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FLEMISH 
 PRIMITIVES 
 
 FORMERLY IN THE COLLECTION OF THE PRINCE OF 
 HOHENZOLLERN-SIGMARINGEN 
 * 
 
 Introduction and Description by 
 DR. MAX J. FRIEDLANDER 
 
 EXHIBITED BY A. S. DREY, NEW YORK 
 680 FIFTH AVENUE 
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INTRODUCTION 
 
 The Hohenzollern-Sigmaringen Art-Collection has not 
 only been a public gallery through the liberal spirit of its 
 princely owners, but the public had through tradition taken 
 possession of it. Now this collection has left its original home. 
 It gives certainly some satisfaction to the German art-lover 
 after the unfortunate loss of Oldenbourg, Dessau and Weimar, 
 that a great part of the collection—and especially that part 
 which is the most interesting for Germany—has been acquired 
 by a public German institution. 
 
 At present this part of the collection is exhibited in the 
 Stadel Art-Institute, Frankfort/Main, and consists of the whole 
 collection except the Flemish primitifs, which we are describ- 
 ing in part in the following pages. 
 
 One of the principal sources from which the pictures of | 
 the princely Collection came has been the famous collection 
 of the architect of the town of Cologne Johann Peter Weyer, 
 which like the collections Boisserée and Wallraf has been 
 rich in Flemish and Rhenish paintings of the 15** and 16* cen- 
 tury. This collection has been sold at public sale August the 
 25th 1862. In referring to the Sigmaringen Catalogue we mean 
 its 2™4 edition of 1883. Those pictures which are missing in 
 this catalogue have been acquired after 1883. 
 
 Without any doubt these pictures will find their way to 
 the best collections, because an opportunity to acquire pictures 
 of this importance is rare and will become still rarer from day 
 to day. 
 
 BERLIN, October 1928. 
 
FOLLOWER OF ROGIER VAN DER 
 WEYDEN 
 ANNUNCIATION 
 
 panel, 18x14 inches 
 
 Collection J. P. Weyer, Cologne 1862 No. 263 ” 
 Sigmaringen Catalogue No. 25 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 Excellent work of a Flemish artist under the influence of 
 Rogier van der Weyden. There is no other version of this 
 
 ( 
 
 composition extant. 
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MASTER OF THE LEGEND OF ST. BARBARA 
 
 VOTIVE TABLET WITH CHRIST ON THE CROSS, 
 
 THE VIRGIN AND ST. JOHN IN THE CENTER; ON 
 
 THE LEFT CHRIST WITH THE COLUMN, ON THE 
 RIGHT THE ECCE HOMO 
 
 panel, 211/,21 inches 
 
 Collection Abel, Cologne 1863 No.70 
 Sigmaringen Catalogue No.120 
 
 Inscriptions in Flemish language on scrolls, on the lower border 
 and on the frame work. In the center the coat-of-arms of the 
 family Colyns. The inscription says, that this epithaphium has 
 been painted in memory of two women of the Colyns family; 
 one of them, the nun to the right, died in 1491. 
 
 This master worked probably in Bruxelles; cf. Friedlander, 
 Altniederlandische Malerei, vol. [V page 109 etc. 
 
DIERIK BOUTS (?) 
 
 VIRGIN AND CHILD; BACKGROUND 
 LANDSCAPE 
 
 panel, 118 inches 
 
 Bought in the art-trade in Cologne 
 
 Sigmaringen Catalogue No. 38 
 
 Pantheon, vol. I page 64 
 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 Similar picture, same quality, is in the Kaiser Friedrich Museum, 
 Berlin, cf. Friedlander, Altniederlandische Malerei, vol. II, 
 plate LXXVII. Already Scheibler, speaking of this picture, 
 which had once been attributed to Rogier van der Weyden, 
 says “More in the style of Bouts”. 
 
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BRUGES ARTIST 1473 
 
 TRIPTYCHON: VIRGIN AND CHILD WITH THE 
 
 DONORS JAN DE WITTE AND HIS WIFE MARIA 
 
 HOOSE. ON THE OUTSIDE OF THE LEFT WING 
 CHRIST WITH THE VIRGIN AND ST. JOHN 
 
 panel, 33x54 inches 
 
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 Sigmaringen Catalogue No. 140 
 
 Weale, Catalogue of the Bruges Exhibition 1902 
 
 Pantheon, vol. I page 69 
 
 Exhibited Bruges 1902 No. 49 
 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 On the original frame, below the donor, the inscription: 
 etatis XXX anom; in the center: Hoc opus pfecta a°M IIII* 
 LXXIII. XXVII die julij; underneath the donatrix; etatis XVI 
 anom. The coat of arms have made possible the identifica- 
 tion of the donor, who in 1473 was Mayor of Bruges; the 
 name of his (second) wife was Maria Hoose. Concerning the 
 excellent artist, who seems to have been influenced by Rogier 
 van der Weyden; cf, Friedlander, Altniederlandische Malerei, 
 
 vol. VI page 112, plate L. 
 
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MASTER OF THE LEGEND OF ST. URSULA 
 VIRGIN AND CHILD WITH TWO ANGELS 
 
 panel, 144/.x11 inches 
 
 Bought in the art trade in Rome t | Wott.) 
 Friedlander, Altniederlindische Malerei, vol. VI No. 127 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 Concerning this artist, who worked at Bruges about 1480; 
 cf. Friedlander, Altniederlandische Malerei, vol. VI, where | 
 this picture is catalogued.. / 
 
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JAN DE COCK 
 ST. ANNE WITH THE VIRGIN AND CHILD 
 
 round panel, diameter 14 inches 
 
 From the Christian Museum, Cologne 
 Sigmaringen Catalogue No. 41 
 Exhibited Munich, September/October 1928 
 
 This excellent picture has been attributed to Cornelis Engel- 
 brechtsen, but it ought to be ascribed to Jan de Cock, an 
 Antwerp artist, who has lately been much esteemed. About 
 this artist cf. Friedlander, Zeitschrift fiir Bildende Kunst, Neue 
 Folge, XXIX (1918) page 67 etc. 
 
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Poaolkk OF THE LEGEND OF 
 ST. MAGDALENE 
 
 TRIPTYCHON; IN THE CENTER VIRGIN AND 
 CHILD; ON THE LEFT ST. ARNOLD OF LIZIWANG 
 WITH THE DONOR; ON THE RIGHT 
 ST. CATHERINE; THE OUTSIDE OF THE WINGS 
 REPRESENTS ST. JEROME AND ST. AGNES 
 
 panel, 161/225 inches 
 
 Collection Abel, Cologne 1863 No. 13 
 Sigmaringen Catalogue No. 31 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 The center shows the style of the Master of the Legend of 
 St. Magdalene under the influence of Rogier van der Weyden. 
 The wings are more in the style of the Master of the Legend 
 of St. Catherine. 
 
MASTER OF 1518 
 
 THE MARRIAGE OF THE VIRGIN 
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 panel, 25X27 inches 
 
 Collection J. P. Weyer, Cologne 1862 No.194 42 Stork y lows vow Sq 
 
 _ Sigmaringen Catalogue No. 17 
 
 Friedlander, Jahrbuch der PreuBischen Kunstsammlungen 1915 
 p. 82 
 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 An especially careful work of the Antwerp mannerist, who, 
 
 ~ in 1518 executed the altarpiece in the Brief-chapel inthe Church 
 of St. Mary in Liibeck, cf. Friedlander, Jahrbuch der Preufi- 
 schen Kunstsammlungen 1915, page 81. 
 
ANTWERP MANNERIST OF 1520 
 ADORATION OF THE KINGS 
 
 panel, 47!/2<31*/2 inches 
 
 Collection J. P. Weyer, Cologne 1862 No.197 =?” 
 Sigmaringen Catalogue No.5 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 This picture belongs to the large group of paintings, which 
 formerly has been attributed to Herri met de Bles. 
 
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FLEMISH ARTIST ABOUT 1520 
 ST. ANNE AND JOACHIM AS PARENTS 
 OF THE VIRGIN 
 
 panel, 18x14 inches 
 
 Exhibited Munich, Alte Pinakotkek, September/October 1928 
 
 The Master of this excellent painting seems to have been 
 influenced by Jan Gossaert and by the Antwerp Mannerists. 
 
JAN VAN SCOREL 
 ST. ANNE WITH VIRGIN AND CHILD 
 
 panel, 211/2x20 inches 
 
 From a Westphalian private Collection 
 Published by Dr. Grete Ring, Kunstchronik 1918, p. 182 
 
ANTONIS MOR 
 PORTRAIT OF A YOUNG MAN 
 
 panel, 381/2X27+/> inches 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 On the left: A. S. 20. A® 1538 
 
 This picture has been unknown until now to the literature of 
 art. It dates from the middle-period of the Master, the same 
 year as the famous portrait of himself in the Uffizii in Flo- 
 rence. In this year Mor sojourned probably in Bec’. 
 Cf. H. Hymans, Antonio Moro p. 99. 
 
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WILLIEM KEY 
 PORTRAIT OF A MAN 
 
 panel, 251/,x16 inches 
 
 Collection Dr. Wutzer, Germany 
 Collection Cohen, Bonn 1864 No. 35 
 Sigmaringen Catalogue No. 20 
 
 This excellent portrait, which dates from about 1540, has been 
 executed without any doubt by the same artist as the portrait 
 in the Johnson Gallery, Philadelphia, attributed there to An- 
 tonio Moro (No.429). It should be ascribed to Willem Key 
 on account of its close relation to a portrait in the Antwerp 
 Gallery and to the portraits on the ‘“Mourning of Christ” in 
 the Collection Six, Amsterdam, which bears the signature of 
 Key. Willem Key and Antonis Mor were the most famous 
 portrait-painters of the Netherlands about 1550. 
 
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MARINUS VAN ROYMERSWAELE 
 
 THE MONEYLENDER AND HIS WIFE WEIGHING 
 OUT GOLD 
 
 panel, 36'/,45 inches 
 
 Collection Cohen, Bonn 1864 
 
 Sigmaringen Catalogue No. 58 
 
 Staedel Jahrbuch, vol. III/IV, p. 56 
 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 Two different compositions of this picture by Marinus van 
 Roymerswaele exist in several galleries ; one with the money- 
 lender and his wife alone with fantastic headdresses and the 
 other with the boy handing a letter. Of this second group the 
 present picture is by far the best. 
 
MASTER OF THE ALTARPIECE OF 
 AIX-LA-CHAPELLE 
 
 VIRGIN AND CHILD WITH ST. CATHERINE 
 AND ST. URSULA 
 
 panel, 171/.24 inches 
 
 Collection Schmitz, Cologne 
 
 Sigmaringen Catalogue No. 59 
 
 Staedel Jahrbuch vol. III/IV p. 60 
 
 Exhibited Munich, Alte Pinakothek, September/October 1928 
 
 Concerning this excellent artist, who worked in Cologne about 
 1510; cf. Friedlander, Wallraf Richartz-Jahrbuch vol. 1 (1924), 
 p.101 etc. 
 
JACOPO DA VALENCIA 
 
 VIRGIN AND CHILD WITH ST. GEORGE 
 AND ST. PETER 
 
 panel, 38x30 inches 
 
 Collection S. Hirschler, Vienna 
 Sigmaringen Catalogue No. 225 
 
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MADONNA AND CHILL By a BRUGES ARTIST ABOUT 1489 
 
 Included in the exhibition of pictures from the Sitgmaringen collection 
 ~~at_the A. S. Drey Gallery 
 
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