[171] The OPPOSITE PLATE will best attest the truth of the above remark. It exhibits a specimen of that precise period of art, when a taste for the gothic was beginning somewhat to subside. The countenance is yet hard and severely marked; but the expression is easy and natural, and the likeness I should conceive to be perfect. As such, the picture is invaluable. [So far in the preceding edition. The sequel is a little mortifying. The above picture, an undoubted original--and by a master (the supposed pupil of John Van Eyk) who introduced the art of oil-painting into Italy--was sold for only 162 francs: whereas the copy of it, in oil, by Laurent, executed expressly for the accompanying plate (and executed with great skill and fidelity) cost 400 francs!]
[172] [What a taste have the Virtuosi at Paris! This interesting picture was allowed to be sold for 162 francs only. Who is its fortunate Possessor?]
[173] [The OPPOSITE PLATE, which exhibits the head in question, is a sufficient confirmation of the above remark.]
[174] [First, of the MARC ANTONIOS. Since the sale of the Silvestre Collection, in 1810, nothing had been seen at Paris like that of M. Denon. It was begun to be formed in the eighteenth century: from which it is clear, that, not only was every proof at least an hundred years old, but, at that period, ZANETTI, the previous possessor of this Collection, sought far and wide, and with unremitting diligence, for the acquisition of the choicest impressions of the engraver. In fact, this Collection, (contained in an imperial folio volume, bound in morocco--and of which I necessarily took but a hasty glance) consisted of 117 original impressions, and of 26 of such as were executed in the school of M. Antonio. Of the original impressions, the whole, with the exception of four only, belonged to Zanetti. "If, says the compiler of the Catalogue, (1826, 8vo. p. ij.) some of the impressions have a dingy tint, from the casualties of time, none have been washed, cleaned, or passed through chemical experiments to give them a treacherous look of cleanliness." This is sound orthodoxy. The whole was put up in one lot, and ... BOUGHT IN.
Secondly, for the REMBRANDTS. The like had never been before submitted to public auction. The Collections of Silvestre and Morel de Vindé out and out eclipsed! Zanetti again--the incomparable--the felicitous--the unrivalled Zanetti had been the possessor of THIS Collection also. But yet more ... John Peter Zoomer, a contemporary (and peradventure a boon companion) of Rembrandt, was the original former of the Collection. It is therefore announced as being COMPLETE in all respects--"exhibiting all the changes, retouches, beautiful proofs, on India and other paper: ample margins, unstained, uninjured; and the impressions themselves, in every stage, bright, rich, and perfect. The result of all the trouble and expence of 50 years toil of collection is concentrated in this Collection." So says John Peter Zoomer, the original collector and contemporary of Rembrandt. It consisted of 394 original pieces: 3, attributed to Rembrandt, without his name: 11, of John Lievens, Ferdinand Bol, and J.G. Villet: 11 copies: and 9 engraved in the manner of Rembrandt. The whole contained in 3 large folio volumes, bound in red morocco.
No reasonable man will expect even a précis of the treasures of this marvellous Collection: A glance of the text will justify every thing to follow: but the "Advertisement" to the Catalogue prepares the purchaser for the portrait of Rembrandt with the bordered cloak--Ditto, with the Sabre--Ephraim Bonus with the black ring--the Coppinol, as above described--the Advocate Tolling--the Annunciation of Christ's Nativity to the Shepherds--the Resurrection of Lazarus--Christ healing the Sick; called the Hundred Guilders[H] --the Astrologer asleep--and several Landscapes not elsewhere to be found--of which one, called the Fishermen (No. 456) had escaped Bartsch, &c. &c. The descriptions of the several articles of which this Collection was composed, occupy 47 pages of the Catalogue. The three volumes were put up to sale--as a SINGLE LOT-- at the price of 50,000 francs:--and there was no purchaser. Of its present destiny, I am ignorant: but there are those in this country, who, to my knowledge, would have given 35,000 francs.
I ought to add, that M. Denon's collection of CALLOT'S WORKS, in three large folio volumes,--bound in calf--also once the property of Zanetti--and than which a finer set is supposed never to have been exhibited for sale--produced 1000 francs: certainly a moderate sum, if what Zanetti here says of it (in a letter to his friend Gaburri, of the date of 1726) be true. "If ever you do this country (Venice) the honour of a visit, you will see in my little cabinet a collection of CALLOTS, such as you will not see elsewhere--not in the royal collection at Paris, nor in the Prince Eugene's, at Vienna--where the finest and rarest impressions are supposed to be collected. I possess every impression of the plates which Callot executed; many of them containing first proofs, retouched and corrected by the engraver himself in red chalk. I bought this Collection at Paris, and it cost me 1950 francs. They say it was formed by the engraver himself for his friend M. Gérard an Amateur of Prints." "It should seem that Zanetti's description was a little overcharged; but in his time there was no complete catalogue of the artists." Cat. p. 153.
[H] It formed No. 345 of the Catalogue; where it is described as being "a magnificent proof upon India paper, with a margin of 15 lines all round it. It was with the bur, and before the cross-hatchings upon the mane of the Ass." The finest copy of this subject, sold in this country, was that formerly in the collection of M. Bernard; and recently purchased by T. Wilson, Esq. Will the reader object to disporting himself with some REMBRANDTIANA, in the Bibliomania p. 680-2.?
[175] One of those pictures (No. 188 in the Catalogue) produced 3015 francs: the other, only 180 francs. The Sebastian Bourdon (No. 139,) was sold for 67 francs, and the Parmegiano, (No. 34) for 288 francs.
[176] See the Bibliographical Decameron; vol. i. p. clvii. &c. [M. Denon's Missal was purchased by an English amateur, and sold at the sale of the Rev. Theodore Williams's Library for £143. 17s.]