Ventes d'œuvres le 1859.08.12

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  • 1859.08.12/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Robin Hood and his Foresters; a scene from 'Ivanho.' Robin Hood and his Foresters entertaining King Richard in merry Sherwood. A large and brilliantly executed Gallery Picture, which for artistic skill in the grouping and careful attention to the arrangement of its general details, has few equals in the circle of modern art. Most of the figures in the foreground are said to be portraits; the artist himself being represented by Little John, whose stalwart form appears with a fat buck thrown over his shoulder. (Daniel Maclise, R.A.)|Robin Hood and his Foresters; a scene from 'Ivanho.' Robin Hood and his Foresters entertaining King Richard in merry Sherwood. A large and brilliantly executed Gallery Picture, which for artistic skill in the grouping and careful attention to the arrangement of its general details, has few equals in the circle of modern art. Most of the figures in the foreground are said to be portraits; the artist himself being represented by Little John, whose stalwart form appears with a fat buck thrown over his shoulder.]] réalisée par Daniel Maclise, R.A., vendue par Lord Northwick, achetée par Lord Northwick au prix de 1370.5 £. [48]
  • 1859.08.12/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Children of Niobe slain by Apollo. In a wild and rocky foreground the fated progeny of Niobe are falling beneath the darts of Apollo, who is seen, bow in hand, among the clouds above. A splendid composition, and conspicuous for that clearness of atmosphere and harmonious colouring for which the productions of Wilson are so remarkable. (Richard Wilson)|The Children of Niobe slain by Apollo. In a wild and rocky foreground the fated progeny of Niobe are falling beneath the darts of Apollo, who is seen, bow in hand, among the clouds above. A splendid composition, and conspicuous for that clearness of atmosphere and harmonious colouring for which the productions of Wilson are so remarkable.]] réalisée par Richard Wilson, vendue par Lord Northwick, achetée par Rowbotham, Manchester au prix de 33.12 £. [51]
  • 1859.08.12/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Cicero's Villa; three figures in the foreground. The building is seen midway in the landscape, rising from the ample space of water, which flows out at the left hand corner of the picture, and is beautifully transparent. The celebrated picture engraved by Woollett. From Mrs. Fitz Hugh's Collection. (Richard Wilson)|Cicero's Villa; three figures in the foreground. The building is seen midway in the landscape, rising from the ample space of water, which flows out at the left hand corner of the picture, and is beautifully transparent. The celebrated picture engraved by Woollett. From Mrs. Fitz Hugh's Collection.]] réalisée par Richard Wilson, vendue par Lord Northwick, achetée par Joseph Bond, Esq. au prix de 315.0 £. [52]
  • 1859.08.12/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Columbus and the Egg. "Pedro Gonzalez, De Mendoza, the Grand Cardinal of Spain, invited Columbus to a banquet, where he assigned him the most honourable place at table....A shallow courtier present, impatient of the honours paid to Columbus, and meanly jealous of him as a foreigner, abruptly asked him whether he thought, that in case he had not discovered the Indies, there were not other men who would have been capable of the enterprise. To this Columbus made no immediate reply; but, taking an egg, invited the company to make it stand on one end. Everyone attempted it, but in vain: whereupon he struck it upon the table so as to break the end, and left it standing on the broken part; illustrating, in this simple manner, that when he once shown the way to the New World, nothing was easier than to follow it." -- Irving's Life of Columbus, book v, chap. 7. (C.R. Leslie, R.A.)|Columbus and the Egg. "Pedro Gonzalez, De Mendoza, the Grand Cardinal of Spain, invited Columbus to a banquet, where he assigned him the most honourable place at table....A shallow courtier present, impatient of the honours paid to Columbus, and meanly jealous of him as a foreigner, abruptly asked him whether he thought, that in case he had not discovered the Indies, there were not other men who would have been capable of the enterprise. To this Columbus made no immediate reply; but, taking an egg, invited the company to make it stand on one end. Everyone attempted it, but in vain: whereupon he struck it upon the table so as to break the end, and left it standing on the broken part; illustrating, in this simple manner, that when he once shown the way to the New World, nothing was easier than to follow it." -- Irving's Life of Columbus, book v, chap. 7.]] réalisée par C.R. Leslie, R.A., vendue par Lord Northwick, achetée par Joseph Gillott, Esq. au prix de 1123.10 £. [68]
  • 1859.08.12/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[Diana and her Nymphs surprised by Acteon. A composition of seventeen beautiful female figures, grouped with great delicacy. The goddess is represented as having just quitted the stream, and seated on a mossy bank is looking with surprise at the appearance of Acteon. The subject is treated with poetic feeling, and painted with a finish and accuracy which have rarely been surpassed. (Frost, R.A.)|Diana and her Nymphs surprised by Acteon. A composition of seventeen beautiful female figures, grouped with great delicacy. The goddess is represented as having just quitted the stream, and seated on a mossy bank is looking with surprise at the appearance of Acteon. The subject is treated with poetic feeling, and painted with a finish and accuracy which have rarely been surpassed.]] réalisée par Frost, R.A., vendue par Lord Northwick, achetée par Lord Northwick au prix de 708.15 £. [71]
  • 1859.08.12/ maison de ventes : Phillips (Harry). Vente de l'œuvre décrite comme [[The Marriage of the Earl of Pembroke, surnamed Strongbow, with the Princess Eva. This noble picture, was exhibited at the Royal Academy Exhibition of 1854, where it attracted universal attention, and was praised alike by critics and the public. The subject is thus narrated in the catalogue of the Academy:-- The marriage ceremony was solemnized on the battle field, after the siege of the sacked and ruined city of Waterford; and it was in the midst of of sic its scenes of desolation that the conqueror received the hand of the Princess Eva." "The painting represents the celebration of the marriage, beneath the ruinsed porch of the church of the period and its round tower -- the triumph of the invading Norman knights -- the submission of the Irish chieftians, the mourning over the fallen, and the burial of the dead." Without these brief notices the spectator could scarcely understand a picture in which "grim visaged war" is represented in such immediate contact with the imposing ceremony forming the principal incident in the scene before him. I(n the centre, the victorious Richard de Clare, with port erect, and clad in the full military costume of the period, is, with his right hand, placing the marriage ring upon the fingerr of his timorous and downcast bride, while the left still retains its hold upon the sword sheath. The bride herself is richly adorned and apparelled, and seems far too meek and gentle a creature for introduction into the stern and ghastly company by which she is surrounded. Behind the princess stands her father, Dermot Mac Murroch, King of Leinster, -- one of the best and most characteristic figures in the picture in a robe of bright blue; his countenance indicating a mingled expression of exultant triumph and indignant menace; and, between the bride and the bridegroom the priest -- if such he may be called -- is in the act of pronouncing the marriage benison. In the foreground below, at the feet of these leading characters, the dead and the dying are lying prostrate, in attitudes finely expressive -- their athletic and muscular forms looking still terrible in death. Among them the figures of an aged minstgrel, of a female with uplifted arms, whose countenance expresses the violence of her emotions, and the placid rosy cheek of a sleeping child, are introduced with skill, contrasting, forcibly, on the one hand, with the gorgeous proceedings exhibited just above, and, on the other, , with the livid and prostrate forms outstretched below. The whole grouping of the principal action is, indeed, niost masterly -- every incident introduced telling its tale with admirable effect. On the left, a number of people are burying the dead, and the black habilements and sorrowful gaze of a party of mourners indicate the interment at the moment of some one above the herd of common men. These and a number of figures representing the military followers of De Clare, pressing forward to witness the scene, complete the left hand tableau. On the right the mailed and mounted followers of the Norman Earl are -- each beneath his own distinctive banner -- watching the proceedings; while just below, and occupying the base of the picture are seen the vanquished Irish Chiefs, lowering their arms, and in attitudes bespeaking their fallen state. The artist has bestowed evident pains upon the form and grouping of these native Chieftians, and has been most successful in their treatment; we know not, indeed, which most to admire, their fine muscular development, or the individuality of character and emotion pourtrayed in their different countenances, all of which is rendered more striking by the introduction among them of the maidens in attendance on Eva, bearing bridal ornaments. (Daniel Maclise, R.A.)|The Marriage of the Earl of Pembroke, surnamed Strongbow, with the Princess Eva. This noble picture, was exhibited at the Royal Academy Exhibition of 1854, where it attracted universal attention, and was praised alike by critics and the public. The subject is thus narrated in the catalogue of the Academy:-- The marriage ceremony was solemnized on the battle field, after the siege of the sacked and ruined city of Waterford; and it was in the midst of of sic its scenes of desolation that the conqueror received the hand of the Princess Eva." "The painting represents the celebration of the marriage, beneath the ruinsed porch of the church of the period and its round tower -- the triumph of the invading Norman knights -- the submission of the Irish chieftians, the mourning over the fallen, and the burial of the dead." Without these brief notices the spectator could scarcely understand a picture in which "grim visaged war" is represented in such immediate contact with the imposing ceremony forming the principal incident in the scene before him. I(n the centre, the victorious Richard de Clare, with port erect, and clad in the full military costume of the period, is, with his right hand, placing the marriage ring upon the fingerr of his timorous and downcast bride, while the left still retains its hold upon the sword sheath. The bride herself is richly adorned and apparelled, and seems far too meek and gentle a creature for introduction into the stern and ghastly company by which she is surrounded. Behind the princess stands her father, Dermot Mac Murroch, King of Leinster, -- one of the best and most characteristic figures in the picture in a robe of bright blue; his countenance indicating a mingled expression of exultant triumph and indignant menace; and, between the bride and the bridegroom the priest -- if such he may be called -- is in the act of pronouncing the marriage benison. In the foreground below, at the feet of these leading characters, the dead and the dying are lying prostrate, in attitudes finely expressive -- their athletic and muscular forms looking still terrible in death. Among them the figures of an aged minstgrel, of a female with uplifted arms, whose countenance expresses the violence of her emotions, and the placid rosy cheek of a sleeping child, are introduced with skill, contrasting, forcibly, on the one hand, with the gorgeous proceedings exhibited just above, and, on the other, , with the livid and prostrate forms outstretched below. The whole grouping of the principal action is, indeed, niost masterly -- every incident introduced telling its tale with admirable effect. On the left, a number of people are burying the dead, and the black habilements and sorrowful gaze of a party of mourners indicate the interment at the moment of some one above the herd of common men. These and a number of figures representing the military followers of De Clare, pressing forward to witness the scene, complete the left hand tableau. On the right the mailed and mounted followers of the Norman Earl are -- each beneath his own distinctive banner -- watching the proceedings; while just below, and occupying the base of the picture are seen the vanquished Irish Chiefs, lowering their arms, and in attitudes bespeaking their fallen state. The artist has bestowed evident pains upon the form and grouping of these native Chieftians, and has been most successful in their treatment; we know not, indeed, which most to admire, their fine muscular development, or the individuality of character and emotion pourtrayed in their different countenances, all of which is rendered more striking by the introduction among them of the maidens in attendance on Eva, bearing bridal ornaments.]] réalisée par Daniel Maclise, R.A., vendue par Lord Northwick, achetée par L.V. Flatou au prix de 1785.0 £. [81]
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