturesque. This painting is the more remarkable, as the figures are of a size larger than generally seen by this celebrated master. No painter ever composed these subjects better than Ostade, nor drew with greater truth the native characters of the boors of Holland: it is impossible, in the art of colouring, for richness and effect to be surpassed]] réalisée par Adrian Van Ostade, vendue par Nieuwenhuys, achetée par White printseller Brownlow St Holborn au prix de 168.0 £. [70]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [["Soo de Oude Songen Soo pypen de Jonge." Height 43 inches, width 54 1/2. The painter, in illustrating a Dutch proverb, has represented the different ages of man. In an apartment is a table covered with a Turkey carpet, on which are spread refreshments upon a table-cloth. At the head of the table is an old man, who is joining in chorus to his wife's song, which is accompanied by a man on the bag-pipes, and a boy on the flute. Other figures and children complete the group. The picture is vigorously painted, and powerfully lighted from a window on the left (John Steen)|"Soo de Oude Songen Soo pypen de Jonge." Height 43 inches, width 54 1/2. The painter, in illustrating a Dutch proverb, has represented the different ages of man. In an apartment is a table covered with a Turkey carpet, on which are spread refreshments upon a table-cloth. At the head of the table is an old man, who is joining in chorus to his wife's song, which is accompanied by a man on the bag-pipes, and a boy on the flute. Other figures and children complete the group. The picture is vigorously painted, and powerfully lighted from a window on the left]] réalisée par John Steen, vendue par Nieuwenhuys au prix de 126.0 £. [71]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Family Portraits. Panel; height 24 1/2 inches, width 29 1/4. This picture is found described in the catalogue of the collection of the late Mr. Danoot, of Brussels, under No. 11. In the middle of the picture, a cavalier, standing dressed in a black costume, is holding the hand of his lady, sitting in a chair; two children are amusing themselves with birds; on a table, covered with a blue cloth, are seen books, drawings, and a group in sculpture, representing the Rape of Dejanira. The hall is adorned with columns, and a red drapery, which forms a very agreeable contrast, and throws back to advantage the landscape seen in the distance. The accessories would imply that the cavalier is the portrait of a sculptor of the ancient school of Antwerp. In the history of the life of Rubens, written by J.F. Michel, page 357, he quotes this painting of Mr. Danoot's collection, as a chef-d'oeuvre of Gonzales Coques (Gonzales Coques)|Family Portraits. Panel; height 24 1/2 inches, width 29 1/4. This picture is found described in the catalogue of the collection of the late Mr. Danoot, of Brussels, under No. 11. In the middle of the picture, a cavalier, standing dressed in a black costume, is holding the hand of his lady, sitting in a chair; two children are amusing themselves with birds; on a table, covered with a blue cloth, are seen books, drawings, and a group in sculpture, representing the Rape of Dejanira. The hall is adorned with columns, and a red drapery, which forms a very agreeable contrast, and throws back to advantage the landscape seen in the distance. The accessories would imply that the cavalier is the portrait of a sculptor of the ancient school of Antwerp. In the history of the life of Rubens, written by J.F. Michel, page 357, he quotes this painting of Mr. Danoot's collection, as a chef-d'oeuvre of Gonzales Coques]] réalisée par Gonzales Coques, vendue par Nieuwenhuys au prix de 199.10 £. [72]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Doctor. Panel; height 11 3/4 inches, width 8 1/2. The Doctor, dressed in a robe with open sleeves, is standing near a window, holding a bottle in his hand. A woman has just entered his study to consult him on the illness of a child she holds in her arms. A striped belt negligently thrown on the window-sill, is grouped with an open book, a copper basin, an hour-glass, and sealed parchment. These accessories are varied with taste. A curtain, which is of remarkable execution, brings to the mind his famous picture of the Dropsical Woman, in the Louvre, and where he has represented the same Doctor described in this picture. The praise bestowed on the subject of No. 60 falls equally on this master-piece This precious gem is, in every respect, perfect, and worthy of the highest estimation, justifying the great reputation of this master. From the collection of the late M. le Chev. Sebastien Erard (Gerard Dou)|The Doctor. Panel; height 11 3/4 inches, width 8 1/2. The Doctor, dressed in a robe with open sleeves, is standing near a window, holding a bottle in his hand. A woman has just entered his study to consult him on the illness of a child she holds in her arms. A striped belt negligently thrown on the window-sill, is grouped with an open book, a copper basin, an hour-glass, and sealed parchment. These accessories are varied with taste. A curtain, which is of remarkable execution, brings to the mind his famous picture of the Dropsical Woman, in the Louvre, and where he has represented the same Doctor described in this picture. The praise bestowed on the subject of No. 60 falls equally on this master-piece This precious gem is, in every respect, perfect, and worthy of the highest estimation, justifying the great reputation of this master. From the collection of the late M. le Chev. Sebastien Erard]] réalisée par Gerard Dou, vendue par Nieuwenhuys au prix de 157.10 £. [73]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View of Haerlem. Canvass; height 20 1/4 inches, width 25 1/2. This View, taken from the side of the bleaching-grounds of Haerlem, discovers in the distance, part of that city, and the great church. From the vast extent of surrounding country here represented, this scenery forms a perfect panorama. The moment is taken when the clouds, propelled by the wind, overshadow one part of the country, while the remainder is lighted by the finest day. This transition of light produces the most charming effect; and such is the minute exactness and fidelity to nature expressed throughout, that one may almost fancy the eye resting on the reality instead of the illusion. The figures are touched with the greatest delicacy (Jacob Ruisdael)|View of Haerlem. Canvass; height 20 1/4 inches, width 25 1/2. This View, taken from the side of the bleaching-grounds of Haerlem, discovers in the distance, part of that city, and the great church. From the vast extent of surrounding country here represented, this scenery forms a perfect panorama. The moment is taken when the clouds, propelled by the wind, overshadow one part of the country, while the remainder is lighted by the finest day. This transition of light produces the most charming effect; and such is the minute exactness and fidelity to nature expressed throughout, that one may almost fancy the eye resting on the reality instead of the illusion. The figures are touched with the greatest delicacy]] réalisée par Jacob Ruisdael, vendue par Nieuwenhuys au prix de 204.15 £. [74]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Saint. Canvass; height 40 inches, width 32. This Saint, which forms the pendant to the preceding picture, is looking towards the spectator. She also holds two vases, but of a light colour, and the palm of martyrdom. She is dressed in a blue robe, with a red drapery falling over her left arm. Murillo always commands admiration by the simplicity of his expressions, which are indeed quite peculiar to himself. His grand style places him amongst the greatest artists which have existed This painting, and the following, were purchased in Spain by M. de la Forêt, during his embassy at the Court of Madrid (Bartholomew Stephen Murillo)|A Saint. Canvass; height 40 inches, width 32. This Saint, which forms the pendant to the preceding picture, is looking towards the spectator. She also holds two vases, but of a light colour, and the palm of martyrdom. She is dressed in a blue robe, with a red drapery falling over her left arm. Murillo always commands admiration by the simplicity of his expressions, which are indeed quite peculiar to himself. His grand style places him amongst the greatest artists which have existed This painting, and the following, were purchased in Spain by M. de la Forêt, during his embassy at the Court of Madrid]] réalisée par Bartholomew Stephen Murillo, vendue par Nieuwenhuys, achetée par Corbett au prix de 56.14 £. [75]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Saint. Canvass; height 40 inches, width 32. This saint is represented á mi-corps; she holds two vases of a red colour, and a palm of martyrdom in her hands. Her fixed look is the expression of a woman inspired by divine faith: her costume is arranged with grace. The sky forms the back of the picture and produces a beautiful harmony of colour. This painting, and the following, were purchased in Spain by M. de la Forêt, during his embassy at the Court of Madrid (Bartholomew Stephen Murillo)|A Saint. Canvass; height 40 inches, width 32. This saint is represented á mi-corps; she holds two vases of a red colour, and a palm of martyrdom in her hands. Her fixed look is the expression of a woman inspired by divine faith: her costume is arranged with grace. The sky forms the back of the picture and produces a beautiful harmony of colour. This painting, and the following, were purchased in Spain by M. de la Forêt, during his embassy at the Court of Madrid]] réalisée par Bartholomew Stephen Murillo, vendue par Nieuwenhuys, achetée par Corbett au prix de 79.16 £. [76]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Martyrdom of St. Sebastian. Canvass; height 39 inches, width 28. The defender of the Roman church, bound to a tree, two arrows already having pierced his body, seems to support with resignation the cruelty of his oppressors. The divine love which inspires him is depicted on his countenance, and the confidence with which he raises his eyes to heaven shews the steadfast faith which makes him bear calmly the pangs of his martyrdom. Schidone has represented this subject with much simplicity and nobleness; it is a remarkable example of his Corregiesque manner, and the most powerful effect is produced by the judicious management of the clair-obscure. The artist has taken the moment when night is approaching, and it seems as if the sufferings of the martyr were to end with declining day. At a distance on a hill are three female figures. It comes from the famous gallery of Lucien Buonaparte (Bartelemi Schidone)|The Martyrdom of St. Sebastian. Canvass; height 39 inches, width 28. The defender of the Roman church, bound to a tree, two arrows already having pierced his body, seems to support with resignation the cruelty of his oppressors. The divine love which inspires him is depicted on his countenance, and the confidence with which he raises his eyes to heaven shews the steadfast faith which makes him bear calmly the pangs of his martyrdom. Schidone has represented this subject with much simplicity and nobleness; it is a remarkable example of his Corregiesque manner, and the most powerful effect is produced by the judicious management of the clair-obscure. The artist has taken the moment when night is approaching, and it seems as if the sufferings of the martyr were to end with declining day. At a distance on a hill are three female figures. It comes from the famous gallery of Lucien Buonaparte]] réalisée par Bartelemi Schidone, vendue par Nieuwenhuys au prix de 126.0 £. [77]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Jupiter and Leda. Panel; height 40 inches, width 30. The celebrated works of Andrea del Sarto are much sought after in Europe, and are very scarce. His picture of Jupiter and Leda has adorned two of the most inportant galleries, those of the Duke of Orleans and of Lucien Buonaparte. It has been engraved by Ph. Triere and Piroli. It is thus described in the work of the gallery of the Palais Royal, under the second picture of Andrea del Sarto: "Jupiter, in love with Leda, the wife of King Tyndarus, changed himself into a swan, and succeeded under that from in pleasing the princess. Pollux and Helena came into the world from one egg, and acknowledged Jupiter for their father; Castor and Clytemnestra, from the second, passed for the children of Tyndarus." The correctness of the design, the tone of colour, and the grace displayed in the figure of Leda are very remarkable (Andrea Del Sarto)|Jupiter and Leda. Panel; height 40 inches, width 30. The celebrated works of Andrea del Sarto are much sought after in Europe, and are very scarce. His picture of Jupiter and Leda has adorned two of the most inportant galleries, those of the Duke of Orleans and of Lucien Buonaparte. It has been engraved by Ph. Triere and Piroli. It is thus described in the work of the gallery of the Palais Royal, under the second picture of Andrea del Sarto: "Jupiter, in love with Leda, the wife of King Tyndarus, changed himself into a swan, and succeeded under that from in pleasing the princess. Pollux and Helena came into the world from one egg, and acknowledged Jupiter for their father; Castor and Clytemnestra, from the second, passed for the children of Tyndarus." The correctness of the design, the tone of colour, and the grace displayed in the figure of Leda are very remarkable]] réalisée par Andrea Del Sarto, vendue par Nieuwenhuys au prix de 136.10 £. [78]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Retour des Bestiaux. Canvass; height 25 inches, width 23 1/2. A setting sun gives effect to this picture; it represents a rich extent of country watered by a river; cattle are seen returning to the village: on the road in front a woman is sitting in a cart, and a man leading the horse. All these objects are most effective in execution, and harmonious in tone of colour. In 1786, when the engravings of the gallery of the Palais Royal were published, the paintings of Arnold Van der Neer were but little known in France, and have therefore been confounded with the works of Eglon Van der Neer, who was born in 1643, but who painted in the style of Gerard Terburgh. Descamps, the author of the lives of Flemish, German, and Dutch painters, made the same mistake. This was the only specimen of the master in the gallery of the Duke D'Orleans, in which collection it was engraved and described in the third volume (Arnold Van Der Neer)|Retour des Bestiaux. Canvass; height 25 inches, width 23 1/2. A setting sun gives effect to this picture; it represents a rich extent of country watered by a river; cattle are seen returning to the village: on the road in front a woman is sitting in a cart, and a man leading the horse. All these objects are most effective in execution, and harmonious in tone of colour. In 1786, when the engravings of the gallery of the Palais Royal were published, the paintings of Arnold Van der Neer were but little known in France, and have therefore been confounded with the works of Eglon Van der Neer, who was born in 1643, but who painted in the style of Gerard Terburgh. Descamps, the author of the lives of Flemish, German, and Dutch painters, made the same mistake. This was the only specimen of the master in the gallery of the Duke D'Orleans, in which collection it was engraved and described in the third volume]] réalisée par Arnold Van Der Neer, vendue par Nieuwenhuys au prix de 178.10 £. [79]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Winter. Canvass; height 21 1/4 inches, width 24 1/2. A frozen canal, where several persons are assembled, forms the point of view in this picture. Every season brings its peculiar amusements; thus, men, women, and children are here seen diverting themselves on the ice, some in skaiting, some in sledges, and others playing at bat and ball. Some trees appear isolated on the borders of the canal; although bereft of foliage, they embellish the scene by the elegance of their forms. In the distance is a village, its dwellings half hidden beneath the snow. The frosty atmosphere is depicted with extraordinary talent, and the texture of the painting denotes it as one of the most perfect works of the kind ever executed by the master. It comes from the collection of Mr. Vranken of Lokeren (Arnold Van Der Neer)|Winter. Canvass; height 21 1/4 inches, width 24 1/2. A frozen canal, where several persons are assembled, forms the point of view in this picture. Every season brings its peculiar amusements; thus, men, women, and children are here seen diverting themselves on the ice, some in skaiting, some in sledges, and others playing at bat and ball. Some trees appear isolated on the borders of the canal; although bereft of foliage, they embellish the scene by the elegance of their forms. In the distance is a village, its dwellings half hidden beneath the snow. The frosty atmosphere is depicted with extraordinary talent, and the texture of the painting denotes it as one of the most perfect works of the kind ever executed by the master. It comes from the collection of Mr. Vranken of Lokeren]] réalisée par Arnold Van Der Neer, vendue par Nieuwenhuys, achetée par Artis au prix de 98.14 £. [80]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A River Scene near Mantes. Height 14 1/2 inches, width 20. In the foreground are two figures reposing on the trunk of a felled tree; the opposite bank of the river is shaded by a cluster of trees, from which the eye is insensibly led into the distance, terminated by the towers of the cathedral of Mantes. A delightful warmth is diffused throughout the scenery. The immense progress which this artist made during the few years that he lived is quite astonishing; his drawing is full of sentiment, his subjects are always chosen with taste, and his colouring often true to deception. The amateurs in France appreciate highly the merit of Bonington, and in England the friends of the fine arts have equally rendered justice to his talent; and the best praise we can bestow is the assurance that 1500 guineas have recently been paid for three of his pictures. The arts have made wonderful progress in England, and without doubt its school for painting is at the present day the first in Europe (Richard Parkes Bonington)|A River Scene near Mantes. Height 14 1/2 inches, width 20. In the foreground are two figures reposing on the trunk of a felled tree; the opposite bank of the river is shaded by a cluster of trees, from which the eye is insensibly led into the distance, terminated by the towers of the cathedral of Mantes. A delightful warmth is diffused throughout the scenery. The immense progress which this artist made during the few years that he lived is quite astonishing; his drawing is full of sentiment, his subjects are always chosen with taste, and his colouring often true to deception. The amateurs in France appreciate highly the merit of Bonington, and in England the friends of the fine arts have equally rendered justice to his talent; and the best praise we can bestow is the assurance that 1500 guineas have recently been paid for three of his pictures. The arts have made wonderful progress in England, and without doubt its school for painting is at the present day the first in Europe]] réalisée par Richard Parkes Bonington, vendue par Nieuwenhuys, achetée par [[Jos. Barchad Esq [or Barchard]]] au prix de 84.0 £. [81]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Sandy Road. Panel; height 12 3/4 inches, width 16. This picturesque bit of wild nature represents a sandy road, winding round a hill; the slope of which is covered with trees and brambles. Further on, in the back-ground, rise two hillocks, on one of which are two men, and at the foot there is a traveller followed by his dog. On the other hill is a tuft of trees well grouped and full of elegance; to the right of the first site is a pool of water, in which the sky is reflected, it is bordered by various plants; still further we discover a country covered with wood. This exquisite picture shows all the power of the artist's talent, and particularly displays a vivid touch and the most brilliant colour. It formed part of the collection of Saint Victor, from thence it was brought to adorn that of Joseph Barchard, Esq. (Jacob Ruisdael)|The Sandy Road. Panel; height 12 3/4 inches, width 16. This picturesque bit of wild nature represents a sandy road, winding round a hill; the slope of which is covered with trees and brambles. Further on, in the back-ground, rise two hillocks, on one of which are two men, and at the foot there is a traveller followed by his dog. On the other hill is a tuft of trees well grouped and full of elegance; to the right of the first site is a pool of water, in which the sky is reflected, it is bordered by various plants; still further we discover a country covered with wood. This exquisite picture shows all the power of the artist's talent, and particularly displays a vivid touch and the most brilliant colour. It formed part of the collection of Saint Victor, from thence it was brought to adorn that of Joseph Barchard, Esq.]] réalisée par Jacob Ruisdael, vendue par Nieuwenhuys au prix de 157.10 £. [82]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View in a Forest. Panel; height 18 inches, width 13 3/4. The works of this master are very scarce and very much esteemed. He has the peculiar fancy of painting forests or allies where the sun is piercing through the trees. This specimen is one of those to which amateurs give a preference, and it represents the entrance of a forest varied by masses of trees designed with elegance. In the centre is a piece of water, into which a stag has thrown himself followed by the huntsman. This elegant composition is touched with spirit, and its colour is perfectly illusive. The figures are painted by Lingelback (John Hakkert)|View in a Forest. Panel; height 18 inches, width 13 3/4. The works of this master are very scarce and very much esteemed. He has the peculiar fancy of painting forests or allies where the sun is piercing through the trees. This specimen is one of those to which amateurs give a preference, and it represents the entrance of a forest varied by masses of trees designed with elegance. In the centre is a piece of water, into which a stag has thrown himself followed by the huntsman. This elegant composition is touched with spirit, and its colour is perfectly illusive. The figures are painted by Lingelback]] réalisée par John Hakkert, vendue par Nieuwenhuys au prix de 74.11 £. [83]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The tranquillity of the scene is only broken by the murmuring of a rivulet; the conviction of being alone induced the chaste Diana to enjoy the coolness of the streams before her; her feet are already in the water, when a sudden noise startles her; her looks express agitation and fear inspired by her chastity. To the left, in the distance, a temple can be perceived amongst the trees, where nymphs are offering a scarifice to the goddess of the forest This picture, and the following, No. 91, are known as having belonged to the gallery of Prince Monaco, and subsequently as part of the rich collection of Monsieur de Sereville. There is found in them the graceful style of Albano united to the scientific outlines of Carracci; of these it is said that Maratti never lost sight (Carlo Maratti)|The tranquillity of the scene is only broken by the murmuring of a rivulet; the conviction of being alone induced the chaste Diana to enjoy the coolness of the streams before her; her feet are already in the water, when a sudden noise startles her; her looks express agitation and fear inspired by her chastity. To the left, in the distance, a temple can be perceived amongst the trees, where nymphs are offering a scarifice to the goddess of the forest This picture, and the following, No. 91, are known as having belonged to the gallery of Prince Monaco, and subsequently as part of the rich collection of Monsieur de Sereville. There is found in them the graceful style of Albano united to the scientific outlines of Carracci; of these it is said that Maratti never lost sight]] réalisée par Carlo Maratti, vendue par Nieuwenhuys, achetée par Theobald au prix de 10.10 £. [84]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Actaeon punished for his Curiosity. Canvass; height 20 1/2 inches, width 26 1/2. The grandson of Cadmus wandering in a forest, separated from his companions of the chase, enters by chance the grotto where the Goddess Diana is accustomed to bathe. She is sitting on the border of the stream, whose crystal waters have refreshed her delicate form. Happy had he fled this dangerous spot! but with rash infatuation he stops, and dares cast his impious looks on the charms which fortune had reserved for the happy Endymion; he alone could contemplate them without danger. Diana observing him, her heart burns with indignation at his audacity; his punishment was as severe as his conduct indiscreet. She transformed him into a stag and left him a prey to his own dogs. This picture, and the following, No. 91, are known as having belonged to the gallery of Prince Monaco, and subsequently as part of the rich collection of Monsieur de Sereville. There is found in them the graceful style of Albano united to the scientific outlines of Carracci; of these it is said that Maratti never lost sight (Carlo Maratti)|Actaeon punished for his Curiosity. Canvass; height 20 1/2 inches, width 26 1/2. The grandson of Cadmus wandering in a forest, separated from his companions of the chase, enters by chance the grotto where the Goddess Diana is accustomed to bathe. She is sitting on the border of the stream, whose crystal waters have refreshed her delicate form. Happy had he fled this dangerous spot! but with rash infatuation he stops, and dares cast his impious looks on the charms which fortune had reserved for the happy Endymion; he alone could contemplate them without danger. Diana observing him, her heart burns with indignation at his audacity; his punishment was as severe as his conduct indiscreet. She transformed him into a stag and left him a prey to his own dogs. This picture, and the following, No. 91, are known as having belonged to the gallery of Prince Monaco, and subsequently as part of the rich collection of Monsieur de Sereville. There is found in them the graceful style of Albano united to the scientific outlines of Carracci; of these it is said that Maratti never lost sight]] réalisée par Carlo Maratti, vendue par Nieuwenhuys au prix de 63.0 £. [85]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The meeting with Rebecca at the Well. Canvass; height 30 inches, width 42 1/4. The sun about to set behind the mountains indicates the approach of evening; at the instant the servant of Abraham, arriving near the city of Nakor, meets Rebecca at the well, where the maidens from the city come to draw water. Here, Rebecca, dressed in a simple habit, is bearing a pitcher of polished brass; and a man in an Asiatic costume is conversing with her. At a distance several camels are seen, and the persons of the suite who form the caravan; lower down to the left are some other women drawing water; near them a flock of sheep are scattered and guarded by a shepherdess. Every part is pleasingly varied, according to the history of the subject. It is signed G.V. Eeckhout, fecit Ao 1661 (Gerbrant Van Den Eeckhout)|The meeting with Rebecca at the Well. Canvass; height 30 inches, width 42 1/4. The sun about to set behind the mountains indicates the approach of evening; at the instant the servant of Abraham, arriving near the city of Nakor, meets Rebecca at the well, where the maidens from the city come to draw water. Here, Rebecca, dressed in a simple habit, is bearing a pitcher of polished brass; and a man in an Asiatic costume is conversing with her. At a distance several camels are seen, and the persons of the suite who form the caravan; lower down to the left are some other women drawing water; near them a flock of sheep are scattered and guarded by a shepherdess. Every part is pleasingly varied, according to the history of the subject. It is signed G.V. Eeckhout, fecit Ao 1661]] réalisée par Gerbrant Van Den Eeckhout, vendue par Nieuwenhuys au prix de 65.2 £. [86]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Poultry. Canvass; height 48 in., width 62. The various subjects which the Dutch school has chosen render it both agreeable and interesting. Hondecoeter is celebrated for having represented poultry; he brought this kind of painting to perfection as much by the diversity of his compositions, as by the bold execution of his pencil. This picture represents a hilly landscape. Near a wooden inclosure are some shrubs and the trunk of a tree; from whence the ground descends to the first site, where several ducks with their young are swimming in a pond; -- near them are two geese. From the collection of the late Gerrit Muller of Amsterdam (Melchier Hondecoeter)|Poultry. Canvass; height 48 in., width 62. The various subjects which the Dutch school has chosen render it both agreeable and interesting. Hondecoeter is celebrated for having represented poultry; he brought this kind of painting to perfection as much by the diversity of his compositions, as by the bold execution of his pencil. This picture represents a hilly landscape. Near a wooden inclosure are some shrubs and the trunk of a tree; from whence the ground descends to the first site, where several ducks with their young are swimming in a pond; -- near them are two geese. From the collection of the late Gerrit Muller of Amsterdam]] réalisée par Melchier Hondecoeter, vendue par Nieuwenhuys au prix de 63.0 £. [87]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape. Canvass; height 26 1/2 inches, width 25. A landscape, with the ruins of an ancient castle, surrounded by trees. The distant mountainous country is illumined by a setting sun, which throws its light on the fore-ground. Peasants and cattle, of the best execution of Linglebach, on a road, adorn most agreeably this charming picture. From the collection of Mons. Reynders of Brussels (Adrian Ver Boom)|A Landscape. Canvass; height 26 1/2 inches, width 25. A landscape, with the ruins of an ancient castle, surrounded by trees. The distant mountainous country is illumined by a setting sun, which throws its light on the fore-ground. Peasants and cattle, of the best execution of Linglebach, on a road, adorn most agreeably this charming picture. From the collection of Mons. Reynders of Brussels]] réalisée par Adrian Ver Boom, vendue par Nieuwenhuys, achetée par Winn au prix de 35.14 £. [88]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Women bathing. Canvass; height 40 inches, width 61 1/2. In a river several women are seen bathing, two of them are amusing themselves in sprinkling each other; nearer, and on the first site, a cavalier and three ladies are sitting on the grass, the one dressed in a blue silk robe is adorning her head with flowers. On the river is a boat, with other figures, going towards the shade of the trees. This remarkable picture of the painter rivals the finest works of Watteau. It comes from the chateau of Chantilly, where it formed a part of the collection of the Prince Condé (Nicolas Lancret)|Women bathing. Canvass; height 40 inches, width 61 1/2. In a river several women are seen bathing, two of them are amusing themselves in sprinkling each other; nearer, and on the first site, a cavalier and three ladies are sitting on the grass, the one dressed in a blue silk robe is adorning her head with flowers. On the river is a boat, with other figures, going towards the shade of the trees. This remarkable picture of the painter rivals the finest works of Watteau. It comes from the chateau of Chantilly, where it formed a part of the collection of the Prince Condé]] réalisée par Nicolas Lancret, vendue par Nieuwenhuys, achetée par Hon Sir Chas Coote Bt MP 5 Connaught place au prix de 27.16 £. [89]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[View in Italy. Canvass; height 36 inches, width 44. To the right is a rocky elevation crowned with buildings, which throws a shadow on the fore-ground; further on are a fountain and the columns of some ancient monument: the whole enriched by figures and animals. The horizon is bounded by a chain of high mountains (Henry Verschuring)|View in Italy. Canvass; height 36 inches, width 44. To the right is a rocky elevation crowned with buildings, which throws a shadow on the fore-ground; further on are a fountain and the columns of some ancient monument: the whole enriched by figures and animals. The horizon is bounded by a chain of high mountains]] réalisée par Henry Verschuring, vendue par Nieuwenhuys au prix de 15.4 £. [90]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Les Environs de Bruges. Panel; height 15 3/4 inches, width 22 1/2. In the middle of the picture is the great road leading towards the town of Bruges, hardly perceptible at a distance; a part of the landscape is illumined by a ray of the sun. Two wind-mills situated on the height of the hill, a miller loading a cart drawn by a white horse, and a peasant girl seated and talking with a villager, with some other persons pursuing their way towards the town, complete this composition. It enjoys the most authentic reputation. Le Bas has made a charming engraving of it, under the title of IIe Vue des Environs de Bruges. This picture belonged then to his Royal Highness Louis Joseph de Bourbon, Prince de Condé; to whom this engraving is dedicated (John Breughel)|Les Environs de Bruges. Panel; height 15 3/4 inches, width 22 1/2. In the middle of the picture is the great road leading towards the town of Bruges, hardly perceptible at a distance; a part of the landscape is illumined by a ray of the sun. Two wind-mills situated on the height of the hill, a miller loading a cart drawn by a white horse, and a peasant girl seated and talking with a villager, with some other persons pursuing their way towards the town, complete this composition. It enjoys the most authentic reputation. Le Bas has made a charming engraving of it, under the title of IIe Vue des Environs de Bruges. This picture belonged then to his Royal Highness Louis Joseph de Bourbon, Prince de Condé; to whom this engraving is dedicated]] réalisée par John Breughel, vendue par Nieuwenhuys, achetée par Redfern au prix de 14.14 £. [91]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Summer. Canvass; height 17 in., width 25 1/2. This view displays great brilliancy of colour, and represents a landscape, where, in the month of July, the rustics are employed with their rural occupations; several village girls are holding sheep on their knees and shearing their fleeces, whilst the villagers are cleansing the wool in a stream running under a bridge in the distance. Amongst a group of trees the ruins of a superb edifice of the Corinthian order are seen. It is signed Patel, 1699 (Peter Patel)|Summer. Canvass; height 17 in., width 25 1/2. This view displays great brilliancy of colour, and represents a landscape, where, in the month of July, the rustics are employed with their rural occupations; several village girls are holding sheep on their knees and shearing their fleeces, whilst the villagers are cleansing the wool in a stream running under a bridge in the distance. Amongst a group of trees the ruins of a superb edifice of the Corinthian order are seen. It is signed Patel, 1699]] réalisée par Peter Patel, vendue par Nieuwenhuys, achetée par Rodd au prix de 22.11 £. [93]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Still Life. Panel; height 7 1/2 in., width 6 1/2. A dead cock, hung up by the legs to a pillar, two baskets placed on a table, the one filled with eggs, the other with vegetables, and two ducks, form the group of this representation of still life. It is a specimen of the highest quality. It is signed P.V. Slingelant (Peter Van Slingelant)|Still Life. Panel; height 7 1/2 in., width 6 1/2. A dead cock, hung up by the legs to a pillar, two baskets placed on a table, the one filled with eggs, the other with vegetables, and two ducks, form the group of this representation of still life. It is a specimen of the highest quality. It is signed P.V. Slingelant]] réalisée par Peter Van Slingelant, vendue par Nieuwenhuys, achetée par Hon Col FitzGibbon 44 Belgrave Sq au prix de 32.11 £. [94]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Italian Landscape. Panel; height 11 3/4 inches, width 15 1/4. This view (taken at the decline of day) describes a long chain of mountains crossing the landscape, from one point of which is seen a cascade rushing down the rock into a river, whose course is broken by a fall beneath a bridge, over which the road proceeds behind a group of trees, and leads to the front of the picture; a lady and gentleman on horseback, accompanied by several dogs, are returning from the chase. This is a brilliant specimen of the artist, who followed the manner of his master, John Both (William De Heusch)|An Italian Landscape. Panel; height 11 3/4 inches, width 15 1/4. This view (taken at the decline of day) describes a long chain of mountains crossing the landscape, from one point of which is seen a cascade rushing down the rock into a river, whose course is broken by a fall beneath a bridge, over which the road proceeds behind a group of trees, and leads to the front of the picture; a lady and gentleman on horseback, accompanied by several dogs, are returning from the chase. This is a brilliant specimen of the artist, who followed the manner of his master, John Both]] réalisée par William De Heusch, vendue par Nieuwenhuys, achetée par J S Woodin au prix de 12.1 £. [95]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Vulcan forging the Armour for Achilles. Copper; height 13 inches, width 17 1/2. Thetis, surrounded by her nymphs, visits Vulcan to obtain armour for her son. The God of Fire has placed his anvil on a rock, and is working with his gigantic Cyclops: the helmet and shield are already finished, and he is now forging the immense cuirass for the valiant Achilles. Cupid is introduced, and in the attitude of bending his bow. From the collection of John Dent, Esq. (George Rottnhamer)|Vulcan forging the Armour for Achilles. Copper; height 13 inches, width 17 1/2. Thetis, surrounded by her nymphs, visits Vulcan to obtain armour for her son. The God of Fire has placed his anvil on a rock, and is working with his gigantic Cyclops: the helmet and shield are already finished, and he is now forging the immense cuirass for the valiant Achilles. Cupid is introduced, and in the attitude of bending his bow. From the collection of John Dent, Esq.]] réalisée par George Rottnhamer, vendue par Nieuwenhuys, achetée par Theobald au prix de 14.3 £. [96]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Music Lesson. Canvass; height 18 inches, width 15. A lady dressed in a red silk corset, with a white satin petticoat, is playing on the violoncello, the music-master accompanying her on the piano-forte. This little picture reminds us of the works of Terburg (Hugterveld)|The Music Lesson. Canvass; height 18 inches, width 15. A lady dressed in a red silk corset, with a white satin petticoat, is playing on the violoncello, the music-master accompanying her on the piano-forte. This little picture reminds us of the works of Terburg]] réalisée par Hugterveld, vendue par Nieuwenhuys au prix de 11.0 £. [97]
  • 1833.05.11/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Flemish Fair. Copper; height 5 inches, width 6 1/2. Breughel and Callot had the peculiar gift of genius to represent in such small dimensions the image of nature. This specimen represents a Flemish fair, where strolling players draw a crowd of the curious; farther on, others are amusing themselves with dancing. A magnifying glass is requisite to distinguish the finish of its minute details (John Breughel)|A Flemish Fair. Copper; height 5 inches, width 6 1/2. Breughel and Callot had the peculiar gift of genius to represent in such small dimensions the image of nature. This specimen represents a Flemish fair, where strolling players draw a crowd of the curious; farther on, others are amusing themselves with dancing. A magnifying glass is requisite to distinguish the finish of its minute details]] réalisée par John Breughel, vendue par Nieuwenhuys, achetée par Redfern au prix de 9.19 £. [98]
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