Ventes d'œuvres le 1838.05.25

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  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Italian Scenery; peasants with their herds and flocks, returning from market in a rich mountainous country, with apparently a city, and the lake of Peruggia (the Thrasimene Lake) at a distance. The conception is grand, and very classically treated. The magnificent clouds are in character with the bold face of the country, have an awful appearance, and recall to our memory the portentous historical events of which this country has been the scene of action in former times (Nicholas Berghem)|Italian Scenery; peasants with their herds and flocks, returning from market in a rich mountainous country, with apparently a city, and the lake of Peruggia (the Thrasimene Lake) at a distance. The conception is grand, and very classically treated. The magnificent clouds are in character with the bold face of the country, have an awful appearance, and recall to our memory the portentous historical events of which this country has been the scene of action in former times]] réalisée par Nicholas Berghem, vendue par Right Hon Lord Northwick au prix de 165 gs. [1]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Marine Landscape: a very fine marine view by this "Prince of landscape painters": it is composed out of his two drawings (Nos. 4 and 5), engraved in the Liber Veritatis, with the variations which always occur in his finished picture, from his original sketches; there is also a transposition in the stately arches and edifices he has so carefully finished, and so happily illumined in his painting, so as to produce an imposing effect, to conduct the eye to the more distant objects, air, earth, and water, which are all blended together in the most harmonious accord: the sky is more particularly beautiful; bland, warm, and streaked with light silvery clouds, it bears the impress of the most lively Italian atmosphere. This picture belonged formerly to Sir Drummond Smith, but we do not know in what collection it was before placed (Claude le Lorraine)|A Marine Landscape: a very fine marine view by this "Prince of landscape painters": it is composed out of his two drawings (Nos. 4 and 5), engraved in the Liber Veritatis, with the variations which always occur in his finished picture, from his original sketches; there is also a transposition in the stately arches and edifices he has so carefully finished, and so happily illumined in his painting, so as to produce an imposing effect, to conduct the eye to the more distant objects, air, earth, and water, which are all blended together in the most harmonious accord: the sky is more particularly beautiful; bland, warm, and streaked with light silvery clouds, it bears the impress of the most lively Italian atmosphere. This picture belonged formerly to Sir Drummond Smith, but we do not know in what collection it was before placed]] réalisée par Claude le Lorraine, vendue par Right Hon Lord Northwick au prix de 285 gs. [2]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Cupid, wounded by his own arrow, preferring his complaint to Venus. This is a brilliant specimen, of this great master of the Venetian School, who first emancipated the art of painting from the dry, meagre, inanimate style and manner of his predecessors. To the extreme simplicity and accuracy of design of his own master, Jean Bellini (who had himself, during a long life of toil and labour, acquired much practical knowledge, and advanced his art from a state of barbarity to one of rapidly progrerssive improvement), Giorgione added grace and expression, but more than all, that brilliancy of colouring, and intuitive knowledge of the powers of light and shade, and of the gradations of perspective ("l'effet de l'air ambiant interposé, entre les objets pour en faire connoitre les distances") that appear as if it were by inspiration to have burst forth at once, and to have infused the semblance of animated life into the panels of Giorgione, and other contemporaneous Masters of the Venetian School. This picture, approaching much in manner, colouring, and design, to the style of Tizian, was formerly in the Orleans Gallery, and is engraved amongst the Paintings in that collection (Giorgione)|Cupid, wounded by his own arrow, preferring his complaint to Venus. This is a brilliant specimen, of this great master of the Venetian School, who first emancipated the art of painting from the dry, meagre, inanimate style and manner of his predecessors. To the extreme simplicity and accuracy of design of his own master, Jean Bellini (who had himself, during a long life of toil and labour, acquired much practical knowledge, and advanced his art from a state of barbarity to one of rapidly progrerssive improvement), Giorgione added grace and expression, but more than all, that brilliancy of colouring, and intuitive knowledge of the powers of light and shade, and of the gradations of perspective ("l'effet de l'air ambiant interposé, entre les objets pour en faire connoitre les distances") that appear as if it were by inspiration to have burst forth at once, and to have infused the semblance of animated life into the panels of Giorgione, and other contemporaneous Masters of the Venetian School. This picture, approaching much in manner, colouring, and design, to the style of Tizian, was formerly in the Orleans Gallery, and is engraved amongst the Paintings in that collection]] réalisée par Giorgione, vendue par Right Hon Lord Northwick au prix de 115 gs. [3]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ's Charge to St. Peter. Our divine Saviour, in the midst of three of his disciples (St. John being on his right hand), is emphatically pointing with his fore-finger to a cup, out of which arises the Eucharist (the symbol of our salvation), which an Angel or divine female standing opposite to the Redeemer, and bearing the cross on her shoulder, is holding forward in her hand; St. Peter is prostrating himself before our Saviour in the most reverential action of devotion; in the back part of the painting is a representation of the glorious temple of St. Peter. This fine gallery picture is of great importance, and is of unrivalled perfection in all its parts, and may rank amongst the very best of Ludovico Carracci's works (Ludovico Carracci)|Christ's Charge to St. Peter. Our divine Saviour, in the midst of three of his disciples (St. John being on his right hand), is emphatically pointing with his fore-finger to a cup, out of which arises the Eucharist (the symbol of our salvation), which an Angel or divine female standing opposite to the Redeemer, and bearing the cross on her shoulder, is holding forward in her hand; St. Peter is prostrating himself before our Saviour in the most reverential action of devotion; in the back part of the painting is a representation of the glorious temple of St. Peter. This fine gallery picture is of great importance, and is of unrivalled perfection in all its parts, and may rank amongst the very best of Ludovico Carracci's works]] réalisée par Ludovico Carracci, vendue par Right Hon Lord Northwick au prix de 310 gs. [4]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Lovers' Quarrels; portraits of Raffaelle and La Fornarina. Nothing can surpass the grace and elegance of these two singularly interesting portraits, both are in the first bloom of youth, simply and tastefully attired; they are seated in a garden abounding in fountains and trees, the luxuries of an Italian climate; the young artist's mien and countenance is amiable, modest, ingenuous and intellectual, his action is persuasive, and he seems to feel great interest in the argument he is sustaining. On the other hand, "la Bella Fornarina" is determined not to concede one tittle of the position she has laid down; she is the perfect model of "le beau ideal" of an Italian beauty; her intelligent features are full of fire and animation, but they are expressive also of a feeling which the Italians call maliziosa, or of coquetry (for want of a better term) in its worst sense -- vain and heartless; but conscious of her siren charms, and of their influence over her captivated lover, she triumphs in her obstinacy, and in the anguish she is inflicting on an ingenuous and over-sensitive mind. The pet lap-dog and rampant cat are parties in the dispute; the turtle-doves also (symbols of conjugal love), are not as usual, billing and cooing, but appear to be palced in an adverse position; the subject throughout is carefully composed. We attribute the picture to Sebastian del Piambo (as it embraces all the high qualities of that master's paintings), subject, however, to the correction of better judges, if we are in error (Raffaelle)|Lovers' Quarrels; portraits of Raffaelle and La Fornarina. Nothing can surpass the grace and elegance of these two singularly interesting portraits, both are in the first bloom of youth, simply and tastefully attired; they are seated in a garden abounding in fountains and trees, the luxuries of an Italian climate; the young artist's mien and countenance is amiable, modest, ingenuous and intellectual, his action is persuasive, and he seems to feel great interest in the argument he is sustaining. On the other hand, "la Bella Fornarina" is determined not to concede one tittle of the position she has laid down; she is the perfect model of "le beau ideal" of an Italian beauty; her intelligent features are full of fire and animation, but they are expressive also of a feeling which the Italians call maliziosa, or of coquetry (for want of a better term) in its worst sense -- vain and heartless; but conscious of her siren charms, and of their influence over her captivated lover, she triumphs in her obstinacy, and in the anguish she is inflicting on an ingenuous and over-sensitive mind. The pet lap-dog and rampant cat are parties in the dispute; the turtle-doves also (symbols of conjugal love), are not as usual, billing and cooing, but appear to be palced in an adverse position; the subject throughout is carefully composed. We attribute the picture to Sebastian del Piambo (as it embraces all the high qualities of that master's paintings), subject, however, to the correction of better judges, if we are in error]] réalisée par Raffaelle, vendue par Right Hon Lord Northwick au prix de 210 gs. [5]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Danaë. This picture is a replica of the well-known painting of the same subject, formerly in the Farnese Collection, and which for nearly a whole century has attracted general admiration in the Capo di Monte Palace, at Naples; the merits of which are too well known to require amplification. The Capo di Monte picture being also admirably engraved by Sir Robert Strange, we shall therefore proceed to give a short account of our own picture, which is its exact counterpart. It formerly belonged to the Neapolitan Prince Belvidere, in the possession of whose ancestors it had been from time immemorial, and held in veneration as one of Titian's most important paintings, long before the arrival of the Farnese paintings in the Capo di Monte Palace. From that period the Danaë of the Farnese Collection, then placed in the Royal Palace at Naples (together with the other paintings of that rich collection) being at all times open to public view, justly became the theme of enthusiastic admiration. It was extolled in all the books of travels as Titian's supreme Capo d'Opera; and few travellers have visited Naples, and the treasures contained in its royal palaces, without being forcibly impressed with the many high qualities combined in this fine painting. In the mean time our painting, then in the Belvidere Palace, a villa over the Grotto da Pausilipo, near Naples (which for many years past had been seen only by the family or friends of its possessor), became unknown or forgotten; it was, however, accidentally discovered by an eminent Flemish painter, at that time residing at Naples, who represented it to us as a genuine picture by Titian, of transcendant merit, and which he believed (from the embarrassed circumstances of the family to whom it belonged) might easily be obtained. We accompanied him to see the picture, and through his intervention, became its possessor in the year 1795; since which it has encountered perils by land and by water. Concealed at Naples during the time of the French invasion, the polacca in which it was subsequently freighted, in its passage from Naples to Rome, was wrecked in the mouth of the Tiber, and the picture, with other effects, thrown into the sea; but being eventually saved, it was subjected to an averia, or contribution levied on the effects saved, to indemnify those who lost their whole in the disaster. Arrived at Rome, it required great care and attention to repair the injuries it had suffered; and there were subsequent difficulties in proving it to be a picture, in transitu, from another country, and not belonging to any subject, or resiant within the papal dominions; (the law prohibiting the removal of old paintings from the Roman state being then in full force). Having overcome all these difficulties it at length safely arrived in England, with other fine paintings, in 1801; and we have at all times held it in high estimation (as indeed it is held by all cognoscenti of the works of the great masters of the Italian school) as a splendid repetition by Titian, of one of his most admired paintings (Titian)|Danaë. This picture is a replica of the well-known painting of the same subject, formerly in the Farnese Collection, and which for nearly a whole century has attracted general admiration in the Capo di Monte Palace, at Naples; the merits of which are too well known to require amplification. The Capo di Monte picture being also admirably engraved by Sir Robert Strange, we shall therefore proceed to give a short account of our own picture, which is its exact counterpart. It formerly belonged to the Neapolitan Prince Belvidere, in the possession of whose ancestors it had been from time immemorial, and held in veneration as one of Titian's most important paintings, long before the arrival of the Farnese paintings in the Capo di Monte Palace. From that period the Danaë of the Farnese Collection, then placed in the Royal Palace at Naples (together with the other paintings of that rich collection) being at all times open to public view, justly became the theme of enthusiastic admiration. It was extolled in all the books of travels as Titian's supreme Capo d'Opera; and few travellers have visited Naples, and the treasures contained in its royal palaces, without being forcibly impressed with the many high qualities combined in this fine painting. In the mean time our painting, then in the Belvidere Palace, a villa over the Grotto da Pausilipo, near Naples (which for many years past had been seen only by the family or friends of its possessor), became unknown or forgotten; it was, however, accidentally discovered by an eminent Flemish painter, at that time residing at Naples, who represented it to us as a genuine picture by Titian, of transcendant merit, and which he believed (from the embarrassed circumstances of the family to whom it belonged) might easily be obtained. We accompanied him to see the picture, and through his intervention, became its possessor in the year 1795; since which it has encountered perils by land and by water. Concealed at Naples during the time of the French invasion, the polacca in which it was subsequently freighted, in its passage from Naples to Rome, was wrecked in the mouth of the Tiber, and the picture, with other effects, thrown into the sea; but being eventually saved, it was subjected to an averia, or contribution levied on the effects saved, to indemnify those who lost their whole in the disaster. Arrived at Rome, it required great care and attention to repair the injuries it had suffered; and there were subsequent difficulties in proving it to be a picture, in transitu, from another country, and not belonging to any subject, or resiant within the papal dominions; (the law prohibiting the removal of old paintings from the Roman state being then in full force). Having overcome all these difficulties it at length safely arrived in England, with other fine paintings, in 1801; and we have at all times held it in high estimation (as indeed it is held by all cognoscenti of the works of the great masters of the Italian school) as a splendid repetition by Titian, of one of his most admired paintings]] réalisée par Titian, vendue par Right Hon Lord Northwick au prix de 400 gs. [6]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Two Children at School, or Girl with the Horn-Book; formerly in the Royal Palace of Capo di Monte, at Naples. This picture is well known on the Continent, as also in England, by Sir Robert Strange's fine engraving, after the design he made from it when at Naples, many years ago, under which he has written, "Imprimis venerare Deos," as the first feeling that should be inculcated in the infant mind. It is by a very singular adventure this picture was obtained, which we will relate as it occurred. In the early part of the year 1799 we accompanied Captain Hallowell (afterwards Sir Benjamin Hallowell), as his guest, in the ship Swiftsure, of which he was the commander, from Palermo to Naples. It was at a period of great interest and excitement. The main French army had shortly before evacuated Naples to make head against the Russians, who were carrying all before them in the northern parts of Italy, leaving a few only of their regular troops, joined by a numerous band of Neapolitan rebels, in possession of the three strong forts or castles at Naples, whilst an English squadron was riding at anchor in the bay, and Naples itself (respected as neutral ground) in its usual state of tranquillity. In this state of affairs, when driving a calesse (a Neapolitan cab) down the grand Strada Toledo, accompanied by a British naval officer, Mr. O'Brien (afterwards Lord Edward O'Brien), then First Lieutenant of the Swiftsure, we observed this painting hanging within the doorway of a mean-looking house: on alighting from our vehicle to examine it more closely, we at once recognized Schedone's well-known picture, and concluded that it had been recently stolen from the Royal Palace of Capo di Monte. In the same place was an elegant Grecian or Etruscan vase, which we also suspected to have been plundered from one of the Royal Palaces. Of both these objects we obtained possession on easy terms. We presented the vase afterwards to the late Sir William Hamilton, who had long known it and coveted its possession. It afterwards was purchased by the late Thomas Hope, Esq., of Duchess-street, together with the entire collection of Sir William Hamilton's vases; and there we saw it a few years ago, and believe that it still remains. The picture was without its frame when we obtained it, that belonging to it having probably been secreted or destroyed to prevent detection. It is painted on thick Italian panel; and we had the pleasure to find it in excellent condition, having received only slight injury from the effects of a blow, which had indented or broken off a very minute portion of one of the corners of the painting, so slight indeed, that we never thought of having it restored; and it was our travelling companion (at the top of the carriage, in the state in which we obtained it) through Italy and Germany, until we brought it safe to England, in the autumn of the year 1800; and, to the best of our recollection, it has not received any reparation, nor even a coat of varnish, during the long period that it has been in our possession. The frame that we had made for it, soon after our arrival in England, was of the same pattern as those made for the Leonardo da Vinci and Annibale Carracci (now in the National Gallery), and of other fine paintings then in our collection; and it entirely conceals the slight mutilation it has received, and which has done no perceptible, or indeed any whatsoever, injury to the picture. The memorable events to which we have alluded in our account of this picture occasioned a total convulsion in every Italian state; they more especially affected the fine arts, and threatened their entire expulsion from the classic Italian soil. Paintings of inappreciable value (because till then never offered for sale) the "Dei Penates" of many noble families, and which had been preserved from generation to generation with a sort of religious veneration, and conferred a brighter lustre on those houses than even their own ancient pedigrees deduced from earliest times; and paintings, also, of the greatest celebrity, that had been placed on the consecrated altars of their venerated churches, were everywhere dispersed, and in some instances secreted in various parts of Rome, and could have been bought at a low price by those who possessed the means of purchasing and removing them. The extreme horrors of revolution having subsided (though its bitter effects were long felt), one of the most salutary enactments of the provisionary government was the strict prohibition of removing from Rome any of the works of ancient art; and this law was certainly the means of preserving many valuable productions about to take flight from the immortal city, but unhappily, was not enforced until after the total dispersion of the Colonna, the Aldobrandini, the Barbarini, Justiniani, and many other of the principal galleries at Rome. From these sinister events, however, England has greatly profited, in the immense importation of fine Italian pictures that from that period commenced rapidly to flow into the country, and which, (although its strong current has now considerably abated) has already created a greatly-improved taste for the fine arts, and tended to the formation of a splendid National Gallery, which, if fostered and protected by an enlightened government (now that we have a building suitable for the arrangement of our paintings), may soon become one of the richest and most important collections in Europe. But if England was enriched by these calamities, it is satisfactory to know that she was no party in the robberies that had been committed, and to know also that justice has been done to Italy, and every possible atonement made to her in the restitution of those sublime monuments of art of which she had been so barbarously despoiled, and in which all her glories were interwoven, and proudly to feel that this great measure of justice was effected through the all-powerful intervention of our own illustrious representative in the Councils of the great Sovereigns of Europe; who, to his other noble deeds, added that of extending the protection of this mighty Congress of princes to feeble and oppressed states that had been plundered with impunity, and had not within themselves the power of vindicating their own rights (Bartolomeo Schedone. Born in 1556)|The Two Children at School, or Girl with the Horn-Book; formerly in the Royal Palace of Capo di Monte, at Naples. This picture is well known on the Continent, as also in England, by Sir Robert Strange's fine engraving, after the design he made from it when at Naples, many years ago, under which he has written, "Imprimis venerare Deos," as the first feeling that should be inculcated in the infant mind. It is by a very singular adventure this picture was obtained, which we will relate as it occurred. In the early part of the year 1799 we accompanied Captain Hallowell (afterwards Sir Benjamin Hallowell), as his guest, in the ship Swiftsure, of which he was the commander, from Palermo to Naples. It was at a period of great interest and excitement. The main French army had shortly before evacuated Naples to make head against the Russians, who were carrying all before them in the northern parts of Italy, leaving a few only of their regular troops, joined by a numerous band of Neapolitan rebels, in possession of the three strong forts or castles at Naples, whilst an English squadron was riding at anchor in the bay, and Naples itself (respected as neutral ground) in its usual state of tranquillity. In this state of affairs, when driving a calesse (a Neapolitan cab) down the grand Strada Toledo, accompanied by a British naval officer, Mr. O'Brien (afterwards Lord Edward O'Brien), then First Lieutenant of the Swiftsure, we observed this painting hanging within the doorway of a mean-looking house: on alighting from our vehicle to examine it more closely, we at once recognized Schedone's well-known picture, and concluded that it had been recently stolen from the Royal Palace of Capo di Monte. In the same place was an elegant Grecian or Etruscan vase, which we also suspected to have been plundered from one of the Royal Palaces. Of both these objects we obtained possession on easy terms. We presented the vase afterwards to the late Sir William Hamilton, who had long known it and coveted its possession. It afterwards was purchased by the late Thomas Hope, Esq., of Duchess-street, together with the entire collection of Sir William Hamilton's vases; and there we saw it a few years ago, and believe that it still remains. The picture was without its frame when we obtained it, that belonging to it having probably been secreted or destroyed to prevent detection. It is painted on thick Italian panel; and we had the pleasure to find it in excellent condition, having received only slight injury from the effects of a blow, which had indented or broken off a very minute portion of one of the corners of the painting, so slight indeed, that we never thought of having it restored; and it was our travelling companion (at the top of the carriage, in the state in which we obtained it) through Italy and Germany, until we brought it safe to England, in the autumn of the year 1800; and, to the best of our recollection, it has not received any reparation, nor even a coat of varnish, during the long period that it has been in our possession. The frame that we had made for it, soon after our arrival in England, was of the same pattern as those made for the Leonardo da Vinci and Annibale Carracci (now in the National Gallery), and of other fine paintings then in our collection; and it entirely conceals the slight mutilation it has received, and which has done no perceptible, or indeed any whatsoever, injury to the picture. The memorable events to which we have alluded in our account of this picture occasioned a total convulsion in every Italian state; they more especially affected the fine arts, and threatened their entire expulsion from the classic Italian soil. Paintings of inappreciable value (because till then never offered for sale) the "Dei Penates" of many noble families, and which had been preserved from generation to generation with a sort of religious veneration, and conferred a brighter lustre on those houses than even their own ancient pedigrees deduced from earliest times; and paintings, also, of the greatest celebrity, that had been placed on the consecrated altars of their venerated churches, were everywhere dispersed, and in some instances secreted in various parts of Rome, and could have been bought at a low price by those who possessed the means of purchasing and removing them. The extreme horrors of revolution having subsided (though its bitter effects were long felt), one of the most salutary enactments of the provisionary government was the strict prohibition of removing from Rome any of the works of ancient art; and this law was certainly the means of preserving many valuable productions about to take flight from the immortal city, but unhappily, was not enforced until after the total dispersion of the Colonna, the Aldobrandini, the Barbarini, Justiniani, and many other of the principal galleries at Rome. From these sinister events, however, England has greatly profited, in the immense importation of fine Italian pictures that from that period commenced rapidly to flow into the country, and which, (although its strong current has now considerably abated) has already created a greatly-improved taste for the fine arts, and tended to the formation of a splendid National Gallery, which, if fostered and protected by an enlightened government (now that we have a building suitable for the arrangement of our paintings), may soon become one of the richest and most important collections in Europe. But if England was enriched by these calamities, it is satisfactory to know that she was no party in the robberies that had been committed, and to know also that justice has been done to Italy, and every possible atonement made to her in the restitution of those sublime monuments of art of which she had been so barbarously despoiled, and in which all her glories were interwoven, and proudly to feel that this great measure of justice was effected through the all-powerful intervention of our own illustrious representative in the Councils of the great Sovereigns of Europe; who, to his other noble deeds, added that of extending the protection of this mighty Congress of princes to feeble and oppressed states that had been plundered with impunity, and had not within themselves the power of vindicating their own rights]] réalisée par Bartolomeo Schedone. Born in 1556, vendue par Right Hon Lord Northwick. [7]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A View in Holland. This picture is painted with a powerful effect. The fine cathedral of Haerlem rises in majestic grandeur at some distance over a flat country of great richness and fertility, the different gradations of perspective display great knowledge of the powerful effects of light and shade that his well-practised pencil is enabled to command. Spires and steeples of distant towns and villages gradually becoming more and more indistinct to the utmost verge of the horizon, indicate a most populous and well-cultivated district (Jacob Ruisdael)|A View in Holland. This picture is painted with a powerful effect. The fine cathedral of Haerlem rises in majestic grandeur at some distance over a flat country of great richness and fertility, the different gradations of perspective display great knowledge of the powerful effects of light and shade that his well-practised pencil is enabled to command. Spires and steeples of distant towns and villages gradually becoming more and more indistinct to the utmost verge of the horizon, indicate a most populous and well-cultivated district]] réalisée par Jacob Ruisdael, vendue par Right Hon Lord Northwick au prix de 210.0 gs. [8]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Grand Canal at Venice, at the time of the Grand Gala della Spozializza, or of some other great festival; it is full of life and movement, and is an elaborate performance of the artist, animated by fancifully decorated gondolas, and figures innumerable of every description (Antonio Canaletti)|The Grand Canal at Venice, at the time of the Grand Gala della Spozializza, or of some other great festival; it is full of life and movement, and is an elaborate performance of the artist, animated by fancifully decorated gondolas, and figures innumerable of every description]] réalisée par Antonio Canaletti, vendue par Right Hon Lord Northwick au prix de 221 gs. [9]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Nearly the same view The Grand Canal at Venice, of smaller size. The scene is less stirring, it not being on a day of festivals, but it is painted with great care, correctness, and truth, and it is also a valuable specimen of this able artist, whose works are unrivalled as the skilful delineator of his own floating city (Antonio Canaletti)|Nearly the same view The Grand Canal at Venice, of smaller size. The scene is less stirring, it not being on a day of festivals, but it is painted with great care, correctness, and truth, and it is also a valuable specimen of this able artist, whose works are unrivalled as the skilful delineator of his own floating city]] réalisée par Antonio Canaletti, vendue par Right Hon Lord Northwick au prix de 62 gs. [10]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Deposition from the Cross, a grand and sublime composition. More than thirty personages are introduced into this elaborate painting, and a description of the varied excellences of each figure apart, or even of the many groups into which they are formed, it would be impossible to circumscribe within the narrow limits of a catalogue. The painting possesses all the breadth, depth, and solemnity of character of Michael Angelo, who is said to have assisted Volterra in the design and outline of his marvellous painting al fresco of the Deposition of the Cross, in the church of la Trinita di Monti, at Rome, (which, by all the great painters of the time, was considered to vie with the greatest works of art that adorn the imperial city, or as Lanzi says "Quella maravigliosa Depozizione che insieme conla Transfigurazione di Raffalle e col Girolamo di Dominichino se computa fra le Miglior Tavoli di Roma,") and in return for this service it is also said that Volterra very materially assisted M. Angelo in his grandiose compositions. This painting (although the subject is the same) differs greatly in its composition from the Fresco painting at the Trinita at Rome, as may be seen on a reference being made to Dorigny's fine engraving from that painting. This sublime work has recently been greatly improved, by its having been transferred from panel to canvas, by the ingenious Mr. Leedham, of Berwick Street, who has thereby secured it from injury at any future time, and restored it to its former level surface (Daniel di Volterra (Ricciarelli))|The Deposition from the Cross, a grand and sublime composition. More than thirty personages are introduced into this elaborate painting, and a description of the varied excellences of each figure apart, or even of the many groups into which they are formed, it would be impossible to circumscribe within the narrow limits of a catalogue. The painting possesses all the breadth, depth, and solemnity of character of Michael Angelo, who is said to have assisted Volterra in the design and outline of his marvellous painting al fresco of the Deposition of the Cross, in the church of la Trinita di Monti, at Rome, (which, by all the great painters of the time, was considered to vie with the greatest works of art that adorn the imperial city, or as Lanzi says "Quella maravigliosa Depozizione che insieme conla Transfigurazione di Raffalle e col Girolamo di Dominichino se computa fra le Miglior Tavoli di Roma,") and in return for this service it is also said that Volterra very materially assisted M. Angelo in his grandiose compositions. This painting (although the subject is the same) differs greatly in its composition from the Fresco painting at the Trinita at Rome, as may be seen on a reference being made to Dorigny's fine engraving from that painting. This sublime work has recently been greatly improved, by its having been transferred from panel to canvas, by the ingenious Mr. Leedham, of Berwick Street, who has thereby secured it from injury at any future time, and restored it to its former level surface]] réalisée par Daniel di Volterra (Ricciarelli), vendue par Right Hon Lord Northwick au prix de 92 gs. [11]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Dom Diego Velasquez de Silva. Born in 1594. A grand equestrian portrait of Dom Luis de Haro, Marchese del Carpio, Minister to Philip IV. at the treaty of the Pyrenees, in 1658. It would be hopeless to attempt to give a faithful description or delineation of the dignity and elevation of character marked in every tracing of this noble portrait, and the scientific distribution of all its accompaniments. The fine well-trained Andalusian horse, of admirable symmetry and proportions, has every valuable quality. To the most tractable docility, it unites the native ardour of its generous race, and seems proud of its rider; and the dog, in every action and movement, is full of life and spirit, and of endearing feelings of affection and attachment to its illustrious master, whose easy, graceful, and at the same time dignified high bearing, announce a character well suited to his exalted sataion; indeed the artist, being himself of noble birth, was pre-eminently the painter of kings and nobles, in an age and country in which noble and exalted sentiments were the peculiar attributes and almost invariable distinctions of high birth, and of ancient lineage: the painting is imposing in design, and masterly in execution, and there are few equestrian portraits of this magnitude and importance by Velasquez, even in Spain, to compete with this. Those of Philip IV., and his queen, and of his minister Olivarez, of about the same size, in the Sala d'Audienca, at Madrid, being the only three known to us, or of which we have seen any description, and out of Spain, we presume this portrait to have no competitor. There are indeed equestrian portraits of the infant Don Balthasar, and other infantes, sons of Philip IV., but they are smaller and of minor importance (Velasquez)|Dom Diego Velasquez de Silva. Born in 1594. A grand equestrian portrait of Dom Luis de Haro, Marchese del Carpio, Minister to Philip IV. at the treaty of the Pyrenees, in 1658. It would be hopeless to attempt to give a faithful description or delineation of the dignity and elevation of character marked in every tracing of this noble portrait, and the scientific distribution of all its accompaniments. The fine well-trained Andalusian horse, of admirable symmetry and proportions, has every valuable quality. To the most tractable docility, it unites the native ardour of its generous race, and seems proud of its rider; and the dog, in every action and movement, is full of life and spirit, and of endearing feelings of affection and attachment to its illustrious master, whose easy, graceful, and at the same time dignified high bearing, announce a character well suited to his exalted sataion; indeed the artist, being himself of noble birth, was pre-eminently the painter of kings and nobles, in an age and country in which noble and exalted sentiments were the peculiar attributes and almost invariable distinctions of high birth, and of ancient lineage: the painting is imposing in design, and masterly in execution, and there are few equestrian portraits of this magnitude and importance by Velasquez, even in Spain, to compete with this. Those of Philip IV., and his queen, and of his minister Olivarez, of about the same size, in the Sala d'Audienca, at Madrid, being the only three known to us, or of which we have seen any description, and out of Spain, we presume this portrait to have no competitor. There are indeed equestrian portraits of the infant Don Balthasar, and other infantes, sons of Philip IV., but they are smaller and of minor importance]] réalisée par Velasquez, vendue par Right Hon Lord Northwick au prix de 1000 gs. [12]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Classical Composition, in which is represented a lake or river, with a bridge, consisting of five or more arches, with protecting towers, not unlike those of the Ponte Molle, near Rome. On the right hand are large sepulchral monuments, beyond which is a road, with trees on either side, apparently leading to the bridge; beyond and above which is a ruinous tower of an imposing effect, and in a further range is a stately church, in the midst of cyprus or other trees of a spiral form, so peculiarly appropriated to Italian scenery; the whole of which is backed by the fine outline of la Campagna di Roma, near Albano. On the left of the painting is a tuft of trees, and in the foreground three elegant figures, one of whom a female, and beyond a fisherman with his boat (Richard Wilson)|A Classical Composition, in which is represented a lake or river, with a bridge, consisting of five or more arches, with protecting towers, not unlike those of the Ponte Molle, near Rome. On the right hand are large sepulchral monuments, beyond which is a road, with trees on either side, apparently leading to the bridge; beyond and above which is a ruinous tower of an imposing effect, and in a further range is a stately church, in the midst of cyprus or other trees of a spiral form, so peculiarly appropriated to Italian scenery; the whole of which is backed by the fine outline of la Campagna di Roma, near Albano. On the left of the painting is a tuft of trees, and in the foreground three elegant figures, one of whom a female, and beyond a fisherman with his boat]] réalisée par Richard Wilson, vendue par Right Hon Lord Northwick, achetée par The Duchess of Sutherland au prix de 39.18 gs. [13]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Birth of Jupiter. Out of the bosom of the sea, on the Cretan shore, the painter has, in poetical rhapsody, raised an enchanted island, to give birth to Jupiter. It is teeming with the choicest productions of the earth, in an almost supernatural exuberance. In the midst of this scene of enchantment is placed the cradle of the infant god, composed of simple materials elaborately wrought, and sinking into a bed of the most luxuriant vegetation, through which bright sparkling flowers are all around starting into existence. With care and trepidation the goddess Rhea is unfolding the covering that veiled her divine offspring, and exposing its godlike image to the view of her two attendant females. Her features (the face being seen nearly in profile), and her position, are alike expressive of intense anxiety; of her deep interest for the safety of the new-born, whose portentous destinies hang suspended over its infant cradle by the slenderest threads of an inexorable fate. The graceful simplicity in form and action of this fine figure, induce belief that it was not copied from any living model, but that it is the beau ideal of some exquisite Grecian statue or gem. The two river-nymphs (as indicated by their urns, and loose folds of drapery), are also beautiful approximations from the antique, and complete the centre of this admirable group; on either side of which, and at the extreme verge of the island, the artist has arranged nine figures of the Corybantes, priests of Cybele, who with various musical instruments are fulfilling their important mission. Their light aërial forms are more in the character of Apollo and the Muses celebrating some joyous event, than of ministers, whose doleful office it was to raise lugubrious and unearthly sounds -- a discordant charevari to stifle and overcome the cries of the new-born babe. Each of these figures, perfect in its own contour, is of the most admirable design, and all are in harmonious accordance with the general arrangement of this poetical composition. Immediately behind the sacred isle, and on the Cretan shore, Mount Ida (the fabulous birth-place of Jupiter) is seen towering in majestic grandeur above every other surrounding object, and beyond, to the utmost extent of the horizon, is a long range of coast, richly interspersed with promontories and inlet bays, and sparkling with bright distant objects that indicate civilization, and may be intended to represent a portion of the hundred fair cities of this once renowned island. The bright tints of the southern parts of the Mediterranean coast in Sicily, and the Calabrias, can hardly be conceived by those who have not witnessed their splendour; and they are here represented with a force and vigour of colouring seldom to be met with, except in a few of the paintings of Claude le Loraine, and in some of the works of the older masters of the Italian school. We are sensible of our inability to do justice to the merits of this wonderful production, in which the science of painting and the inspirations of poetry are so admirably combined; and although we have no records of its early history, we strongly entertain the belief that it must have been painted for Federico Gonzaga, Duke of Mantua, the patron and friend of our artist (a patron and Mæcenas also to Ariosto, and all the great and distinguished personages of that bright era). To this illustrious patron Giulio Romano consecrated his great talents. He devoted many years of his life to the decoration of Federico's palaces at Mantua; and he also enriched them with his own most splendid chefs-d'oeuvre, many of which (that were painted al fresco) still exist amidst scenes of ruin and desolation, and are, even now, in their present degraded state, the admiration of every intelligent traveller. The lustre of the house of Gonzaga was, however, of short duration, and one of its descendants, Charles III., had so fallen from his high estate, as to be compelled, in the year 1665, to sell a large portion of his ducal domains, and many of his most precious moveables, to Cardinal Mazarin, who therewith furnished and enriched his new Palais Mazarin, (in which he had already collected many paintings, as appears in a fine print by Nanteuil, which represents the Cardinal seated in an apartment in his new palace in the midst of these works of art). This palace, on Mazarin's decease, he bequeathed to Louis XIV.; after which it became better known by the name of Palais Royal, and the paintings which it contained were the first nucleus of the grand Orleans Gallery. It is through this channel, we think, that our picture found its way into the Palais Royal; of a certainty we know that it had long been in the collection, and had also been engraved with its other more celebrated paintings, when the whole gallery (the largest and richest assemblage belonging to any subject in Europe) was obtained for this country, through the patriotic efforts of a few public-spirited noblemen. At that period paintings of the Italian school were scarcely known in England: nearly all that were genuine were heir-looms in foreign countries; and copies only of first-rate pictures, or originals of an inferior class, had as yet found their way into England. We did not then possess a National Gallery open at all times to the public; and rich as it now is with many of the grandest specimens of the great masters of every branch of the Italian schools, that have escaped the ravages of time, (a collection, which, if it be fostered by the laudable encouragement which it has of late years received, will, at no very distant time, compete with the most celebrated of the old continental galleries); nor had we then any public or private collections of paintings of old masters of the Italian school, (to which there was an easy access), to form and to regulate the public taste. No wonder then that this picture was overlooked on its first coming into the country, amidst the immense assemblage of paintings of which the Orleans Gallery was composed, or that it did not, under such circumstances, receive the tribute due to its merits, of being selected and classed in the same rank with the several other distinguished paintings that were considered to be the brightest ornaments of the collection. That it was thus passed by without any marked attention, we infer from its not being generally known (or indeed at all known to us) who was its first possessor, immediately after the dispersion of the Orleans paintings. It became some few years afterwards the property of a respectable French dealer in pictures, who it is said held it in such high estimation that he could not be prevailed upon to part with it but on conditions that made it almost unattainable for any private collection. On this gentleman's decease (his family not being then in affluent circumstances), it was sold to a distinguished amateur, (the late Chevalier Errard,) in whose possession it remained to the time of his death, which happened a few years ago, when the whole of his collection (that had not been sold in the year preceding in France,) including this picture, was removed to England for sale. And it was at that sale fortunately obtained for its present owner (Guilio Pippi, called Romano)|The Birth of Jupiter. Out of the bosom of the sea, on the Cretan shore, the painter has, in poetical rhapsody, raised an enchanted island, to give birth to Jupiter. It is teeming with the choicest productions of the earth, in an almost supernatural exuberance. In the midst of this scene of enchantment is placed the cradle of the infant god, composed of simple materials elaborately wrought, and sinking into a bed of the most luxuriant vegetation, through which bright sparkling flowers are all around starting into existence. With care and trepidation the goddess Rhea is unfolding the covering that veiled her divine offspring, and exposing its godlike image to the view of her two attendant females. Her features (the face being seen nearly in profile), and her position, are alike expressive of intense anxiety; of her deep interest for the safety of the new-born, whose portentous destinies hang suspended over its infant cradle by the slenderest threads of an inexorable fate. The graceful simplicity in form and action of this fine figure, induce belief that it was not copied from any living model, but that it is the beau ideal of some exquisite Grecian statue or gem. The two river-nymphs (as indicated by their urns, and loose folds of drapery), are also beautiful approximations from the antique, and complete the centre of this admirable group; on either side of which, and at the extreme verge of the island, the artist has arranged nine figures of the Corybantes, priests of Cybele, who with various musical instruments are fulfilling their important mission. Their light aërial forms are more in the character of Apollo and the Muses celebrating some joyous event, than of ministers, whose doleful office it was to raise lugubrious and unearthly sounds -- a discordant charevari to stifle and overcome the cries of the new-born babe. Each of these figures, perfect in its own contour, is of the most admirable design, and all are in harmonious accordance with the general arrangement of this poetical composition. Immediately behind the sacred isle, and on the Cretan shore, Mount Ida (the fabulous birth-place of Jupiter) is seen towering in majestic grandeur above every other surrounding object, and beyond, to the utmost extent of the horizon, is a long range of coast, richly interspersed with promontories and inlet bays, and sparkling with bright distant objects that indicate civilization, and may be intended to represent a portion of the hundred fair cities of this once renowned island. The bright tints of the southern parts of the Mediterranean coast in Sicily, and the Calabrias, can hardly be conceived by those who have not witnessed their splendour; and they are here represented with a force and vigour of colouring seldom to be met with, except in a few of the paintings of Claude le Loraine, and in some of the works of the older masters of the Italian school. We are sensible of our inability to do justice to the merits of this wonderful production, in which the science of painting and the inspirations of poetry are so admirably combined; and although we have no records of its early history, we strongly entertain the belief that it must have been painted for Federico Gonzaga, Duke of Mantua, the patron and friend of our artist (a patron and Mæcenas also to Ariosto, and all the great and distinguished personages of that bright era). To this illustrious patron Giulio Romano consecrated his great talents. He devoted many years of his life to the decoration of Federico's palaces at Mantua; and he also enriched them with his own most splendid chefs-d'oeuvre, many of which (that were painted al fresco) still exist amidst scenes of ruin and desolation, and are, even now, in their present degraded state, the admiration of every intelligent traveller. The lustre of the house of Gonzaga was, however, of short duration, and one of its descendants, Charles III., had so fallen from his high estate, as to be compelled, in the year 1665, to sell a large portion of his ducal domains, and many of his most precious moveables, to Cardinal Mazarin, who therewith furnished and enriched his new Palais Mazarin, (in which he had already collected many paintings, as appears in a fine print by Nanteuil, which represents the Cardinal seated in an apartment in his new palace in the midst of these works of art). This palace, on Mazarin's decease, he bequeathed to Louis XIV.; after which it became better known by the name of Palais Royal, and the paintings which it contained were the first nucleus of the grand Orleans Gallery. It is through this channel, we think, that our picture found its way into the Palais Royal; of a certainty we know that it had long been in the collection, and had also been engraved with its other more celebrated paintings, when the whole gallery (the largest and richest assemblage belonging to any subject in Europe) was obtained for this country, through the patriotic efforts of a few public-spirited noblemen. At that period paintings of the Italian school were scarcely known in England: nearly all that were genuine were heir-looms in foreign countries; and copies only of first-rate pictures, or originals of an inferior class, had as yet found their way into England. We did not then possess a National Gallery open at all times to the public; and rich as it now is with many of the grandest specimens of the great masters of every branch of the Italian schools, that have escaped the ravages of time, (a collection, which, if it be fostered by the laudable encouragement which it has of late years received, will, at no very distant time, compete with the most celebrated of the old continental galleries); nor had we then any public or private collections of paintings of old masters of the Italian school, (to which there was an easy access), to form and to regulate the public taste. No wonder then that this picture was overlooked on its first coming into the country, amidst the immense assemblage of paintings of which the Orleans Gallery was composed, or that it did not, under such circumstances, receive the tribute due to its merits, of being selected and classed in the same rank with the several other distinguished paintings that were considered to be the brightest ornaments of the collection. That it was thus passed by without any marked attention, we infer from its not being generally known (or indeed at all known to us) who was its first possessor, immediately after the dispersion of the Orleans paintings. It became some few years afterwards the property of a respectable French dealer in pictures, who it is said held it in such high estimation that he could not be prevailed upon to part with it but on conditions that made it almost unattainable for any private collection. On this gentleman's decease (his family not being then in affluent circumstances), it was sold to a distinguished amateur, (the late Chevalier Errard,) in whose possession it remained to the time of his death, which happened a few years ago, when the whole of his collection (that had not been sold in the year preceding in France,) including this picture, was removed to England for sale. And it was at that sale fortunately obtained for its present owner]] réalisée par Guilio Pippi, called Romano, vendue par Right Hon Lord Northwick. [14]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Miseries of War; forcibly illustrated by scenes that were unhappily of frequent occurrence in the Low Countries, during the inauspicious reigns of Philip II. and his successors. This most splendid composition has long held a supreme rank amongst Philip Wouvermans' paintings, and was, by all competent judges, allowed to be the finest of his works in the Low Countries; and we moreover believe that it is not surpassed by any of the paintings of this master in any other country. We purchased it lately (in December, 1836), of the family of the late M. Van Lankers, at Antwerp; and to the Catalogue Raisonnée of Mons. Van Lankers' rich collection of pictures we must refer for its description, as we feel ourselves incompetent, by any description of our own, to do justice to the merits of the picture (Philip Wouvermans)|The Miseries of War; forcibly illustrated by scenes that were unhappily of frequent occurrence in the Low Countries, during the inauspicious reigns of Philip II. and his successors. This most splendid composition has long held a supreme rank amongst Philip Wouvermans' paintings, and was, by all competent judges, allowed to be the finest of his works in the Low Countries; and we moreover believe that it is not surpassed by any of the paintings of this master in any other country. We purchased it lately (in December, 1836), of the family of the late M. Van Lankers, at Antwerp; and to the Catalogue Raisonnée of Mons. Van Lankers' rich collection of pictures we must refer for its description, as we feel ourselves incompetent, by any description of our own, to do justice to the merits of the picture]] réalisée par Philip Wouvermans, vendue par Right Hon Lord Northwick au prix de 770 gs. [15]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[L'Umana Fragilita. From the Ghigi Palace at Rome. The description of this picture we shall extract from Lady Morgan's "Life and Times of Salvator Rosa." "It represents a beautiful girl seated on a glass globe; her brow was crowned with flowers, the fairest and the frailest; her arms were filled by a lone infant, which she appeared to caress, while its twin-brother, cradled at her feet, was occupied in blowing air-bubbles from a tube; a child, somewhat older, was mischievously employed in setting fire to a wreath of flax twined round a spindle; above this group of blooming youth and happy infancy, with wings outspread (spennachiate) and threatening aspect, hovered the grim figure of Death, dictating the following sentence: -- 'Conceptio culpa, nasci pæna, vita labor, necesse mori.' " The label affixed to this painted allegory, called the picture "L'Umana Fragilita." Thus far Lady Morgan. The ceremony of burning flax, we should observe, is used at the consecration of every new Pope, to admonish him that all his wordly glories are as fleet and evanescent as the flickering flame from the burning of flax -- Sic transit gloria mundi. The extinguished sky-rocket and the coltello (the well-known Italian stiletto) at the feet of the female, are symbols appropriated to the subject, as are also the bubbles and butterflies floating over and around the infant's cradle; and, likewise, the gaudy decorations of a grave philosopher's bust, (denoting the vanity of human sciences), and the emblematical devices on the Egyptian obelisk, not to omit the grovelling thistle, a noxious weed, scattering its baneful seed with every motion of the air. This picture was purchased of Salvator Rosa (as Lady Morgan informs us) by Don Maria Ghigi, brother to Pope Alexander VII., and is perhaps the most extraordinary of all Salvator Rosa's productions, not only for its allegorical allusions, but for its full, deep, mellow tone of colouring; its correctness of design, poetical fancy, and most carefully laboured execution. It is more forcibly illustrative of this eccentric, but highly-gifted artist's character and feelings (the sensitiveness of which marred all his social and domestic happiness at every period of his life) than whole volumes of the best written biography (Salvator Rosa)|L'Umana Fragilita. From the Ghigi Palace at Rome. The description of this picture we shall extract from Lady Morgan's "Life and Times of Salvator Rosa." "It represents a beautiful girl seated on a glass globe; her brow was crowned with flowers, the fairest and the frailest; her arms were filled by a lone infant, which she appeared to caress, while its twin-brother, cradled at her feet, was occupied in blowing air-bubbles from a tube; a child, somewhat older, was mischievously employed in setting fire to a wreath of flax twined round a spindle; above this group of blooming youth and happy infancy, with wings outspread (spennachiate) and threatening aspect, hovered the grim figure of Death, dictating the following sentence: -- 'Conceptio culpa, nasci pæna, vita labor, necesse mori.' " The label affixed to this painted allegory, called the picture "L'Umana Fragilita." Thus far Lady Morgan. The ceremony of burning flax, we should observe, is used at the consecration of every new Pope, to admonish him that all his wordly glories are as fleet and evanescent as the flickering flame from the burning of flax -- Sic transit gloria mundi. The extinguished sky-rocket and the coltello (the well-known Italian stiletto) at the feet of the female, are symbols appropriated to the subject, as are also the bubbles and butterflies floating over and around the infant's cradle; and, likewise, the gaudy decorations of a grave philosopher's bust, (denoting the vanity of human sciences), and the emblematical devices on the Egyptian obelisk, not to omit the grovelling thistle, a noxious weed, scattering its baneful seed with every motion of the air. This picture was purchased of Salvator Rosa (as Lady Morgan informs us) by Don Maria Ghigi, brother to Pope Alexander VII., and is perhaps the most extraordinary of all Salvator Rosa's productions, not only for its allegorical allusions, but for its full, deep, mellow tone of colouring; its correctness of design, poetical fancy, and most carefully laboured execution. It is more forcibly illustrative of this eccentric, but highly-gifted artist's character and feelings (the sensitiveness of which marred all his social and domestic happiness at every period of his life) than whole volumes of the best written biography]] réalisée par Salvator Rosa, vendue par Right Hon Lord Northwick au prix de 500 gs. [16]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Holy Family. This picture was formerly much admired in the Brentano collection, and afterwards was in H. R. H. the Prince of Orange's splendid gallery at Brussels, of whom it was, a few years since, received in exchange. It is a reflection of pure simple nature, scrupulously exact, and in a very precious painting, in the highest preservation, of the venerable founder of the Venetian school of painting, whose works are of an extreme rarity (Giovanni Bellini. Born in 1422)|The Holy Family. This picture was formerly much admired in the Brentano collection, and afterwards was in H. R. H. the Prince of Orange's splendid gallery at Brussels, of whom it was, a few years since, received in exchange. It is a reflection of pure simple nature, scrupulously exact, and in a very precious painting, in the highest preservation, of the venerable founder of the Venetian school of painting, whose works are of an extreme rarity]] réalisée par Giovanni Bellini. Born in 1422, vendue par Right Hon Lord Northwick au prix de 66 gs. [18]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Pair. They appear to represent gipsies on a foraging excursion removing their quarters in an encampment or bivouac. They are genuine works of a talented artist, who drew every figure for his own compositions with the utmost accuracy from Nature, and in his pasticcios imitated Rembrandt, Ostade, Salvator Rosa, and masters of almost every School, with inimitable fidelity. The pictures are painted with great spirit and are well preserved, but they should be better framed (Christian Dietrici)|A Pair. They appear to represent gipsies on a foraging excursion removing their quarters in an encampment or bivouac. They are genuine works of a talented artist, who drew every figure for his own compositions with the utmost accuracy from Nature, and in his pasticcios imitated Rembrandt, Ostade, Salvator Rosa, and masters of almost every School, with inimitable fidelity. The pictures are painted with great spirit and are well preserved, but they should be better framed]] réalisée par Christian Dietrici, vendue par Right Hon Lord Northwick, achetée par Goldring au prix de 11.0 gs. [22]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Holy Family, with Saints, painted on panel. -- The Virgin with a book in one hand is seated with the Infant Christ in her lap, while the young St. John, clad in a camel's skin, is embracing her; beside them is a beautiful figure of the Magdalen seen in profile with the alabaster vase of ointment in her hand. A half-figure of a venerable personage of stern and severe aspect, with an open book under his left hand (and who may be intended to represent one of the prophets in the Old Testament) occupies the front of the picture; on the right hand Roman architecture and a distant landscape form the background. This noble painting is in the finest time of the artist, and is in a state of perfect preservation; the picture is said to have been inported from Italy at the time when the Italian galleries of painting were generally dispersed by the late Mr. Gillow (who expended large sums in the purchase of Italian paintings, of which very many were rare and curious, and some of them exceedingly valuable). It was bought at Mr. Gillow's sale in 1832, but we do not know to what gallery it had formerly belonged. In the late Lord Radstock's Collection there was a picture in fine state and condition precisely similar to this (and from which we have, in great part, borrowed our description), it was a principal ornament in the collection, and was purchased by the Marquess of Aylesbury, if the priced catalogue before us be correct, for £520. It is to be observed that there was nothing more frequent with masters of the old Italian school, (as indeed it will naturally occur with artists of every age, and of every school) than the repetitions of those more celebrated paintings. The fame acquired, and so justly conceded to the painter of a sublime work of art, is in some faint degree, imparted to its possessor, and an anxiety to possess that which is universally extolled is so inherent in the human mind, that solicitations to the artist to repeat his more admired performances assume, in some cases (in which perhaps Sovereigns may have become Suitors) the character of an imperative command not to be resisted. It is thus that the noble chef-d'oeuvre by Raphael of St. John preaching in the Desert, in the Tribune at Florence, was thrice repeated by Raffaelle for the three most distinguished galleries in Italy, and all the repetitions are of acknowledged originality. The same may be said of the portrat of Julius II., formerly in the Orleans collection, but now in our National Gallery, besides which there are two others of indisputable authenticity, the one in the Ducal gallery at Florence, and the other in the Royal Palace of Capo di Monte. The same observations apply to Parmegiano's most admired works; of his favourite subject 'The marriage of St. Catherine' (in addition to the admirable painting formerly at Parma, but subsequently removed to the Royal Palace at Naples) there were two repetitions, the one in the Colonna, the other in the Borghese Palace, at Rome, (the last mentioned of which was brought into this country many years ago by the late Mr. Ottley,) all acknowledged original pictures; and in regard to our own fine painting besides that now in Lord Aylesbury's possession, there is another similar painting of great celebrity in the gallery at Florence. The subject is engraved by Bonasone, but it is not one of his best etchings (Francesco Mazzuoli called Il Parmegiano. Born in 1503)|A Holy Family, with Saints, painted on panel. -- The Virgin with a book in one hand is seated with the Infant Christ in her lap, while the young St. John, clad in a camel's skin, is embracing her; beside them is a beautiful figure of the Magdalen seen in profile with the alabaster vase of ointment in her hand. A half-figure of a venerable personage of stern and severe aspect, with an open book under his left hand (and who may be intended to represent one of the prophets in the Old Testament) occupies the front of the picture; on the right hand Roman architecture and a distant landscape form the background. This noble painting is in the finest time of the artist, and is in a state of perfect preservation; the picture is said to have been inported from Italy at the time when the Italian galleries of painting were generally dispersed by the late Mr. Gillow (who expended large sums in the purchase of Italian paintings, of which very many were rare and curious, and some of them exceedingly valuable). It was bought at Mr. Gillow's sale in 1832, but we do not know to what gallery it had formerly belonged. In the late Lord Radstock's Collection there was a picture in fine state and condition precisely similar to this (and from which we have, in great part, borrowed our description), it was a principal ornament in the collection, and was purchased by the Marquess of Aylesbury, if the priced catalogue before us be correct, for £520. It is to be observed that there was nothing more frequent with masters of the old Italian school, (as indeed it will naturally occur with artists of every age, and of every school) than the repetitions of those more celebrated paintings. The fame acquired, and so justly conceded to the painter of a sublime work of art, is in some faint degree, imparted to its possessor, and an anxiety to possess that which is universally extolled is so inherent in the human mind, that solicitations to the artist to repeat his more admired performances assume, in some cases (in which perhaps Sovereigns may have become Suitors) the character of an imperative command not to be resisted. It is thus that the noble chef-d'oeuvre by Raphael of St. John preaching in the Desert, in the Tribune at Florence, was thrice repeated by Raffaelle for the three most distinguished galleries in Italy, and all the repetitions are of acknowledged originality. The same may be said of the portrat of Julius II., formerly in the Orleans collection, but now in our National Gallery, besides which there are two others of indisputable authenticity, the one in the Ducal gallery at Florence, and the other in the Royal Palace of Capo di Monte. The same observations apply to Parmegiano's most admired works; of his favourite subject 'The marriage of St. Catherine' (in addition to the admirable painting formerly at Parma, but subsequently removed to the Royal Palace at Naples) there were two repetitions, the one in the Colonna, the other in the Borghese Palace, at Rome, (the last mentioned of which was brought into this country many years ago by the late Mr. Ottley,) all acknowledged original pictures; and in regard to our own fine painting besides that now in Lord Aylesbury's possession, there is another similar painting of great celebrity in the gallery at Florence. The subject is engraved by Bonasone, but it is not one of his best etchings]] réalisée par Francesco Mazzuoli called Il Parmegiano. Born in 1503, vendue par Right Hon Lord Northwick au prix de 220 gs. [23]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Marriage at Cana in Galilee; Panel, height 25 in. width 32 1/4 in. This admirable picture belonged to Mons. Nieuwenhuys, and is described as follows, in the Catalogue Raisonnèe of his sale: -- "This picture is composed of more than 45 figures, ten of which are on the first site, where we particularly remark a young woman sitting; she holds a glass in her hand to taste the liquid it contains. The expression of tasting is perfectly well given; two men in Asiatic costume, and another female are looking at her attentively, and seem interested to know what she thinks of the draught; a pretty child is leaning on a cask drawing out the stopper, and seems to say "there is no more wine, the cask is empty," one of the most prominent figures is a young man dressed in a red waistcoat, pointing towards a fountain as the source from whence the liquid was supplied, and conversing (apparently on the subject of the miracle) 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 are 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 is the garden where the sky, illumined by a setting sun, indicates the approach of evening. The painter evidently intended to represent the miracle of changing the 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 Jan Steen's capacity is admirable in this picture, the characters are beautifully expressed and the finish exquisite." In this opinion we entirely concur with Mons. Nieuwenhuys (as indeed in every part of his very correct description of the picture); but unfortunately we are both of us mistaken, for in Mr. Smith's Catalogue Raisonnée, (in describing this picture, then belonging to Mons. Nieuwenhuys), he pointedly selects it as an instance of Jan Steen's total incapacity to render the necessary dignity of character and expression to his figures so indispensable in an historical subject (Jan Steen)|The Marriage at Cana in Galilee; Panel, height 25 in. width 32 1/4 in. This admirable picture belonged to Mons. Nieuwenhuys, and is described as follows, in the Catalogue Raisonnèe of his sale: -- "This picture is composed of more than 45 figures, ten of which are on the first site, where we particularly remark a young woman sitting; she holds a glass in her hand to taste the liquid it contains. The expression of tasting is perfectly well given; two men in Asiatic costume, and another female are looking at her attentively, and seem interested to know what she thinks of the draught; a pretty child is leaning on a cask drawing out the stopper, and seems to say "there is no more wine, the cask is empty," one of the most prominent figures is a young man dressed in a red waistcoat, pointing towards a fountain as the source from whence the liquid was supplied, and conversing (apparently on the subject of the miracle) 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 are 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 is the garden where the sky, illumined by a setting sun, indicates the approach of evening. The painter evidently intended to represent the miracle of changing the 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 Jan Steen's capacity is admirable in this picture, the characters are beautifully expressed and the finish exquisite." In this opinion we entirely concur with Mons. Nieuwenhuys (as indeed in every part of his very correct description of the picture); but unfortunately we are both of us mistaken, for in Mr. Smith's Catalogue Raisonnée, (in describing this picture, then belonging to Mons. Nieuwenhuys), he pointedly selects it as an instance of Jan Steen's total incapacity to render the necessary dignity of character and expression to his figures so indispensable in an historical subject]] réalisée par Jan Steen, vendue par Right Hon Lord Northwick, achetée par Clowes au prix de 294.0 gs. [24]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Jerome awakened from his Meditations on the Scriptures by an Angel from above, who is sounding a loud blast from a trumpet of an unusual form. The works of this artist that have found their way to England usually represent sublime and terrific subjects, tragical compositions, and distortions of agonized and extenuated nature. This picture, however, was probably painted in Italy, where his style became greatly modified and corrected, and in light and shade, and mellowness of colouring, it partakes much of the grace and tenderness of feeling that are to be met with in the works of Guido and Guercino, joined to his own unerring correctness in anatomy: there is a very spirited etching by himself from this picture, which is marked by his two monograms; these also are on the right-hand corner of our picture: it is in excellent condition, and is a very fine specimen of the master, whose works, when they are of this high quality, are held in great estimation in his own country, as also in Italy (Joseph Ribera Il Spagnoletto)|St. Jerome awakened from his Meditations on the Scriptures by an Angel from above, who is sounding a loud blast from a trumpet of an unusual form. The works of this artist that have found their way to England usually represent sublime and terrific subjects, tragical compositions, and distortions of agonized and extenuated nature. This picture, however, was probably painted in Italy, where his style became greatly modified and corrected, and in light and shade, and mellowness of colouring, it partakes much of the grace and tenderness of feeling that are to be met with in the works of Guido and Guercino, joined to his own unerring correctness in anatomy: there is a very spirited etching by himself from this picture, which is marked by his two monograms; these also are on the right-hand corner of our picture: it is in excellent condition, and is a very fine specimen of the master, whose works, when they are of this high quality, are held in great estimation in his own country, as also in Italy]] réalisée par Joseph Ribera Il Spagnoletto, vendue par Right Hon Lord Northwick au prix de 69 gs. [25]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Interior of a Chemist's Laboratory. The Chemist, the principal figure, is standing near a sand-heat on the right hand in front, where numerous alembics and utensils are distributed; a spaniel reposing near them is very spiritedly touched; three assistants are employed at a furnace behind, and a boor is looking from a window above. This noble cabinet picture was formerly in the collection of the King of Spain, and is cited by Cumberland. It was brought from Spain by Prince Joseph Bonaparte, and was subsequently in the possession of the late Admiral Lord Radstock (David Teniers)|The Interior of a Chemist's Laboratory. The Chemist, the principal figure, is standing near a sand-heat on the right hand in front, where numerous alembics and utensils are distributed; a spaniel reposing near them is very spiritedly touched; three assistants are employed at a furnace behind, and a boor is looking from a window above. This noble cabinet picture was formerly in the collection of the King of Spain, and is cited by Cumberland. It was brought from Spain by Prince Joseph Bonaparte, and was subsequently in the possession of the late Admiral Lord Radstock]] réalisée par David Teniers, vendue par Right Hon Lord Northwick au prix de 360 gs. [26]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Deposition from the Cross: the dead body of Christ, with the Virgin, St. Mary Magdalen, St. Francis, and two Angels, pointing to the bleeding wounds of our Divine Saviour: there is a solemn, lugubrious, awful darkness hovering over this scene of lamentation, contrasted with an incipient twilight, that already seems to be breaking through the distant horizon. It is one of the chef d'oeuvres of this truly eminent master of the Lombard School, to whom we are indebted for a regereration of the fine arts, which a little before his time had fallen into a state of degradation. An early Italian print conveys a very imperfect idea of the pathos of this most admirable painting (Annibale Carracci)|The Deposition from the Cross: the dead body of Christ, with the Virgin, St. Mary Magdalen, St. Francis, and two Angels, pointing to the bleeding wounds of our Divine Saviour: there is a solemn, lugubrious, awful darkness hovering over this scene of lamentation, contrasted with an incipient twilight, that already seems to be breaking through the distant horizon. It is one of the chef d'oeuvres of this truly eminent master of the Lombard School, to whom we are indebted for a regereration of the fine arts, which a little before his time had fallen into a state of degradation. An early Italian print conveys a very imperfect idea of the pathos of this most admirable painting]] réalisée par Annibale Carracci, vendue par Right Hon Lord Northwick au prix de 72 gs. [27]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Jerome playing with the Lion in the Desert. The Figure of the Saint, and all its accompaniaments are painted with great poetical effect. Titian seems to have marked this painting by a brilliancy of colouring, and boldness of character, more than usual even in his more highly finished productions. The wild, solemn, almost savage outline of his Desert, probably represents some secluded and uncultivated regions of the Euganian Mountains, that formed a part of the terra-firma possessions of the Venetian States (Titian)|St. Jerome playing with the Lion in the Desert. The Figure of the Saint, and all its accompaniaments are painted with great poetical effect. Titian seems to have marked this painting by a brilliancy of colouring, and boldness of character, more than usual even in his more highly finished productions. The wild, solemn, almost savage outline of his Desert, probably represents some secluded and uncultivated regions of the Euganian Mountains, that formed a part of the terra-firma possessions of the Venetian States]] réalisée par Titian, vendue par Right Hon Lord Northwick, achetée par Fuller au prix de 16.5 gs. [28]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape, with Figures and Cattle. There are few paintings of Albert Cuyp in which his powers are more forcibly exemplified than in this, wherein he has created so great an interest out of such scanty materials. The few objects introduced in this painting (as well animal as vegetable), are teeming with life and animation; they are true to nature, as is nature to herself, and the whole composition seems to move under the invigorating influence of a life-giving sunshine (Albert Cuyp)|A Landscape, with Figures and Cattle. There are few paintings of Albert Cuyp in which his powers are more forcibly exemplified than in this, wherein he has created so great an interest out of such scanty materials. The few objects introduced in this painting (as well animal as vegetable), are teeming with life and animation; they are true to nature, as is nature to herself, and the whole composition seems to move under the invigorating influence of a life-giving sunshine]] réalisée par Albert Cuyp, vendue par Right Hon Lord Northwick, achetée par Bryant au prix de 288.15 gs. [29]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait on Panel. This is an admirable portrait of Justus Soutern, or Suterman, painted with great freedom of touch, but at the same time with great mellowness and richness of colouring. Vandyke has himself made a very spirited etching in aquafortis of this portrait. Suterman was a fellow pupil with Vandyke, as also an early friend, and an artist of great promise; he was afterwards induced to settle at Florence, where he painted pictures that are admired in the Grand Ducal Gallery (Anthony Vandyke)|Portrait on Panel. This is an admirable portrait of Justus Soutern, or Suterman, painted with great freedom of touch, but at the same time with great mellowness and richness of colouring. Vandyke has himself made a very spirited etching in aquafortis of this portrait. Suterman was a fellow pupil with Vandyke, as also an early friend, and an artist of great promise; he was afterwards induced to settle at Florence, where he painted pictures that are admired in the Grand Ducal Gallery]] réalisée par Anthony Vandyke, vendue par Right Hon Lord Northwick au prix de 60 gs. [30]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Virgin and Infant Saviour, with buildings and figures in the background, on old Italian panel. This picture in design, manner, colouring, and treatment is much in the manner of M. Angelo; it belonged to Prince Lieven, late Russian Ambassador in England, and at his sale it was said that it had been purchased at Rome, on the recommendation of a nobleman (since deceased) a very distinguished judge, and formerly the possessor of some of the finest pictures which now adorn the National Gallery. Pontormo received his first instructions from Leonardo da Vinci, and other celebrated masters, he became afterwards a pupil of A. del Sarto, but some of his productions having obtained the marked approbation of M. Angelo, Andrea is said to have entertained an unworthy jealousy of his pupil, and to have ungenerously dismissed him from his Academy (Jacomo Carrucci called Pontormo. Born 1493)|The Virgin and Infant Saviour, with buildings and figures in the background, on old Italian panel. This picture in design, manner, colouring, and treatment is much in the manner of M. Angelo; it belonged to Prince Lieven, late Russian Ambassador in England, and at his sale it was said that it had been purchased at Rome, on the recommendation of a nobleman (since deceased) a very distinguished judge, and formerly the possessor of some of the finest pictures which now adorn the National Gallery. Pontormo received his first instructions from Leonardo da Vinci, and other celebrated masters, he became afterwards a pupil of A. del Sarto, but some of his productions having obtained the marked approbation of M. Angelo, Andrea is said to have entertained an unworthy jealousy of his pupil, and to have ungenerously dismissed him from his Academy]] réalisée par Jacomo Carrucci called Pontormo. Born 1493, vendue par Right Hon Lord Northwick, achetée par Stansfield au prix de 21.0 gs. [31]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[On Panel. Clelia with her Companion Virgins escaping from the Camp of Porsenna. This fine painting is full of subject and rich historical representations, not only of the early simplicity of the times in which the event is recorded to have taken place, but of those in which the artist himself lived. It is engraved by Bonasone, a nearly contemporaneous artist, and was long in the possession of Mr. Jennings the antiquarian, by whom it was highly and most justly prized. Primatizzio in his youth was for six years employed with Giulio Romano in painting the fine frescos in the Palazzo del Te in Mantua, and was afterwards, on the recommendation of the Duke of Mantua, engaged by Francis I. to superintend that monarch's great works at the Castle of Fontainbleau, so that his paintings in oil are of great rarity and but little known, and this is one of his most curious and most important specimens (Francesco Primatizzio. Born at Bologna in 1490)|On Panel. Clelia with her Companion Virgins escaping from the Camp of Porsenna. This fine painting is full of subject and rich historical representations, not only of the early simplicity of the times in which the event is recorded to have taken place, but of those in which the artist himself lived. It is engraved by Bonasone, a nearly contemporaneous artist, and was long in the possession of Mr. Jennings the antiquarian, by whom it was highly and most justly prized. Primatizzio in his youth was for six years employed with Giulio Romano in painting the fine frescos in the Palazzo del Te in Mantua, and was afterwards, on the recommendation of the Duke of Mantua, engaged by Francis I. to superintend that monarch's great works at the Castle of Fontainbleau, so that his paintings in oil are of great rarity and but little known, and this is one of his most curious and most important specimens]] réalisée par Francesco Primatizzio. Born at Bologna in 1490, vendue par Right Hon Lord Northwick au prix de 47 gs. [32]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Apollo and Daphne; the latter undergoing her metamorphosis, is bending back from the embraces of Apollo; a Cupid on the wing has just discharged an arrow from his bow; the river god Peneus and two infants in front, complete this classic group, which is painted with a strong effect of chiar'oscuro. It was in Lord Radstock's Collection (Nicholo Poussin)|Apollo and Daphne; the latter undergoing her metamorphosis, is bending back from the embraces of Apollo; a Cupid on the wing has just discharged an arrow from his bow; the river god Peneus and two infants in front, complete this classic group, which is painted with a strong effect of chiar'oscuro. It was in Lord Radstock's Collection]] réalisée par Nicholo Poussin, vendue par Right Hon Lord Northwick au prix de 235 gs. [33]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[This artist had the credit of ranking among his pupils Philip Wouvermans, and Adrian Van de Velde; and the fame of such celebrated pupils would alone confer lustre on so distinguished a master; his paintings always represent nature with the strictest fidelity; and his scenery is invariably beautiful and happily chosen; and this is one of his productions in which all his excellences are most fully displayed (John Wynants)|This artist had the credit of ranking among his pupils Philip Wouvermans, and Adrian Van de Velde; and the fame of such celebrated pupils would alone confer lustre on so distinguished a master; his paintings always represent nature with the strictest fidelity; and his scenery is invariably beautiful and happily chosen; and this is one of his productions in which all his excellences are most fully displayed]] réalisée par John Wynants, vendue par Right Hon Lord Northwick, achetée par French au prix de 97.13 gs. [34]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Santo Jacomo di Compostella trampling under his horse's feet the vanquished Moors; the scene is laid in the wildest regions of Gallicia, where mountains piled upon mountains (Ossa upon Pelion) give to it a most imposing effect. The Warrior-Saint, sword in hand, animated by a divine ardour, displays a countenance of the most heroic intrepidity. He is mounted on a splendid white charger, whose nostrils breathe fire, and which (with the exception of wings) appears to possess every attribute of the fabulous Pegasus. The poor discomfited Moors are in the most abject state of dejection and despair. This fine painting records the glories of Spain in former days; and it also furnishes a proof (if any were wanting) of Zurbaran's great merits as an artist, and also of his enthusiastic patriotism (Francisco Zurbaran. A Spanish Painter. Born in 1596)|Santo Jacomo di Compostella trampling under his horse's feet the vanquished Moors; the scene is laid in the wildest regions of Gallicia, where mountains piled upon mountains (Ossa upon Pelion) give to it a most imposing effect. The Warrior-Saint, sword in hand, animated by a divine ardour, displays a countenance of the most heroic intrepidity. He is mounted on a splendid white charger, whose nostrils breathe fire, and which (with the exception of wings) appears to possess every attribute of the fabulous Pegasus. The poor discomfited Moors are in the most abject state of dejection and despair. This fine painting records the glories of Spain in former days; and it also furnishes a proof (if any were wanting) of Zurbaran's great merits as an artist, and also of his enthusiastic patriotism]] réalisée par Francisco Zurbaran. A Spanish Painter. Born in 1596, vendue par Right Hon Lord Northwick, achetée par Saywell au prix de 45.3 gs. [35]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Winter Diversions. Numerous parties are amusing themselves on the ice of a river in Holland of great extent, some en traineaux, others skating, or under tents, or with other recreations that the season affords. On the side of the river is a considerable town, which will be recognised by those acquainted with the country; the sky is finely painted, and the figures are grouped in a very masterly style, though the general effect of the painting is much lost by an ill-suited frame (Van der Capella)|Winter Diversions. Numerous parties are amusing themselves on the ice of a river in Holland of great extent, some en traineaux, others skating, or under tents, or with other recreations that the season affords. On the side of the river is a considerable town, which will be recognised by those acquainted with the country; the sky is finely painted, and the figures are grouped in a very masterly style, though the general effect of the painting is much lost by an ill-suited frame]] réalisée par Van der Capella, vendue par Right Hon Lord Northwick, achetée par French au prix de 17.6 gs. [36]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Holy Family. Virgin and Infant Saviour, and St. John and St. Elizabeth, to whom Tobit and his Angel are introduced, forming a group of six figures, in a very rich Titian-like landscape. This painter was born (says Ridolphi) in the finest era of Venetian art (A.D. 1491). He at first was scholar of the elder Palma, afterwards of Titian; and with them had the honour of being designated by his contemporaries as one of the triumviri who were reputed to be the most excellent painters of the day. Lanzi says of Bonifazio, that he united to the vigour of Giorgione the delicate taste of Palma and the attitude (la mossa) and composition of Titian. In this painting he seems nearer to have approached the colouring and composition of Titian than of either of the other two celebrated masters (Bonifazio. Venetian or Veronese)|Holy Family. Virgin and Infant Saviour, and St. John and St. Elizabeth, to whom Tobit and his Angel are introduced, forming a group of six figures, in a very rich Titian-like landscape. This painter was born (says Ridolphi) in the finest era of Venetian art (A.D. 1491). He at first was scholar of the elder Palma, afterwards of Titian; and with them had the honour of being designated by his contemporaries as one of the triumviri who were reputed to be the most excellent painters of the day. Lanzi says of Bonifazio, that he united to the vigour of Giorgione the delicate taste of Palma and the attitude (la mossa) and composition of Titian. In this painting he seems nearer to have approached the colouring and composition of Titian than of either of the other two celebrated masters]] réalisée par Bonifazio. Venetian or Veronese, vendue par Right Hon Lord Northwick au prix de 43 gs. [37]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Cavalier, in the rich costume of his country, on a beautiful Wouverman-like white horse, appears to be inquiring his way at the hut of a peasant, who is squatted upon the ground; there is another peasant and a cow behind. This is a well-known picture, of which there is an engraving (Nicholas Berghen)|A Cavalier, in the rich costume of his country, on a beautiful Wouverman-like white horse, appears to be inquiring his way at the hut of a peasant, who is squatted upon the ground; there is another peasant and a cow behind. This is a well-known picture, of which there is an engraving]] réalisée par Nicholas Berghen, vendue par Right Hon Lord Northwick, achetée par [[Sir [?]]]. [38]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Diana and Actaeon. The goddess and seven of her nymphs are disporting themselves in a limpid lake. The incautious prince profanely violates their sanctuary; and the indignant goddess, with a single splash of water from her chaste hand, inflicts the fatal metamorphosis he is doomed to undergo. The feelings of agony and despair expressed in the countenance of the poor beast remind us of Shakspeare's fine imagery, -- "The big round tears course one another down his innocent nose in piteous chase;" but the grotesque paraphernalia of German boots, of which the ill-fated intruder is not as yet disencumbered, is entirely the artist's own. As is usual in old German pictures, as also in early masters of the Italian school, an episode is introduced in the scene, viz.: Nimrod appears in all his glory, following up his game, in a rich glowing landscape behind; and is distinguished also by the characteristic German boots, to which he appears to have clung to the very last. There is much to commend in the action of Diana and her nymphs, who are by no means destitute of female attraction, though it would seemn that a former fastidious owner has thrown a slight veil over a portion of their charms (Lucas Cranach)|Diana and Actaeon. The goddess and seven of her nymphs are disporting themselves in a limpid lake. The incautious prince profanely violates their sanctuary; and the indignant goddess, with a single splash of water from her chaste hand, inflicts the fatal metamorphosis he is doomed to undergo. The feelings of agony and despair expressed in the countenance of the poor beast remind us of Shakspeare's fine imagery, -- "The big round tears course one another down his innocent nose in piteous chase;" but the grotesque paraphernalia of German boots, of which the ill-fated intruder is not as yet disencumbered, is entirely the artist's own. As is usual in old German pictures, as also in early masters of the Italian school, an episode is introduced in the scene, viz.: Nimrod appears in all his glory, following up his game, in a rich glowing landscape behind; and is distinguished also by the characteristic German boots, to which he appears to have clung to the very last. There is much to commend in the action of Diana and her nymphs, who are by no means destitute of female attraction, though it would seemn that a former fastidious owner has thrown a slight veil over a portion of their charms]] réalisée par Lucas Cranach, vendue par Right Hon Lord Northwick, achetée par Picnot au prix de 6.16 gs. [39]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Woman Taken in Adultery; a splendid gallery picture, composed of six figures, rather larger than life; it vies with the best finished paintings of Berretini, either at Florence or at Rome, and has much of the powerful effect of Guercino, and of the Carracci and other great masters of the Bolognese school: the composition unites great dignity of expression with the utmost correctness of design (Pietro da Cortona (Berretini))|The Woman Taken in Adultery; a splendid gallery picture, composed of six figures, rather larger than life; it vies with the best finished paintings of Berretini, either at Florence or at Rome, and has much of the powerful effect of Guercino, and of the Carracci and other great masters of the Bolognese school: the composition unites great dignity of expression with the utmost correctness of design]] réalisée par Pietro da Cortona (Berretini), vendue par Right Hon Lord Northwick, achetée par Saywell au prix de 77.14 gs. [40]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Venus on a Couch, surrounded by the Loves, who are disputing the prizes, obtained by their prowess in transfixing a bleeding heart, suspended upon a target, in a rich landscape, finely composed; the goddess may have been the portrait of his own wife, who was very beautiful, and served him, on several occasions, for his model of a Venus, whilst from the same source he was supplied with a nest of cupids, with which his paintings usually abound. The picture is of a circular form (Francesco Albano)|Venus on a Couch, surrounded by the Loves, who are disputing the prizes, obtained by their prowess in transfixing a bleeding heart, suspended upon a target, in a rich landscape, finely composed; the goddess may have been the portrait of his own wife, who was very beautiful, and served him, on several occasions, for his model of a Venus, whilst from the same source he was supplied with a nest of cupids, with which his paintings usually abound. The picture is of a circular form]] réalisée par Francesco Albano, vendue par Right Hon Lord Northwick, achetée par Major Halford au prix de 43.1 gs. [41]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[The Triumph of Galatea. From the Orleans Gallery. This is a genuine picture by Guido; it is most elegantly and poetically treated, and possesses all that suavity of colour and correctness of design that distinguished this painter of the Graces (Guido Reni)|The Triumph of Galatea. From the Orleans Gallery. This is a genuine picture by Guido; it is most elegantly and poetically treated, and possesses all that suavity of colour and correctness of design that distinguished this painter of the Graces]] réalisée par Guido Reni, vendue par Right Hon Lord Northwick, achetée par Maitland au prix de 47.5 gs. [42]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Landscape; a rich and diversified landscape, in which are united an endless variety of beautiful objects, all collected from Italian scenery, in which nature is seen in the most lovely forms, and painted under the soft influence of an Italian atmosphere (Claude de Lorraine)|A Landscape; a rich and diversified landscape, in which are united an endless variety of beautiful objects, all collected from Italian scenery, in which nature is seen in the most lovely forms, and painted under the soft influence of an Italian atmosphere]] réalisée par Claude de Lorraine, vendue par Right Hon Lord Northwick au prix de 78 gs. [44]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[An Italian Landscape; a delightful Italian scene, in which the figures are most gracefully disposed, and the whole composition of mountainous scenery sparkling with all the genius which this excellent artist knew so well how to scatter profusely over his truly classical pictures (Annibale Carracci)|An Italian Landscape; a delightful Italian scene, in which the figures are most gracefully disposed, and the whole composition of mountainous scenery sparkling with all the genius which this excellent artist knew so well how to scatter profusely over his truly classical pictures]] réalisée par Annibale Carracci, vendue par Right Hon Lord Northwick au prix de 39 gs. [46]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[A Cavalier with his Lady, richly attired, and preparing for their departure on an excursion; they appear to have descended from a carriage, and are attended by a numerous retinue; two spirited horses are held by the bridle, in waiting for them to mount: this group is painted in a most masterly style; the buildings also in the fore-ground, and landscape extending over a wide range of country, are very well painted (Philip Wouvermans)|A Cavalier with his Lady, richly attired, and preparing for their departure on an excursion; they appear to have descended from a carriage, and are attended by a numerous retinue; two spirited horses are held by the bridle, in waiting for them to mount: this group is painted in a most masterly style; the buildings also in the fore-ground, and landscape extending over a wide range of country, are very well painted]] réalisée par Philip Wouvermans, vendue par Right Hon Lord Northwick, achetée par Cropse au prix de 47.5 gs. [47]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portraits of Il Duca di Firenze et Machiavelli. This curious painting was in the Speaker Lenthall's collection; it was originally painted on a wall (al fresco), and rather clumsily transferred to a very coarse backing, from which it has been recently removed to a more appropiate canvas, and restored to its pristine brilliancy, by that ingenious artist Mr. Francis Leedham, who has in this way perpetuated very many valuable paintings in this collection: the portrait of Il Duca is probably that of Pietro, son of Lorenzo il Magnifico, and elder brother to Pope Leo X. (Agnolo Bronzino)|Portraits of Il Duca di Firenze et Machiavelli. This curious painting was in the Speaker Lenthall's collection; it was originally painted on a wall (al fresco), and rather clumsily transferred to a very coarse backing, from which it has been recently removed to a more appropiate canvas, and restored to its pristine brilliancy, by that ingenious artist Mr. Francis Leedham, who has in this way perpetuated very many valuable paintings in this collection: the portrait of Il Duca is probably that of Pietro, son of Lorenzo il Magnifico, and elder brother to Pope Leo X.]] réalisée par Agnolo Bronzino, vendue par Right Hon Lord Northwick, achetée par Foster au prix de 5.0 gs. [48]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Interior of a Church, with many figures, amongst which the more prominent are those of a nobleman, who appears to be giving directions to the sexton of the church in regard to the opening of a family vault; the perspective is admirably correct, and there is a brilliant sunshine effect and character in the figures that point out the master, of whose powers, in this line of art, it is a very interesting specimen (Albert Cuyp)|Interior of a Church, with many figures, amongst which the more prominent are those of a nobleman, who appears to be giving directions to the sexton of the church in regard to the opening of a family vault; the perspective is admirably correct, and there is a brilliant sunshine effect and character in the figures that point out the master, of whose powers, in this line of art, it is a very interesting specimen]] réalisée par Albert Cuyp, vendue par Right Hon Lord Northwick, achetée par Rev M Clowes au prix de 49.7 gs. [49]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Jean, Duke of Cleves, &c. &c., who died in 1539, soon after the marriage of his daughter Anne with Henry VIII., from whom she was divorced in the following year (1540), to make way for Catharine Howard. This portrait seems certainly to have been painted by Holbein, who resided some time at the court of the Duke of Cleves, from whence he sent a flattering likeness of Anne of Cleves to Henry VIII., which is said by Hume, and other historians, to have induced that king to seek her in marriage (Hans Holbein)|Portrait of Jean, Duke of Cleves, &c. &c., who died in 1539, soon after the marriage of his daughter Anne with Henry VIII., from whom she was divorced in the following year (1540), to make way for Catharine Howard. This portrait seems certainly to have been painted by Holbein, who resided some time at the court of the Duke of Cleves, from whence he sent a flattering likeness of Anne of Cleves to Henry VIII., which is said by Hume, and other historians, to have induced that king to seek her in marriage]] réalisée par Hans Holbein, vendue par Right Hon Lord Northwick, achetée par Fuller au prix de 10.10 gs. [50]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Christ calling St. Peter. Painted on copper. "And Jesus, walking by the sea of Galilee, saw two brethren, Simon called Peter, and Andrew his brother, casting a net into the sea: for they were fishers. And he saith unto them, Follow me, and I will make you fishers of men." -- St. Matthew. Christ's figure is very grand and imposing, the two Apostles express a reverential awe for their Divine Master. The two other brethren, John and James, with their father, Zebedee, are seen in a boat in the distance. It is a rich and well-painted picture (Francesco Albano)|Christ calling St. Peter. Painted on copper. "And Jesus, walking by the sea of Galilee, saw two brethren, Simon called Peter, and Andrew his brother, casting a net into the sea: for they were fishers. And he saith unto them, Follow me, and I will make you fishers of men." -- St. Matthew. Christ's figure is very grand and imposing, the two Apostles express a reverential awe for their Divine Master. The two other brethren, John and James, with their father, Zebedee, are seen in a boat in the distance. It is a rich and well-painted picture]] réalisée par Francesco Albano, vendue par Right Hon Lord Northwick, achetée par Randolph au prix de 32.11 gs. [53]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[St. Catharine; a lovely female, in whose divine looks are expressed the purest innocence and every saintly virtue, is affectionately, and in the most ardent and enthusiastic spirit of devotion, clinging to the rude instrument of torture that is to rescue her from heathen persecution. The subject is full of feeling, sweetly painted, and with all the graces that characterise and adorn the finest works of Parmegiano (Francesco Mazzuoli)|St. Catharine; a lovely female, in whose divine looks are expressed the purest innocence and every saintly virtue, is affectionately, and in the most ardent and enthusiastic spirit of devotion, clinging to the rude instrument of torture that is to rescue her from heathen persecution. The subject is full of feeling, sweetly painted, and with all the graces that characterise and adorn the finest works of Parmegiano]] réalisée par Francesco Mazzuoli, vendue par Right Hon Lord Northwick, achetée par Sir E Sagden au prix de 50.8 gs. [54]
  • 1838.05.25/ maison de ventes : Christie's. Vente de l'œuvre décrite comme [[Portrait of Il Conte Balthazar dello Il Corteggiano, from his being the author of that celebrated treatise. This distinguished personage lived in friendship and corresponded with all the illustrious characters of the age, who were either elevated in rank, or had acquired renown by their literary or scientific acquirements, and more especially Raffaelle, to whom many of his more familiar letters are addressed, and who painted his portrait, now in the French collection, of which there are two fine engravings, the one by Persyn, and the other by Edelink. Raffaelle's portrait is very similar to this, there being a variation only in some parts of his dress, and in the shape of the cap which he wears -- that in Raffaelle's portrait being of a more ample, this of a simpler form (Francesco Mazzuoli)|Portrait of Il Conte Balthazar dello Il Corteggiano, from his being the author of that celebrated treatise. This distinguished personage lived in friendship and corresponded with all the illustrious characters of the age, who were either elevated in rank, or had acquired renown by their literary or scientific acquirements, and more especially Raffaelle, to whom many of his more familiar letters are addressed, and who painted his portrait, now in the French collection, of which there are two fine engravings, the one by Persyn, and the other by Edelink. Raffaelle's portrait is very similar to this, there being a variation only in some parts of his dress, and in the shape of the cap which he wears -- that in Raffaelle's portrait being of a more ample, this of a simpler form]] réalisée par Francesco Mazzuoli, vendue par Right Hon Lord Northwick au prix de 40 gs. [55]
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