Ventes d'œuvres le 1837.06.02

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  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Venus, with Cupid seeking to regain his Bow which she has taken, and a crouching satyr. The beauty of colour, the transparency of the shadows, the exquisite grace of the contours and the evident alterations made in its progress, sufficiently attest its originality. The three last-mentioned pictures are from a noble collection, which must not be named (Correggio)|Venus, with Cupid seeking to regain his Bow which she has taken, and a crouching satyr. The beauty of colour, the transparency of the shadows, the exquisite grace of the contours and the evident alterations made in its progress, sufficiently attest its originality. The three last-mentioned pictures are from a noble collection, which must not be named]] réalisée par Correggio, vendue par W.G. Coesvelt, Esq au prix de 294.0 gs. [1]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Annunciation: the two figures of the angel and the Virgin are in circles, surrounded by rich arabesques on a black ground; this specimen of the first manner of the master possesses much simple suavity; there is a slight approach to dryness in the outline, indicating the period at which it was painted The three last-mentioned pictures are from a noble collection, which must not be named (Raffaelle)|The Annunciation: the two figures of the angel and the Virgin are in circles, surrounded by rich arabesques on a black ground; this specimen of the first manner of the master possesses much simple suavity; there is a slight approach to dryness in the outline, indicating the period at which it was painted The three last-mentioned pictures are from a noble collection, which must not be named]] réalisée par Raffaelle, vendue par W.G. Coesvelt, Esq au prix de 57 gs. [2]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A young Female playing on a Guitar; the shadows are unfortunately somewhat darkened, which is injurious to the general effect of the picture. The date of 1520 is on a tablet The three last-mentioned pictures are from a noble collection, which must not be named (Luini)|A young Female playing on a Guitar; the shadows are unfortunately somewhat darkened, which is injurious to the general effect of the picture. The date of 1520 is on a tablet The three last-mentioned pictures are from a noble collection, which must not be named]] réalisée par Luini, vendue par W.G. Coesvelt, Esq au prix de 48 gs. [3]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin, Infant Christ, St. John and an angel, in the same positions as in the picture of Leonardo, La Vierge au Rocher, in Paris, but the draperies, hands, and landscape are different, with the addition of an episode of the Annunciation to the Shepherds, taken from the bas-relief by Michael della Robia. The heads possess a greater degree of suavity than the original by the master (Luini)|The Virgin, Infant Christ, St. John and an angel, in the same positions as in the picture of Leonardo, La Vierge au Rocher, in Paris, but the draperies, hands, and landscape are different, with the addition of an episode of the Annunciation to the Shepherds, taken from the bas-relief by Michael della Robia. The heads possess a greater degree of suavity than the original by the master]] réalisée par Luini, vendue par W.G. Coesvelt, Esq au prix de 55 gs. [4]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Two Figures only, from the large picture in the Paris Museum, the St. Anne being omitted. The draperies vary, and the landscape is altogether different; there is an orange-tree on the left, and a waterfall on the right, in this. It came from a noble family in Rome, as did No.70. In the Lawrence Collection of drawings will be found a study of a portion of the draperies, the same size as in this picture (Leonardo Da Vinci)|Two Figures only, from the large picture in the Paris Museum, the St. Anne being omitted. The draperies vary, and the landscape is altogether different; there is an orange-tree on the left, and a waterfall on the right, in this. It came from a noble family in Rome, as did No.70. In the Lawrence Collection of drawings will be found a study of a portion of the draperies, the same size as in this picture]] réalisée par Leonardo Da Vinci, vendue par W.G. Coesvelt, Esq au prix de 180 gs. [5]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Infant Christ sleeping in the lap of the Virgin, St. Joseph and St. John; equal in finish to a miniature. The design is by Michael Angelo. This picture was given by Philip III. to the nuns of the convent of La Soledad, and was purchased of them in Madrid. Engraved (Sebastian Del Piombo)|The Infant Christ sleeping in the lap of the Virgin, St. Joseph and St. John; equal in finish to a miniature. The design is by Michael Angelo. This picture was given by Philip III. to the nuns of the convent of La Soledad, and was purchased of them in Madrid. Engraved]] réalisée par Sebastian Del Piombo, vendue par W.G. Coesvelt, Esq au prix de 330 gs. [8]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Birth of Adonis: Diana receiving the new-born Infant, consigns it to the care of a kneeling nymph; many others, together with cupids and satyrs, make up the composition; it is remarkably clear and silvery, and has been attributed to Guido on account of the handling (Albano)|The Birth of Adonis: Diana receiving the new-born Infant, consigns it to the care of a kneeling nymph; many others, together with cupids and satyrs, make up the composition; it is remarkably clear and silvery, and has been attributed to Guido on account of the handling]] réalisée par Albano, vendue par W.G. Coesvelt, Esq au prix de 345 gs. [17]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Herod's Supper, and the daughter of Herodias bearing the Head of John the Baptist. It is difficult to find an easel picture by this master so bright and pure, and possessing so lofty a character in its architecture. From the Royal Palace of Buen Retiro in Madrid (Paul Veronese)|Herod's Supper, and the daughter of Herodias bearing the Head of John the Baptist. It is difficult to find an easel picture by this master so bright and pure, and possessing so lofty a character in its architecture. From the Royal Palace of Buen Retiro in Madrid]] réalisée par Paul Veronese, vendue par W.G. Coesvelt, Esq au prix de 270 gs. [25]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Modesty and Liberality; these two precious fragments are all that remains of the splendid picture which was lost when one of the wings of the Prince Ruspigliosi's Palace in Rome was destroyed by fire. They are well known by Strange's engraving (Guido Reni)|Modesty and Liberality; these two precious fragments are all that remains of the splendid picture which was lost when one of the wings of the Prince Ruspigliosi's Palace in Rome was destroyed by fire. They are well known by Strange's engraving]] réalisée par Guido Reni, vendue par W.G. Coesvelt, Esq, achetée par Thompson au prix de 54.12 gs. [31]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Modesty and Liberality; these two precious fragments are all that remains of the splendid picture which was lost when one of the wings of the Prince Ruspigliosi's Palace in Rome was destroyed by fire. They are well known by Strange's engraving (Guido Reni)|Modesty and Liberality; these two precious fragments are all that remains of the splendid picture which was lost when one of the wings of the Prince Ruspigliosi's Palace in Rome was destroyed by fire. They are well known by Strange's engraving]] réalisée par Guido Reni, vendue par W.G. Coesvelt, Esq, achetée par Thompson au prix de 54.12 gs. [32]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Head of the Duke of Salerno, as a herdsman, with a flute in his hand; painted in oil, on paper. In many parts of the face the first black chalk outline may be traced under the colour. This, as well as Correggio's Zingarella, was given by Charles III. to his son Don Gabriel before leaving Naples. Purchased in Madrid (Giorgione)|Head of the Duke of Salerno, as a herdsman, with a flute in his hand; painted in oil, on paper. In many parts of the face the first black chalk outline may be traced under the colour. This, as well as Correggio's Zingarella, was given by Charles III. to his son Don Gabriel before leaving Naples. Purchased in Madrid]] réalisée par Giorgione, vendue par W.G. Coesvelt, Esq, achetée par Ld Lansdowne au prix de 162.15 gs. [33]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Infant Christ, with St. John kneeling, and St. Joseph in the background leading the ass. This picture was constantly on the easel of Sir Joshua Reynolds, and the character of the head of the Infant Christ will be recognised in many of his elegant compositions (Correggio)|The Virgin and Infant Christ, with St. John kneeling, and St. Joseph in the background leading the ass. This picture was constantly on the easel of Sir Joshua Reynolds, and the character of the head of the Infant Christ will be recognised in many of his elegant compositions]] réalisée par Correggio, vendue par W.G. Coesvelt, Esq au prix de 135 gs. [38]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Repose in Egypt, known under the name of La Zingarella. This picture differs in many respects from the one in Naples; there is but one angel, the draperies and background are simplified, the details being sacrificed to give increased effect to the chiaro-scuro. The single angel is sufficient to identify this picture. It is engraved (Correggio)|The Repose in Egypt, known under the name of La Zingarella. This picture differs in many respects from the one in Naples; there is but one angel, the draperies and background are simplified, the details being sacrificed to give increased effect to the chiaro-scuro. The single angel is sufficient to identify this picture. It is engraved]] réalisée par Correggio, vendue par W.G. Coesvelt, Esq au prix de 185 gs. [39]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Landscape -- sunrise, with distance beyond the sea, Jesus on the shore, summoning Andrew and Simon Peter; the figures and fresh morning tone, fine These two pictures were once in the Collection of the Rev. Holwell Carr, a distinguished amateur. Engraved. (Domenichino)|Landscape -- sunrise, with distance beyond the sea, Jesus on the shore, summoning Andrew and Simon Peter; the figures and fresh morning tone, fine These two pictures were once in the Collection of the Rev. Holwell Carr, a distinguished amateur. Engraved.]] réalisée par Domenichino, vendue par W.G. Coesvelt, Esq au prix de 150 gs. [41]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Flagellation of Christ; in composition grand, and harmonious in colour. From the style resembling that of the Florentine School. This picture has been attributed to Balthazar Peruzzi, in spite of the monogram which is on it. Collection Panné (Parmegiano)|The Flagellation of Christ; in composition grand, and harmonious in colour. From the style resembling that of the Florentine School. This picture has been attributed to Balthazar Peruzzi, in spite of the monogram which is on it. Collection Panné]] réalisée par Parmegiano, vendue par W.G. Coesvelt, Esq au prix de 205 gs. [45]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of his daughter Lucretia as the daughter of Herodias -- half-length figure. This picture (often repeated by the master) differs essentially from all that are known. The arms are naked, and the draperies quite simple to give effect to flesh tints. The original design in black chalk, which the proprietor has, is in every respect similar. Engraved (Titian)|Portrait of his daughter Lucretia as the daughter of Herodias -- half-length figure. This picture (often repeated by the master) differs essentially from all that are known. The arms are naked, and the draperies quite simple to give effect to flesh tints. The original design in black chalk, which the proprietor has, is in every respect similar. Engraved]] réalisée par Titian, vendue par W.G. Coesvelt, Esq au prix de 300 gs. [47]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Peace: another emblematic, figure holding a Torch, with which she is burning the instruments of war heaped at her feet. These two companion pictures carry at their backs marks both of hinges and locks, having formed the doors of the Tabernacle upon the principal altar in the Church of the nuns of Sta Justina in Venice, a convent destroyed when the French took possession of that city (Andrea Schiavone)|Peace: another emblematic, figure holding a Torch, with which she is burning the instruments of war heaped at her feet. These two companion pictures carry at their backs marks both of hinges and locks, having formed the doors of the Tabernacle upon the principal altar in the Church of the nuns of Sta Justina in Venice, a convent destroyed when the French took possession of that city]] réalisée par Andrea Schiavone, vendue par W.G. Coesvelt, Esq, achetée par Hickman au prix de 5.5 gs. [56]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Religion: a female figure holding a chalice; grand in design, and painted with a full and flowing pencil, to tell with effect at a distance These two companion pictures carry at their backs marks both of hinges and locks, having formed the doors of the Tabernacle upon the principal altar in the Church of the nuns of Sta Justina in Venice, a convent destroyed when the French took possession of that city (Andrea Schiavone)|Religion: a female figure holding a chalice; grand in design, and painted with a full and flowing pencil, to tell with effect at a distance These two companion pictures carry at their backs marks both of hinges and locks, having formed the doors of the Tabernacle upon the principal altar in the Church of the nuns of Sta Justina in Venice, a convent destroyed when the French took possession of that city]] réalisée par Andrea Schiavone, vendue par W.G. Coesvelt, Esq, achetée par Hickman au prix de 5.5 gs. [57]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Copy from the celebrated Picture (La Madonna della Sediola) by his master Raffaelle. It is square, while the original is circular. The handling is full and vigorous, and the redness of the flesh tints indicate the painter. There is a rare old print of the same form, with the name of Julio Romano (Julio Romano)|A Copy from the celebrated Picture (La Madonna della Sediola) by his master Raffaelle. It is square, while the original is circular. The handling is full and vigorous, and the redness of the flesh tints indicate the painter. There is a rare old print of the same form, with the name of Julio Romano]] réalisée par Julio Romano, vendue par W.G. Coesvelt, Esq au prix de 45 gs. [58]
  • 1837.06.02/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Rape of Proserpine, and the nymph Cyane changed into a fountain; the grouping of the figures, the four pied horses, and the breadth of the landscape, indicate the master fully. It was in the Orleans Gallery, and the name of Llambert Suster or Suterman was erroneously given as the painter. Some mistakes of this kind were made in that Collection (Titian)|The Rape of Proserpine, and the nymph Cyane changed into a fountain; the grouping of the figures, the four pied horses, and the breadth of the landscape, indicate the master fully. It was in the Orleans Gallery, and the name of Llambert Suster or Suterman was erroneously given as the painter. Some mistakes of this kind were made in that Collection]] réalisée par Titian, vendue par W.G. Coesvelt, Esq, achetée par Bulteel au prix de 409.10 gs. [59]
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