Ventes d'œuvres le 1835.07.25

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  • 1835.07.25/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[Venus Recumbent. The exhibition of this glorious emanation of art, offers a delightful treat to those who love to see what the painter's genius can accomplish. Never was the glow of colouring carried beyond this rich and delicious specimen. The flesh throughout is as pure as the brightest sun-set. It is evidently a portrait, and of a woman of surpassing loveliness. The head and neck, and the arm upon which the head reposes, are invested with the highest attriibutes of the painter's art. The figure is perfect in symmetry, the outline swelling and subsiding with nature's softest grace. There is a delicate relief in the different parts of the body, an imperceptible gradation of tone and roundness of form, which tend to cheat the imagination into a belief the living model is presented to the eye. Titian had accomplished this -- art cannot go further (Titian)|Venus Recumbent. The exhibition of this glorious emanation of art, offers a delightful treat to those who love to see what the painter's genius can accomplish. Never was the glow of colouring carried beyond this rich and delicious specimen. The flesh throughout is as pure as the brightest sun-set. It is evidently a portrait, and of a woman of surpassing loveliness. The head and neck, and the arm upon which the head reposes, are invested with the highest attriibutes of the painter's art. The figure is perfect in symmetry, the outline swelling and subsiding with nature's softest grace. There is a delicate relief in the different parts of the body, an imperceptible gradation of tone and roundness of form, which tend to cheat the imagination into a belief the living model is presented to the eye. Titian had accomplished this -- art cannot go further]] réalisée par Titian, vendue par J Taylor Esq, achetée par Norton au prix de 3050 gs. [14]
  • 1835.07.25/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Triumph of Charity. Charity is personated by a female possessing more dignity and grace than the female figures usually introduced by Rubens in his compositions. It is obviously a likeness of Marie de Medicis. She has more of the Italian than the Flemish air. In consonance with her attributes and character, the painter has endowed her with a matronly form and aspect. On her right arm is an infant, who is affectionately clinging to her neck, round which its little arms are folded. She inclines her head to meet and return the kiss of infantine love. Her left hand is extended to a child who is eagerly pressing near her for protection, and another child a little more advanced in the car partakes her care. A pelican piercing her breast to feed her young with her heart's blood is introduced in the car. These figures constitute the group in the car. They are most appropriate to the subject, and are designed and executed with remarkable freedom and an accurate attention to minute details. The figure of Charity is clothed; her drapery hangs naturally in broad and ample folds, affording the painter an opportunity which he has not neglected of filling up the centre of his canvas with a mass of bold colouring which gives tone and contrast to every other object. A light drapery borne up by a passing zephyr, floats gracefully over the head of the principal figure, giving relief to the heavier folds of the garments. The car is of light and elegant construction, and decked out with ornaments which seem to denote that it is devoted to triumphal purpose. Two winged boys attend the car; one with a blazing flambeau is in the act of destroying two serpents, introduced in the foreground as emblematic of the human spirit of envy and detraction which ever lies in the path of virtue. The other is armed with a bow, and holds up a flaming heart, indicating the celestial origin and quality of charity. Two noble lions are harnessed to the car. A far-extending landscape, apparently seen from an elevation, touched with great delicacy and truth, and displaying a very fine perspective, forms the background of the picture. The group of cherubim circling above the head of Charity is one of the greatest triumphs of Art to be found in the whole range of its treasures. It consists of eleven figures, presented in every variety of attitude, and disposed with singular art, and a most charming effect of aerial buoyancy. It is executed in his boldest style, with a free and flowing outline, a rich glow of colour, such as Rubens only could impart, and a unity, or correspondence and harmony, between all the separate parts, tending to one grand object, such as the designs even of this great master seldom present. Every part of the picture is equally sustained, the whole composition appearing as a single emanation of mind, rather than as an elaborate series of efforts. This grand effort came out of the Dominican Convent at Loches, near Madrid. It was painted by order of Philip the Fourth of Spain, being one of a series expressly executed for that Convent, which was founded in 1623, by the Conde Duque de Olivarez, then Prime Minister to the Spanish Monarch. Rubens had been shortly before at Madrid on a special diplomatic mission from the Low Countries. (Rubens)|The Triumph of Charity. Charity is personated by a female possessing more dignity and grace than the female figures usually introduced by Rubens in his compositions. It is obviously a likeness of Marie de Medicis. She has more of the Italian than the Flemish air. In consonance with her attributes and character, the painter has endowed her with a matronly form and aspect. On her right arm is an infant, who is affectionately clinging to her neck, round which its little arms are folded. She inclines her head to meet and return the kiss of infantine love. Her left hand is extended to a child who is eagerly pressing near her for protection, and another child a little more advanced in the car partakes her care. A pelican piercing her breast to feed her young with her heart's blood is introduced in the car. These figures constitute the group in the car. They are most appropriate to the subject, and are designed and executed with remarkable freedom and an accurate attention to minute details. The figure of Charity is clothed; her drapery hangs naturally in broad and ample folds, affording the painter an opportunity which he has not neglected of filling up the centre of his canvas with a mass of bold colouring which gives tone and contrast to every other object. A light drapery borne up by a passing zephyr, floats gracefully over the head of the principal figure, giving relief to the heavier folds of the garments. The car is of light and elegant construction, and decked out with ornaments which seem to denote that it is devoted to triumphal purpose. Two winged boys attend the car; one with a blazing flambeau is in the act of destroying two serpents, introduced in the foreground as emblematic of the human spirit of envy and detraction which ever lies in the path of virtue. The other is armed with a bow, and holds up a flaming heart, indicating the celestial origin and quality of charity. Two noble lions are harnessed to the car. A far-extending landscape, apparently seen from an elevation, touched with great delicacy and truth, and displaying a very fine perspective, forms the background of the picture. The group of cherubim circling above the head of Charity is one of the greatest triumphs of Art to be found in the whole range of its treasures. It consists of eleven figures, presented in every variety of attitude, and disposed with singular art, and a most charming effect of aerial buoyancy. It is executed in his boldest style, with a free and flowing outline, a rich glow of colour, such as Rubens only could impart, and a unity, or correspondence and harmony, between all the separate parts, tending to one grand object, such as the designs even of this great master seldom present. Every part of the picture is equally sustained, the whole composition appearing as a single emanation of mind, rather than as an elaborate series of efforts. This grand effort came out of the Dominican Convent at Loches, near Madrid. It was painted by order of Philip the Fourth of Spain, being one of a series expressly executed for that Convent, which was founded in 1623, by the Conde Duque de Olivarez, then Prime Minister to the Spanish Monarch. Rubens had been shortly before at Madrid on a special diplomatic mission from the Low Countries.]] réalisée par Rubens, vendue par J Taylor Esq au prix de 850 gs. [15]
  • 1835.07.25/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Meeting of Jacob and Esau. This magnificent picture is not only one of the most powerful ever painted by the Master, but is in itself as proud a specimen of the Art as is to be found in any collection. Murillo is mostly known in this country by his single figures, which for expression and highly wrought colouring, are very justly held in high repute by connoisseurs. His landscapes are rarely to be seen in English collections, and still more rarely his historical compositions. So highly are these esteemed in Spain, that they are guarded with a watchful jealously, and have been made the subject of special edicts from the crown. The companion picture to the "Meeting of Jacob and Esau" is in the princely collection of the Marquis of Westminster; and in the engraved catalogue of his lordship's gallery, No. 69 is stated to have been taken from the house of the Marquis of Santiago by General Sebastiani when he entered Madrid with the French army. No one possessed of a spark of feeling for the Arts can look upon this production without having his mind kindled into admiration of the same fervid character as that described by the author above quoted. All the powers of the Artist are here gathered into one example. In the drawing and grouping of the figures nothing is forced or capricious. A sublime simplicity, and a severe adherence to the outward forms of nature, speaking the language of truth in the most minute details, reign throughout the composition. The rich, mellow, and sombre hues for which the Painter is celebrated are here distinguishable, in every variety and harmonious combination, of which the art of colouring seems to be susceptible. It is by no means the least remarkable part of this production, that, although painted upon the largest scale of easel pictures, (being in size 12 feet by 8 feet) and intended of course to be viewed at a certain distance, the more close and minute the inspection, the more do its real charms discover themselves. In Mr. Young's illustrated catalogue of the splendid gallery of the Marquis of Westminster, it is stated, that the companion picture to the present, the "Meeting of Jacob and Laban," was the centre one of the series of five in the Marquis of Santiago's collection. This picture being two feet wider than that in the possession of the noble Marquis, although in height they are the same to an inch, and relating to a more important passage in the life of Jacob, is more likely to have been the centre of the group (Murillo)|The Meeting of Jacob and Esau. This magnificent picture is not only one of the most powerful ever painted by the Master, but is in itself as proud a specimen of the Art as is to be found in any collection. Murillo is mostly known in this country by his single figures, which for expression and highly wrought colouring, are very justly held in high repute by connoisseurs. His landscapes are rarely to be seen in English collections, and still more rarely his historical compositions. So highly are these esteemed in Spain, that they are guarded with a watchful jealously, and have been made the subject of special edicts from the crown. The companion picture to the "Meeting of Jacob and Esau" is in the princely collection of the Marquis of Westminster; and in the engraved catalogue of his lordship's gallery, No. 69 is stated to have been taken from the house of the Marquis of Santiago by General Sebastiani when he entered Madrid with the French army. No one possessed of a spark of feeling for the Arts can look upon this production without having his mind kindled into admiration of the same fervid character as that described by the author above quoted. All the powers of the Artist are here gathered into one example. In the drawing and grouping of the figures nothing is forced or capricious. A sublime simplicity, and a severe adherence to the outward forms of nature, speaking the language of truth in the most minute details, reign throughout the composition. The rich, mellow, and sombre hues for which the Painter is celebrated are here distinguishable, in every variety and harmonious combination, of which the art of colouring seems to be susceptible. It is by no means the least remarkable part of this production, that, although painted upon the largest scale of easel pictures, (being in size 12 feet by 8 feet) and intended of course to be viewed at a certain distance, the more close and minute the inspection, the more do its real charms discover themselves. In Mr. Young's illustrated catalogue of the splendid gallery of the Marquis of Westminster, it is stated, that the companion picture to the present, the "Meeting of Jacob and Laban," was the centre one of the series of five in the Marquis of Santiago's collection. This picture being two feet wider than that in the possession of the noble Marquis, although in height they are the same to an inch, and relating to a more important passage in the life of Jacob, is more likely to have been the centre of the group]] réalisée par Murillo, vendue par J Taylor Esq au prix de 630.0 £. [16]
  • 1835.07.25/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[A copy, in minature, by this celebrated artist, of the great picture in the Vatican of the Last Judgment, by Michael Angelo. This beautiful gem was formerly in the collection of Pope Clement the Eleventh, who presented it to Cardinal Jansen, in whose family it remained till the French Revolution (Giulio Clovio)|A copy, in minature, by this celebrated artist, of the great picture in the Vatican of the Last Judgment, by Michael Angelo. This beautiful gem was formerly in the collection of Pope Clement the Eleventh, who presented it to Cardinal Jansen, in whose family it remained till the French Revolution]] réalisée par Giulio Clovio, vendue par J Taylor Esq au prix de 71.8 £. [42]
  • 1835.07.25/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[A Mountainous Rocky Landscape and Waterfall, with Ruins of a Chateau, and Bridge on the acclivity, in the middle distance. In the immediate foreground is a Peasant's Hut, with a Female feeding Poultry, and close by a wooden Bridge, over which are passing Mules and Figures laden with market produce (Murillo)|A Mountainous Rocky Landscape and Waterfall, with Ruins of a Chateau, and Bridge on the acclivity, in the middle distance. In the immediate foreground is a Peasant's Hut, with a Female feeding Poultry, and close by a wooden Bridge, over which are passing Mules and Figures laden with market produce]] réalisée par Murillo, vendue par J Taylor Esq au prix de 131.5 £. [50]
  • 1835.07.25/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[A Morning Scene with Travellers pursuing their journey; the lengthened shadows shew the sun has appeared over the mountains; a serene repose pervades the whole picture. The trees and shrubs in the fore ground, and the charming distance, contribute to the general effect of this beautiful picture (Both)|A Morning Scene with Travellers pursuing their journey; the lengthened shadows shew the sun has appeared over the mountains; a serene repose pervades the whole picture. The trees and shrubs in the fore ground, and the charming distance, contribute to the general effect of this beautiful picture]] réalisée par Both, vendue par J Taylor Esq au prix de 61 gs. [62]
  • 1835.07.25/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[The Dead Christ and the Maries. A splendid specimen of the united talents of those great Artists, which for feeling and vigour of pencil may not be considered unworthy of being placed in competition with the celebrated picture of the same subject, though differently treated, by their Brother Annibale (Lud. Caracci)|The Dead Christ and the Maries. A splendid specimen of the united talents of those great Artists, which for feeling and vigour of pencil may not be considered unworthy of being placed in competition with the celebrated picture of the same subject, though differently treated, by their Brother Annibale]] réalisée par Lud. Caracci, vendue par J Taylor Esq au prix de 115 gs. [76]
  • 1835.07.25/ maison de ventes : Foster (Edward). Vente de l'œuvre décrite comme [[In the foreground of this picture is a loaded Barge, and Men fastening luggage on the back of a Mule under the direction of the Master who is on horseback; in the half distance is an Italian Chateau, beyond which are a range of Mountains, over which float some detached Clouds lighted by the Sun with amazing brilliancy -- this picture is inscribed K du Jardin, Rome (K. Du Jardin)|In the foreground of this picture is a loaded Barge, and Men fastening luggage on the back of a Mule under the direction of the Master who is on horseback; in the half distance is an Italian Chateau, beyond which are a range of Mountains, over which float some detached Clouds lighted by the Sun with amazing brilliancy -- this picture is inscribed K du Jardin, Rome]] réalisée par K. Du Jardin, vendue par J Taylor Esq au prix de 89 gs. [77]
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