ONE PENNY 
 
 WHITECHAPEL 
 ART GALLERY 
 
 Dutch Exhibition 
 
 1904 
 
Certain pictures and objects are for sale. 
 Inquiries as to prices should be made to the Director. 
 
 The Dutch Arts and Crafts Exhibits are lent by — 
 
 The Board of Education, South Kensington. 
 
 Willem C. Brouwer, Esq. 
 
 Madame Duco Crop. 
 
 C. E. Dawson, Esq. 
 
 F. L. Emanuel, Esq. 
 
 J. H. Fitzhenry, Esq. 
 
 C. A. Mitchell, Esq. 
 
 Mrs. Mitchell. 
 
 W. B. Paterson, Esq. 
 
 George Philip, Esq. 
 
 David Samuels, Esq. 
 
 J. Staal, Esq. 
 
 Martin Van Straaten, Esq. 
 Horace Warner, Esq. 
 
INTRODUCTION. 
 
 The study of no other national art can be more valuable 
 and instructive to Englishmen than that of the Art of 
 Holland. In Dutch Art we find the aesthetic output of the 
 nation most closely allied to ourselves both in race, position 
 and history. The Dutch people are, like us, descended 
 from a mixed Saxon and Celtic stock, with a similar infusion 
 of Norse blood. Like us, they have been moulded by close 
 familiarity with the sea, — like us they have stood for liberty 
 and felt the call to distant adventure. Like us they have 
 reaped a rich reward in colonial empire and profitable trade. 
 The pictures on these walls tell of the spirit of adventure 
 of a race of men who have gone down to the sea in ships, 
 they tell us also of their love of peaceful, prosperous home- 
 life. 
 
 Dutch Art is, perhaps, for us a more useful example than 
 Italian, for the Italians in another climate made idealized 
 man the centre of the universe with nature merely as a 
 drop-scene. The Dutch painters recognised man for the 
 tiny atom he is before the immensity of sea, land and sky, 
 and put him in his true position in the universe, while they 
 showed him possessed of powers of observation and reflexion 
 on the vaster forces round him that proved him their master. 
 
 Greek and Italian Art were both gradual evolutions based 
 on older arts and developing through the slow course of 
 centuries. 
 
 Dutch Art in its special significance blossomed suddenly 
 and died away in one short century. It found itself de- 
 prived by the very Reformation and Revolution, which gave 
 it birth, of the customary religious and court-pageant sub- 
 jects. With bold originality it set itself to paint the 
 portrait of the new-born Holland, its men and women, its 
 plains and canals, its markets and manners, its taverns and 
 kitchens. To convince the world that such things were fit 
 material for Art, the Dutch discovered colour. Except the 
 Venetians, the Italians were designers rather than colourists, 
 having more feeliiig for form than for colour. The Dutch, 
 with the misty, diffused light of their northern climate, dis- 
 covered the true basis of fine colour, the effect of contrast 
 in giving values. Again, treating common objects, they 
 forced their faithful observations of these objects to pass 
 through their minds and hearts till they gave them back 
 with a value the things themselves never had. It is com- 
 monly said that Dutch Art is realistic and positive, but, in 
 reality, its charm and greatness lies in the fact that it 
 idealizes the actual. By their probity of spirit and by 
 their cordiality for the real, the Dutch artists lend these 
 common things an exquisite significance that relates them to 
 
the ever-present but dimly felt poetry o£ existence. 
 There is an imaginative power about the still sunny interiors 
 of De Hoogh, about the human relationships of conversation- 
 pieces by Vermeer and Metsu, about the sheen of fruit and 
 metal in Kalf and Heda, and above all, about the ancient 
 brick fa9ades of Van der Heyden's houses as they face the 
 setting-sun that is far more haunting than the more 
 obvious idealization of forms by the Italians. The Dutch 
 painters almost accidentally, it seems, merely by their very 
 truthfulness, caught that mysterious poetry of the fleeting 
 moment that lies on landscape, houses and men, — that even 
 Lends to barrows, pots and pans 
 Grace and glimpses of romance. 
 All Art is a selection from the vast treasure-house that 
 nature has prepared for us. The Dutch artists made a 
 modest choice, and it seems as if their modesty had been 
 crowned by a triumph that more voracious or fastidious 
 artists missed. 
 
 In the case of an exhibition like the present one at White- 
 chapel, which presents a fairly representative collection of 
 the paintings of Dutch artists of all periods, it is possible 
 to get some idea of the special gifts the world has received 
 at the hands of Dutch Art. This Art is so different from 
 that of other nations, that certain characteristics are clearly 
 apparent, and first among these may be placed a passion for 
 truth — a truth of observation enforced by an exquisite tech- 
 nique, which is truth of representation. The second most 
 remarkable characteristic is an instinct for subdued, har- 
 monious colour, combined with an originality in choice of 
 subject. 
 
 Among the limitations of Dutch Art may be noted a 
 curious indifference to human beauty in the types it selects 
 and, as a rule, a want or the higher imaginative power. 
 Rembrandt and Ruisdael are exceptions that only . make the 
 general absence of creative imaginative power the more 
 conspicuous, and it is noteworthy that we get in Dutch 
 pictures no reflection of the religious and political struggles 
 through which the nation passed so courageously. Never- 
 theless in an almost inexplicable way the faithful, homely, 
 apparently unimaginative art of Van der Heyden and De 
 Hoogh, does pierce to those unexplored depths of our sub- 
 conscious minds like that of few other painters. 
 
UNDER REVISION. 
 
 Whitechapel Art Gallery. 
 
 DUTCH EXHIBITION, 
 
 MARCH 30th to MAY 10th, 1904. 
 
 CATALOGUE. 
 
 NOTE. — The attributions assigned by the lenders are 
 given in the Catalogue. 
 
 it Paintings lent by the Artist are marked with an 
 asterisk (*). 
 
 DUTCH ARTS AND CRAFTS. 
 
 In no other country has the natural instinct for good colour 
 and form persisted so generally as in Holland. Nowadays, 
 when a great effort is being made to connect everyday life 
 again with the beauty it has lost, it is a satisfaction to find 
 a country like Holland, where there has been no conspicuous 
 break. The Dutch have loved their homes and delighted in 
 keeping them spotless and quaintly beautiful, and the modern 
 revival of interest in Arts and Crafts, has had only a light 
 task to perform in Holland. 
 
 Possessed of an instinct for colour, due partly, perhaps, 
 to their climate, the simplicity and good sense of the peasants 
 in Holland have led them to prefer their own handmade 
 products of pre-eminent usefulness and durability to the 
 machine-made, useless superfluities that crowd our already 
 cramped London houses. 
 
 The present collection of Arts and Crafts objects is small, 
 as most of the space has been needed for pictures, but 
 besides the furniture, Delft pottery and reproductions 
 of Dutch Metal Work in cases B C and D, a few objects are 
 grouped together to give an idea of an ordinary Dutch 
 Cottage Interior with the vast tiled fireplace, the quaint 
 cupboard-bed and the curtained window, like the one so 
 often painted by Israels in his cottage interiors. The gay 
 colours of the paint and tiles, the gleam of the brass vessels, 
 and the spotless cleanliness of a Dutch cottage give it a 
 beauty often absent in more ambitious homes. 
 
 1 Curtain of Hand-painted Cotton. 
 
 2 Shelf of Old Dutch Japan Coffee Pots and Chestnut 
 
 Boxes. 
 
4 
 
 3 Volendam Peasant Woman's Costume and Brass Milk 
 
 Can. 
 
 4 Model of a Dutch Peasant's Bed, made by children in 
 
 Marken, an Island in the Zuyder Zee. The children 
 sleep in a cupboard under the bed. Notice the beau- 
 tifully embroidered sheets and pillows. Some of the 
 patterns have gone on for generations. One has a 
 squirrel running up the mast of a ship. The people 
 cannot themselves explain the origin of these patterns. 
 Only the abundance of fresh air the Marken fisher- 
 folk get and their careful cleanliness in washing and 
 airing their houses could prevent these stuffy beds 
 from being deadly to health. 
 
 5 Collection of Old Dutch Brass Warming-pans. 
 
 6 Representation of a Dutch Fire-place with tiled back. 
 
 The designs are close copies of the old Dutch tiles 
 which lie below. Against these tiles rests a lead fire 
 back, in front of which burns the fire in a detached 
 basket or grate. Three of these old fire-backs are shown, 
 one with a design of a cupid, another with the sacred 
 subject of the "Adoration of the Magi." On the 
 ground are Dutch grates, peat-boxes and fire-dogs. 
 
 7 On the Chimney shelf are old Snuff Jars, made at Delft, 
 
 in Holland, and Brass and Japan Kitchen Utensils. 
 
 8 Two Fine Old Brass Alms Dishes, used in Churches. 
 
 One has beaten on it a design of the marvellous bunch 
 of grapes brought back to Joshua from Canaan, and 
 the other, a representation of Adam and Eve tempted 
 by the serpent. 
 
 9 Old Carved Wood Coat of Arms, D. D. Hoop, and C. 
 
 V. Bergen. An anchor stands, for the Hope family, 
 and a Sheep in a Landscape for the Bergen family. 
 
 10 Collection of curious old Brass Candlesticks. 
 
 11 Lead figures. The Dutch excel in fancy lead work. 
 
 12 Delft Bowl, with Imitation Fruit. 
 
 13 Carved Oak Press of the end of 16th Century. Notice 
 
 the beautiful colour of the unstained Oak, and 
 the carving of the pilasters. 
 
 14 Old Dutch Costume, Jacket of Empire period. 
 
 15 Clapper used in Holland to frighten birds. In the fruit 
 
 season, the whole of Zealand is full of the deafening 
 noise of these instruments. 
 
 16 Collection of Modern Dutch Pottery. The shapes and 
 
 colours are exceptionally beautiful, made by W. 
 Brouwer. These can be ordered, prices at the 
 turnstile. 
 
 17 Photographs of Dutch Costumes and Scenery. The 
 
 large ones are all taken in Zealand, the southern 
 seaboard province of Holland. The small ones in 
 
5 
 
 Marken and the North of Holland. The Dutch pea- 
 sants take a pride in their quaint, picturesque, tradi- 
 tionary costumes, and keep them up in spite of the 
 invasions of modern fashions. The lace headdresses 
 are specially beautiful and the old chintzes, of which 
 the bodices and sometimes the skirts are made. 
 
 18 Old Pulpit Candlesticks. 
 
 19 Old Wood Figure in 18th Century Dutch Costume. 
 
 20 Supper Time. Volendam. This picture shows the 
 
 brilliant colours of Dutch costume, by Edith Mitchell. 
 
 21 Dutch Fisherman, by C. W. Bartlett. Lent by H. 
 
 Warner, Esq. 
 
 EAST SIDE— 
 iqth CENTURY DUTCH PAINTERS. 
 
 The mission of Dutch Art has been to lead the world back 
 to facts. Ideals are the growth of facts, but ideals bloom 
 and fade. Fresh facts spring up and the old ideals begin 
 to look faded. Again and again Dutch Art has made us 
 accept facts by painting them with a skill and insight that 
 caused the astonished world not only to swallow them, but 
 to gape for more. 
 
 When the Renaissance in Italy had evolved its ideal 
 beauty, assuming perfect man as the centre of the universe, 
 the Dutch painters came along and proved that there were 
 lots of things in the world worth attention besides man, that 
 man was not a measuring rod for the universe to take scale 
 by, but merely a pair of eyes that had the one merit of being 
 able to see some portion of the grandeur of the immeasur- 
 able universe around him. Rembrandt painted the world 
 into accepting the truth that there is nothing common or 
 unclean in the eyes of the sun. Ruisdael revealed to men 
 that nature is the expression to mankind of something far 
 grander and vaster than itself. These painters fulfilled 
 their mission by looking at facts and recording them as they 
 really were. A century and a half later the world was 
 again mazed with conventions, which are ideals gone to 
 seed, and Millet and Israels, and the English Pre-Raphael- 
 ites, in their very different ways brought it back to facts, 
 (the first two to ethical and artistic facts, the last to literary 
 and literal facts). 
 
 Israels broke in upon Mid-Victorian homes and 
 shams, and showed plainly the superior beauty and 
 dignity of the humblest facts, the homes of the 
 simplest labouring rustic folk. Israels may be accused of 
 having idealized such homes, and doubtless many of these 
 homes are not characterized by the quiet dignity that mask 
 his interiors, but he was justified in selecting the normal 
 conditions produced by simple, faithful, honest love and 
 toil, especially as in Holland happier social conditions 
 allowed the normal to prevail more generally. 
 
b 
 
 Maris and Mauve, and the other Dutch landscape painters 
 carried the same spirit into landscape Art. They took the 
 country round them, which they knew, instead of rushing 
 off to foreign- lands to jog a failing capacity to see with 
 the intoxicant of contrast, and they gave us the faithful 
 reflexion of a country on the minds of its denizens. They 
 brought to the eyes of the world those subtle, half-hidden 
 beauties that only those who have grown up among such 
 scenes can reveal. 
 
 The modern Dutch painters, when the revival began, about 
 the middle of the last century, had merely to cultivate the 
 soil of their native land which had lain fallow since the end 
 of the 17th century. Like their great ancestors they sought 
 inspiration in their own land and times. 
 
 The French artists, particularly Millet and Daubigny, 
 confirmed and influenced the new School of Dutch painters, 
 which went back to nature as they saw it in their native 
 land, and to their own great masters. Their close deriva- 
 tion from such masters as Ruisdael, Van Goyen and De 
 Hoogh, gives a classic stamp to their work. 
 
 Though their range is more limited than the range of 
 the old Dutch masters, which swept life from the imagina- 
 tive magnificence of Rembrandt to the somewhat gross 
 burlesque of Ostade, they possess the tranquil sureness of 
 effect that marked the classic masters. 
 
 22 Cows in Meadow 
 By Wm. Maris. 
 
 Lent by Walter Brown, Esq. 
 
 23 A Moment's Rest 
 By Josef Israels. 
 
 Lent by David Nathan, Esq. 
 
 24 The Flock 
 
 By Ter Meulen. 
 
 Lent by W. Marchant, Esq. 
 
 25 The North Sea 
 By H. W. Mesdag. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 26 Landscape 
 By Roelofs. 
 
 Lent by J. Staats Forbes, Esq. . 
 
 27 *Canal at Rotterdam 
 
 By J. H. Van Mastenbroek. 
 
 28 Heerengracht, Amsterdam 
 
 By Oyens. 
 
 Lent by W. J. Van Hoy tenia, Esq. 
 
 Pieter Oyens came under the influence of Portaels 
 at Brussels. Many of his pictures, which often 
 treat of cafes and studios, have a bolder, more ener- 
 getic touch and colour than most of the works of his 
 contemporary countrymen. 
 
7 
 
 29 Exterior 
 
 By BOSBOOM. 
 
 Lent by Dr. A. B. Stevens. 
 
 30 Weber Composing His Last Waltz 
 By Josef Israels. 
 
 Lent by J. Julius Weinberg, Esq., J. P. 
 
 This picture is of great interest* as being an early 
 work of Israels 5 before his retirement to Zandvoort 
 converted him to the simple rustic subjects that ex- 
 press a state of life rather than tell a story. Here 
 he is still trying to satisfy the public craving for 
 story and incident. He shows us Weber composing 
 his first valse. The change in Israels's view of art 
 can be gauged by comparing this picture with the 
 others exhibited here. 
 
 31 Girl at the Well 
 By Artz. 
 
 Lent by J. Staats Forbes, Esq. 
 
 32 Woman Bleaching Linen 
 
 By ROELOFS. 
 
 Lent by J. Staats Forbes, Esq. 
 
 Willem Roehofs, though born in Amsterdam, lived 
 at Brussels for 40 years, and was greatly influenced 
 by the French artists working at Barbizou. In this 
 picture he gives us one of his delicate transcripts from 
 nature. 
 
 33 View of Amsterdam 
 By J. Maris. 
 
 Lent by The Rt. Hon. J. A. Campbell, M.P. 
 
 34 The Guardian Sister 
 By B. J. Blommers. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 35 Landscape — Stormy Sky 
 By T. de Bock. 
 
 Lent by J. Staats Forbes, Esq. 
 
 36 An Old Fisherman 
 By Josef Israels. 
 
 Lent by Walter Brown, Esq. 
 
 37 A November Day 
 By J. Maris. 
 
 Lent by W. Marchant, Esq. 
 
 38 Will he come? 
 
 By Christopher Bishop. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 Christopher Bisschop, born in Friesland, like 
 Mesdag and Israels came from the far northern 
 provinces of Holland. Born as long ago as 1829, 
 he wis a painter of the transitional period. 
 The problem that chiefly interested him was the play 
 of sunlight on creamy walls with the figure of a 
 woman reading or praying. 
 
8 
 
 Honoured Old Age 
 By Josef Israels. 
 Lent by John Reid, Esq. 
 
 Josef Israels was born at Groningen, in the north of 
 Holland. He wished to become a Rabbi, and was 
 at first employed in his father's banking business. 
 Though he "has become the leader of the modern 
 Dutch School, he began by painting the perfunctory 
 historical pictures usual at the time ; but as early 
 as 1857, he was exhibiting simple rustic scenes, 
 "Children by the Sea," and an "Evening on the 
 Beach. 55 In 1844 he had begun to study art in 
 Amsterdam under the academic instruction of Kruce- 
 man. He then visited Paris, but his work continued 
 on the old lines, both i \ France and at first on his 
 return to Holland in 1848. An enforced retirement, 
 owing to illhealth, to the remote fishing village of 
 Zandvoort, brought him into close contact with the 
 life of the simple peasants and fisherfolk, and led 
 to his devoting himself to portraying the intimate 
 beauty of these simple lives. At first Israels still 
 continued to infuse a touch of sentiment and anec- 
 dote into his new pictures, and we have such works 
 as " First Love 55 and "By Mother 5 s Grave, 55 but 
 gradually he generalised his subjects, giving them an 
 added dignity and significance. Israels is animated 
 by the same spirit as the French painter Millet. He 
 has not the feeling for form and design which enabled 
 the French painter to make his renderings of peasant 
 life classics for all time, but he has a poetic, intimate 
 sympathy that enables him to make exquisite, tender 
 poems out of the incidents of primitive rustic life. 
 One characteristic of Israel's art is the emphasis he 
 gives to the great part that the sea plays in the lives 
 and feelings of the Dutch, a matter curiously neglec- 
 ted by previous painters. It has been said that other 
 modern Dutch painters each paint a bit of Israels, 
 so much is he the initiator and master of the various 
 phases of the art of his nation. 
 
 Sheep going home — Moonlight. 
 
 By Van der Weele. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 Dutch Town (with Barges) 
 By J. Maris. 
 
 Lent by George Norton Stevens, Esq. 
 
 Jacob Maris was born at The Hague in 1837, and 
 died in 1899. He studied with Stroebel and at 
 Antwerp, and later with Louis Meyer, and in turn 
 helped his brothers. In his pictures there is a 
 sterner air and colour than in so many of his fellow- 
 countrymen^ work. He makes us realise that 
 Holland is a seaboard country with plenty of East 
 winds. His favourite subject is a seaport town, its 
 
9 
 
 smoky roofs dimly red against the grey of a cloudy 
 sky, where now and then a gleam of pale cold blue 
 sky peeps through. 
 
 42 A Turnpike near Rotterdam 
 By J. H. Van Mastenbroek. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 43 Landscape 
 By A. Mauve. 
 
 Lent by Andrew. T. Reid, Esq. 
 
 44 An Interior 
 
 By Weissenbruck. 
 Lent by Dr. Bredius. 
 
 45 Landscape 
 By Roelofs. 
 
 Lent by Dr. Bredius. 
 
 45A Church Interior 
 Lent by Dr. Bredius. 
 By J. Bosboom. 
 
 46 Landscape (1849) 
 By Weissenbruck. 
 Lent by Dr. Bredius. 
 
 47 Dutch Town (with Windmill) 
 By J. Maris. 
 
 Lent by George Norton, Esq. 
 
 48 Fishing Boats — Sunset 
 By H. W. Mesdag. 
 
 Lent by Messrs. Oback & Co. 
 
 49 Industry 
 
 By Albert Neuhuys. 
 
 Lent by John Kirkhope, Esq. 
 
 50 Landscape with Sheep and Shepherd 
 By H. J. Van der Weele. 
 
 Lent by A. Preyer, Esq. 
 
 5 1 Shepherd and Sheep in the Wood 
 By A. Mauve. 
 
 Lent by The Rt. Hon. Sir John C. Day. 
 
 52 The Village of Elspeet 
 By C. Westerbeek, Jun. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 53 The Shepherdess 
 By Artz. 
 
 Lent by J. Staats Forbes 3 Esq. 
 
 54 Girl on a Bank overlooking the Sea 
 By Josef Israels. 
 
 Lent by J. Staats Forbes, Esq;. 
 
IO 
 
 55 Young Navigators 
 By Josef Israels. 
 
 Lent by J. Julius Weinberg, Esq., J. P. 
 
 56 Dutch Farm Interior 
 By J. Van Nuwven. 
 Lent by A. Preyer, Esq. 
 
 57 The Young Mother 
 By Albert Neuhuys. 
 
 Lent by Walter Brown, Esq. 
 
 Albert Neuhuys was born at Utrecht in 1844, and 
 advanced from lithography to painting. After study- 
 ing at Antwerp he made the acquaintance of Mauve 
 at Amsterdam. His peasant scenes have great charm, 
 being more generalized and typical than those of 
 some of the Dutch 6 genre 5 painters. 
 
 58 Dordrecht Cathedral. 
 
 By J. J. SCHENKEL. 
 
 Lent by Dr. A. B. Stevens. 
 
 59 Milking Time 
 
 By POGGENBEEK. 
 
 Lent by W. J. Van Hoy tenia, Esq. 
 
 60 Study of a Cow 
 By Stortenbeek. 
 
 Lent by W. J. Van Hoytema, Esq. 
 
 61 Street Scene at The Hague 
 By K. Klinkenberg. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 All Dutch art of the seventieh is dignified, con- 
 templative, even to narrowness ofoutlook, warm and 
 sombre in tone, distinguished by singular taste and 
 repose^ together with intimacy and kindliness of 
 feeling, but there are nevertheless two schools. The 
 Sensitive Impressionists, to which Israels, Maris and 
 Mauve belong, and the Realists, to whom Mesdag, 
 Bishop, Apol and Klinkenberg are attached. 
 
 62 La Route 
 
 By Weissenbruck. 
 
 Lent by Madame Blanche Marchesi. 
 
 Holland is the most harmonious country in the 
 world. The vaporous moisture constantly in the 
 atmospnere, which rarely becomes an obscuring mist 
 or fog, envelopes objects with a quivering luminous 
 diffused light. Few strong colours are apparent, 
 yet everything radiates subdued harmonious colour. 
 The audacity and harsh sincerity natural in the 
 brighter, clearer climate of France becomes subdued 
 to a more sombre dusky key in the works of the 
 Dutch painters. 
 
 63 Cornfields 
 
 By Van Essen. 
 
 Lent by Dr. A. B. Stevens. 
 
II 
 
 64 Girl Reading a Book 
 By \\m. Maris. 
 
 Lent by J. Staats Forbes, Esq. 
 
 65 Ploughing 
 By A. Mauve, 
 
 Lent by George Norton, Esq. 
 
 66 Autumn Landscape 
 By T. de Bock. 
 
 Lent by Madame Blanche Marchesi. 
 
 67 View of a Cathedral 
 By Jongkind. 
 
 Lent by W. A. Coats, Esq. 
 
 Johan Barthold Jongkind was born at Latrop in 
 1822. He left Holland early in life and became 
 the pupil of Isabey at Paris. It has been said that 
 he resembles the old Dutch master Aert Van der 
 Neer in his love for moonlighth scenes and in his 
 skill in treating them. He laid great stress both on 
 the necessity for regarding the difference in tones 
 produced by the veils of atmosphere, and on the 
 principle of composing pictures round one central 
 point, in such a way as to lead the eye inevitably 
 in to this point. This was the principle on which 
 the old Dutch painters worked, and Jongkind is a 
 most interesting link between the older tradition and 
 modern Impressionism. 
 
 This little picture proves that Impressionism need 
 not be superficially ugly. Jongkind has been rightly 
 called the father of ' Impressionism,' but he had a 
 reverence for paint derived from his earlier training. 
 In this little picture we get a rare blending of the 
 effects attained by c impressionism,' and the beautiful 
 qualities of paint, usually found in the works of 
 painters far removed from the Impressionists in aim. 
 The subject is one that Meryon, the great etcher of 
 Paris, selected. 
 
 Then follows the Screen. 
 
 68 Montmartre 
 
 By Mathew Maris. 
 Lent by W. Biirrell, Esq. 
 
 This picture gives the very spirit of the place of 
 that height of Montmartre which drags itself wearily 
 out of the fever of Paris to achieve so little. A 
 desolate bare spot that is neither town nor yet 
 country, the highness and remoteness of which has 
 no hill- top feeling. Its empty dreariness seems to 
 say that effort must work with a purpose. Perhaps 
 those who decided to build the vast new church on 
 Montmartre had this feeling. 
 
1'2 
 
 69 View of a Town on the Bank of a River 
 By Mathew Maris. 
 
 Lent by Rt. Hon. Sir H. Campbell-Bannerman, M.P. 
 
 This is the picture of a mood, the mood of the late 
 hour before darkness receives into itself the endless 
 changing colour and beauty of the day. The hue 
 of each individual object here is lost in one vague, 
 luminous tone. This vagueness of twilight is often 
 a danger to the over-sensitive artist of to-day ; but 
 in this picture the sentiment is restrained within the 
 limits of dignity. The dark posts on the left give 
 a note of brusque reality in the dream-like tone of 
 the picture. Such a work is peculiarly typical of the 
 art of the 19th century. No previous age has pro* 
 duced quite this type of picture, and in future ages 
 men will probably turn to such a picture and to some 
 of Whistler's works for the essential expression of 
 the art spirit of this particular time. The painter's 
 exquisite feeling for all forms of loveliness, and his 
 sensitiveness to all shades of poetic imagination is 
 almost over-developed. There is just a trace of the 
 exhaustion that haunts too highly developed civili- 
 zation. 
 
 Compare this picture with Ruisdael's landscapes, 
 and the difference between the man of imagination 
 who dominates the universe and the one who prefers 
 to let the universe dominate him is apparent. 
 
 The poetry of Mr. Henley expresses in literature 
 the same note as the art of Matthew Maris in painting. 
 
 A late lark twitters from the quiet skies ; 
 
 And from the west, 
 
 The sun, his day's work ended, 
 
 Lingers as in content, 
 
 There falls on the old grey city 
 
 An influence harmonious and serene — 
 
 A shining peace. 
 
 70 The Girl with the Peacock Feather 
 By J. Maris. 
 
 Lent by Mrs. Frank Stoop. 
 
 A masterly rendering of flesh colours against rich 
 dark reds, thrown into effective contrast by the 
 gleaming green of the feather, and the vivid blue of 
 the ribbon in the child's hair. The artist has caught 
 the naive wonder of a child at one of nature's 
 astounding marvels. 
 
 71 Two Donkeys on the Sands 
 By Wm. Maris. 
 
 Lent by J. Staats Forbes, Esq. 
 
 72 Carting Sand 
 
 Lent by Francis C. Matthews, Esq. 
 By A. Mauve. 
 
 Anton Mauve was one of the many artists who met 
 with opposition in the choice of his calling. In his 
 
13 
 
 case it was opposition based upon religious rather 
 than on material reasons. Fortunately for the world 
 he was allowed to follow his wishes, for Mauve, in 
 landscape, sums up the special excellencies of 19th 
 century Dutch art, which is less buoyant and viva- 
 cious than the French art of the Barbizon painters. 
 Harmony of soft silvery colour and the peace of a 
 suffering, melancholy, solitary spirit are perfectly 
 expressed in his art. Forced at length by ill health 
 to seek rest, he found it by the Rhine, because its 
 somewhat obvious picturesqueness and sharp broken 
 hills displeased his cultivated eye. 
 
 73 The Red Mill 
 
 By J. H. Weissenbruck. 
 
 Lent by Francis C. Matthews, Esq. 
 
 This painter delighted in rendering soft cloudy 
 skies pierced with the golden light of an unseen sun. 
 Such skies give full effect to the watery meadows 
 round Noorden, where he worked. Notice the rich 
 mellow red of the old windmill, whcih gains so much 
 in intensitv from the diffused misty sunset light. 
 
 74 Girl with Goat 
 By J. Maris. 
 
 Lent by Francis C. Matthews, Esq. 
 
 75 Interior of a Cathedral 
 By J. Bosboom. 
 
 Lent by The Rt. Hon. Sir John C. Day. 
 
 The work of this painter is characterized by an 
 innate aristocratic taste. Modelling himself on 
 Rembrandt and De Hoogh, he devoted himself to 
 rendering the play of sunlight on the interiors of 
 churches. He obtained an effective contrast to this 
 mellow ivory architecture in the rich dark woodwork 
 of the Dutch churches. Though belonging to the 
 older Dutch School of the early 19th century, 
 Bosboom paved the way for the transition to the 
 newer ideals, and taught himself to express much by 
 apparently slight means. 
 
 Compare this picture with the interesting early 
 work by him (No. 29) which shows us this artist 
 treating an exterior instead of his favourite interiors. 
 
 76 Still Life 
 
 By Mathew Maris. 
 
 Lent by James Mann, Esq. 
 
 This picture reveals an unexpected side of Matthew 
 Maris's genius. The least Dutch of the modern 
 Dutch painters, as Rembrandt was the least Dutch of 
 the old Dutch masters, it is not for nothing that 
 Matthew Maris comes of the stock that produced 
 Van Aelst, Kalf and Van Beyeren. The masterly 
 drawing and the high pitch of colour show that the 
 painter is as manysided as he is masterly. 
 
77 Butterflies 
 
 By Mathew Maris. 
 Lent by W. Burrell, Esq. 
 
 78 The Scheldt, near Flushing 
 
 By C. Storm van s'Gravesande. (Nos. 78 — 89). 
 (These impressions were printed by the artist himself. 
 
 79 Venice — Early Morning 
 
 80 The North Sea, off Scheveningen 
 
 8 1 Venice — S unset 
 
 82 Breakwater 
 
 83 Wave and Breakwater 
 
 84 Venice 
 
 85 Moonrise 
 
 86 Winter in the Downs, near The Hague 
 
 87 Canal in the Solders 
 
 88 Wreck 
 
 89 In the Breakers 
 
 90 Sheep 
 
 By Steenlink. 
 
 Lent by Dr. A. B. Stevens. 
 
 91 Roses 
 
 By ROSENBOOM. 
 
 Lent by Dr. A. B. Stevens. 
 
 92 View of Dordrecht 
 By Fred J. du Chattel. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 93 Waiting for the Return of the Fishermen 
 By Marie ten Kate. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 94 Cows 
 
 By Groenenwegen. 
 
 Lent by Dr. A. B. Stevens. 
 
 95 A Thaw 
 By Apol. 
 
 Lent by Dr. A. B. Stevens. 
 
 96 Early Morning — Awaiting the Boats 
 By B. J. Blommers. 
 
 Lent by Robert H. Brechin, Esq. 
 
 Blommers was originally destined to be a litho- 
 grapher, but through Jacob Maris's influence he be- 
 came a painter, studying with Van den Bergh. He 
 has followed in the footsteps of Israels, but his 
 charming pictures have less depth and solemnity of 
 feeling. 
 
15 
 
 This masterly drawing shows us a scene in the 
 carpenter's shop at Nazareth with Christ as a baby 
 in his mother's arms. 
 
 97 The Chancellery of Leeuwarden 
 
 By C. Springer. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 98 Sunset at Scheveningen 
 By H. W. Mesdag. 
 
 Lent by W. J. Van Hoytema, Esq. 
 
 Hendrik Willem Mesdag is the contemporary and 
 fellow-townsman of Israels, (the two painters knew 
 each other as boys at Groningen before either had 
 even thought of painting). In 1866 Mesdag took to 
 painting and became the friend of Roelofs in 
 Brussels. His fame has been won in painting the 
 sea in all aspects, usually with some of the quaintly 
 clumsy Dutch pinks, whose broad build enables them 
 to stand the roagh surface of the shallow sandy 
 coasts of Holland. 
 
 His most characteristic subject is the uneasy quiet 
 of the ocean before a storm, with only a few waves 
 moving. It is also a characteristic of this artist 
 that he shows us the sea from the sea, not from the 
 land. The slight monotony apparent in his pictures 
 is due to the fact that he is a real realist rather than 
 an imaginative artist. 
 
 99 Windmill 
 
 By Gabriel. 
 
 Lent by Dr. A. B. Stevens. 
 
 P. J. Gabriel is more subtle than most of his con- 
 temporaries. He delights in painting flat ' polders ' 
 with the opportunity they give for the impression of 
 air, light and boundless distance. 
 
 100 Nieuk 
 
 By J. J. SCHENKEL. 
 
 Lent by Dr. A. B. Stevens. 
 
 101 Ships in Harbour 
 By Jongkind. 
 
 Lent by W. A. Coats, Esq. 
 
 102 Church 
 
 By J. J. Schenkel. 
 
 Lent by Dr. A. B. Stevens. 
 
 103 Cows and Windmill 
 By Wm. Maris. 
 
 Lent by J. Staats Forbes, Esq. 
 
 William Maris, one of the band of talented brothers 
 who have added such lustre to modern Dutch art, 
 studied under his brother Jacob. He, with his more 
 phlegmatic nature, seems, in a special sense, to have 
 caught the very spirit of Dutch landscape. His 
 
i6 
 
 cattle in meadows of lush, brilliantly green grass, 
 convey a sense of the jovial fatness of a rich flat 
 land, which more solemn and unimaginative painters 
 fail to give us. 
 
 104 A Dutch Kitchen 
 By Gerke Henkes. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 105 Winter — Sunset 
 By Louis Apol. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 106 Canal Scene. 
 
 By Maetenbrock. 
 
 Lent by Dr. A. B. Stevens. 
 
 107 Woman and Cow. 
 By Ter Meulen. 
 
 Lent by Dr. A. B. Stevens. 
 
 108 Fishing Village — Sunset 
 
 By JONGKIND. 
 
 Lent by J. Staats Forbes, Esq. 
 
 109 A Village Interior 
 By A. Hyner 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 no Canal Scene. 
 
 By Van Soest. 
 
 Lent by Dr. A. B. Stevens. 
 
 in Woman Sewing. 
 By Kever. 
 
 Lent by Dr. A. B. Stevens. 
 
 OLD MASTERS. 
 
 Mr. James Van Alen has kindly placed his collection of 
 old Dutch Masters at the disposal of the Committee. With 
 a view to saving space in this Catalogue visitors are informed 
 that where the name of the lender is not printed the picture 
 comes from Mr. Van Alen's Collection. 
 
 Of the Rembrandt's Drawings, 20 are lent by Dr. Hofstede 
 de Groot ; Nos. 124 ABC and D by W. Rothenstein, Esq. 
 No. 125 by R. Wright, Esq. 
 
 REMBRANDT'S DRAWINGS. 
 
 Rembrandt is one of the greatest draughtsmen who have 
 ever lived, and in many ways he may be considered the most 
 complete. His drawings perfectly express every side of his 
 temperament with wonderful vividness and fulness, and 
 
17 
 
 were all his Paintings destroyed, he would probably still 
 maintain his great rank on account of drawings alone. This 
 conld scarcely be said of any other of the great artists. It 
 should be remembered in considering these Drawings, that 
 good drawing does not consist in more or less accurately 
 gauging the measurement of objects, or with an ignorant 
 industry cataloguing their peculiarities, bat rather in the 
 vividness with which the artist enables us to see his personal 
 impressions of them. 
 
 Rembrandt had a surprising way of rendering life, 
 although in reality his style became consummately learned 
 and calculated, his drawings appear so spontaneous and un- 
 affected that we seem to be looking at the scrawls of the first 
 man who ever drew. He never allowed his pencil to carry 
 him further than a rendering (necessarily as swift as pos- 
 sible) of the image his eyes had conveyed to his brain — 
 when he saw that on his paper he was satisfied. He never 
 
 * explained ' — did not add details of the nature of the object 
 as so many draughtsmen do, with fatal consequences to the 
 
 • life-like ' look of their sketches. This fidelity of Rembrandt's 
 hand to the image in his brain has never been equalled by any 
 other artist. Here was his secret : he saw that life is imparted 
 by having the courage of one's impressions — believing nothing 
 but the testimony of one s own two eyes. Add to this, that 
 he had a great and subtle perception of beauty, and an 
 imagination so glowing, that often you cannot tell whether 
 the thing drawn has been a thing seen or only thought 
 about. 
 
 112 The Angel appearing to Joseph in a Dream 
 
 113 The Departure of Young Tobias 
 
 114 The Lord appears to Abraham 
 
 115 Tobias Opening the Fish 
 
 116 Winter Landscape 
 
 117 A Young Man raising his Right Hand 
 
 118 Portrait of Princess Marguerite of Lorraine 
 By Van Dyck 
 
 119 The Deliverance of St. Peter 
 
 120 The Letter of Uriah 
 
 121 Christ Healing a Blind Man 
 
 122 Two Sketches of a Mother and Child 
 
 123 Portrait of Prince Henry of Wales 
 
 By MlER VELDT. 
 
 Lent by Sir Edmund Verney, Bart. 
 
 Michael van Mierveldt (1568-1641) was the son of 
 a goldsmith at Delft In this tiaining he resembled 
 
i8 
 
 many Italian painters He engraved as a youth, 
 and after studying under Blockland at Utrecht he 
 returned to Delft and painted still-life and interiors. 
 He then turned his attention to portrait painting and 
 by the enormous number he painted (it is reported 
 that he and his grandson produced 10,000) popular- 
 ised the comparatively new idea of having portraits 
 painted. His finished cold, elegant style delighted 
 his aristocratic patrons. He is a painter of the 
 transition period, between the primitives like Jan 
 Mostaert and Lucas van Leyden and the great Dutch 
 portrait painters like Hals and Rembrandt. 
 
 Fromentin says of him ' a good painter of physi- 
 ognomy, full of knowledge, correct, concise, a little 
 cold, more typical of his time than of his country. 5 
 
 This picture shows us Henry, Prince of Wales, the 
 promising elder brother of Charles I. His untimely 
 death deprived England of a personality whose 
 influence might have prevented the Civil War, 
 
 124 Landscape, with Cottage and Barn 
 
 124A 124B 124c 124D Rembrandt's Drawings 
 
 125 Boy Drawing 
 
 126 Christ appearing to the Magdalen 
 
 127 Girl Sitting near a Window 
 
 128 The Annunciation to the Shepherds 
 
 129 The Adoration of one of the Magi 
 
 130 Daniel in the Lions' Den 
 
 131 The Daughter of Pharaoh discovering Moses 
 
 132 Portrait of a Dominican 
 By Rubens. 
 
 133 A Lion 
 
 134 A Young Man pulling a Rope 
 
 135 A Cow in a Stable 
 
 136 Old Dutch Colour Print of a Church Interior 
 
 Artist unknown. 
 
 Lent by Frank L. Emanuel, Esq. 
 
 137 Etchings 
 
 By Rembrandt. 
 
 Lent by R. W. Temple, Esq. 
 
 SMALL ROOM. 
 In the centre is hung a Gothic 15th Century Chandelier. 
 This beautiful specimen of Dutch Metal Work belongs to 
 the Pre- Reformation period, like the Primitive pictures 
 upstairs, and gives us some idea of that earlier, somewhat 
 neglected period of Dutch Art which preceded the great 
 century. The beautiful form of the branches is known as 
 
19 
 
 " Cruciform Foliage," each leaf has a cross on it. Above is 
 the Virgin and Child, with rays of glory circling her, and a 
 sceptre in her hand. Lent by E. Beckett, Esq., M.P. 
 
 138 Sea- piece 
 
 By Jan Van de Cappelle. 
 Lent by Lord Aberdare. 
 
 139 Lady and Cavalier taken Prisoners 
 
 By WlLLEM CORNELISZ DUYSTER. 
 
 A very characteristic picture by this 17th century 
 painter of "barrack room ballads.' 5 The soldiers, 
 who look more like highwaymen, are evidently quar- 
 relling over the division of their spoil. 
 
 140 Portrait of a Painter 
 By Sir Antonio Moro. 
 
 Lent by The Rt. Hon. Earl Spencer, K.G. 
 
 This painter, though born in Holland, was 
 thoroughly cosmopolitan. He visited Italy, 
 and was then sent to Lisbon to paint the 
 Emperor Charles V.'s family, and then to 
 England to paint Mary Tudor. He was a favourite 
 with the Spanish King Philip IL, but he had at 
 length to fly from the Inquisition. He settled at 
 Antwerp under the patronage of Alva, and died there. 
 His portraits are fine in design and colour, and 
 suggest excellent likeness. The only criticism that 
 can be made upon them is that they are too minutely 
 life-like to be quite perfect art. They almost startle 
 us by suggesting that the actual pesron is there. 
 They lack the play of atmosphere and the indication 
 that the subject has passed through the artist's mind, 
 which we find in the portraits by Rembrandt 
 and Velasquez. This criticism, however, applies less 
 to the present portrait of the painter by himself than 
 to such portraits as that of Mary Tudor. 
 
 Antonio Moro seems, judging by his appearance, 
 to have belonged to the class of gentlemen painters 
 new at that time which Titian inaugurated and 
 Rubens and Vandyck continued. 
 
 141 An Interior 
 
 By Nicholas Maes. 
 
 Lent by The Rt. Hon. Lewis Fry, P.C. 
 
 142 Farm Scene 
 
 By Van der Heyden and Van de Velde. 
 
 These pictures are not by Dutch artists, but as 
 they were lent to the Committee, they are hung as 
 examples of the work of two artists born just outside 
 Holland, but closely connected with the contemporary 
 Dutch painters of the 17th century. 
 
 143 View of Rotterdam 
 By Jacob van Ruisdael. 
 Lent by Mrs. Bischoffsheim. 
 
 This is Ruisdael at his best. On first approach 
 one notes the grave force of the picture's tone and its 
 beautiful drawing (look how perfectly the flatness of 
 
20 
 
 the river and canal is conveyed, and how solidly the 
 houses of the distance sit in their planes), and only 
 gradually does one apprehend that one has been 
 looking at the creation of a profound and great 
 thinker as well. The scene is a statement of homely 
 and sober fact, become a great mental conception by 
 its passage through a brooding mind. It was in 
 mental qualities that these old artists were great, — 
 the trees in the foreground of the present work, for 
 instance, show all the conventionality that marks the 
 landscape limitations of the time, but the picture is 
 so precious as the record of a great vision that we do 
 not think of that. Our landscape painting to-day 
 would scorn such trees as these, but would be very 
 proud if it could dominate nature with the noble 
 thought of a Ruisdael. 
 
 144 A Milk Woman 
 
 By Nicholas Maes. 
 
 Lent by The Duke of Wellington. 
 
 145 An Interior, with Woman and Child 
 By Nicholas Maes. 
 
 Lent by Mrs. Joseph. 
 
 An unusually brilliant example of Maes. The 
 colouring is of a beautiful warmth and force, and the 
 picture has much subtlety also. Note the exquisite 
 quality of the grey wall, — the light caressing it with 
 that special tenderness those old Dutch painters loved 
 to capture. The red of the woman's sleeve is a very 
 characteristic touch in Maes's palette. The woman's 
 plain face is beautiful in its tranquility. 
 
 146 Open Country traversed by Winding Road 
 By J. Wynants and Adrian van de Velde. 
 Lent by H. Darell-Brown, Esq. 
 
 Wynauts was the first painter to paint landscape 
 alone. If he had to have figures he made Adriaen 
 Van de Velde or Lingelbach put them in. We do not 
 know how he learnt his masterly art. He was not a 
 prolific painter. He delighted in full, sunny daylight, 
 not, like Van Goyen, in half lights. 
 
 147 Portrait of Admiral von Tromp 
 By Nicholas Maes. 
 
 Lent by The Rt. Hon. Earl Spencer, K.G. 
 
 This Portrait of the fine old Dutch Admiral is a 
 curious contrast to the exquisite treatment of a 
 homely subject by the same painter (No. 145). 
 
 Many of the numerous portraits attributed to this 
 painter scarcely seem to be by his hand. This fine 
 rendering of Admiral Tromp has, in spite of its 
 truculent pose, that touch of feminine softness about 
 the face which Maes gave to so many of his sitters. 
 
 Martin Harpertz Tromp, Dutch Vice-Admiral was 
 the indomitable seaman who fought against us in the 
 Dutch war of 1652-3. He was in command of the 
 
21 
 
 Dutch forces in the fiercely fought but inconclusive 
 action with Blake on May 19, 1652. On November 
 27 of the same year, having with him a superior force, 
 he gained the advantage over Blake, and afterwards 
 roved unmolested in the Channel, tradition says 
 with a broom at his masthead, to imply that he pro- 
 posed to sweep the English away . He was engaged 
 in the three-days' battle in the hannel in February, 
 1653, which was the turning point of the war, and, 
 gaining no advantage, the Dutch power declined. 
 The old seaman fell in the action of July 29, 1653, 
 in which the Dutch were defeated. 
 
 148 River Scene with Shipping 
 By Van Go yen. 
 
 Lent bv Edgar Speyer, Esq. 
 
 Van Goyen, though one of the earliest of the Dutch 
 landscape painters, often most nearly approaches the 
 moderns, especially in his feeling for atmosphere. 
 He is essentially a painter of harmonies generally of 
 greys and browns, rather than of positive colours. 
 Here, as in most of his pictures, water and sky play 
 an important part. The effect of distance is enhanced 
 by the dark boat and the shadow on the water in the 
 foreground, which throw back the river bank and 
 houses. 
 
 These sentinel towers on the low coats of Holland 
 afforded Van Goyen with some of his best motives. 
 This artist's colour schemes are usually very modest, 
 but what he does he does with exquisite sensitiveness. 
 The colour of old pailings, shining silver against the 
 sand of the dunes, seems to have inspired many of his 
 colour harmonies. His handling is so light and free 
 that it is best described by the old-pashioned word 
 " pencilling." This present exhibition is rich in 
 many fine examples of his art. 
 
 149 An Interior 
 By Slingelandt. 
 
 Lent by Sir Charles Turner, A.K.C.I.E. 
 
 150 Boy with Porringer 
 
 By Adriaen Van de Velde. 
 
 Lent by Charles E. Newton-Robinson, Esq. 
 
 151 Portrait of a Man 
 
 By School of Rembrandt. 
 
 A sturdy piece of character painting. Compare the 
 generous and vital modelling of the face with the 
 dull and dry workmanship of No. 183. 
 
 The audacious vigour of Frans Hals' style is at the 
 opposite pole to the ordered correctness of Van der 
 Heist. True art has never allowed itself more license 
 than in Hals' work. Resembling Ruben's somewhat 
 in the vigour of his brushwork, Frans Hals is 
 tborougly Dutch in the lighting and composition of 
 his pictures, and in his choice of subject. 
 
22 
 
 His work had a great influence on the Dutch 
 School, though, in spite of having many pupils, he 
 had scarcely any imitators. 
 
 Through Hals the Dutch Painters came to enlarge 
 and broaden their methods of painting. Hals's own 
 paintings are often so broad in treatment that they 
 almost become decorative art, but the certainty of 
 vitality always apparent even in his hastiest works 
 save them from coming under the category of merely- 
 decorative art. 
 
 River Scene 
 
 By Van Goyen. 
 
 Lent by Sir Marcus Samuel. 
 
 The charm of this beautiful picture lies in the 
 graceful composition' and the delicate drawing of the 
 church, windmill and sails, relieved against the sky. 
 They are treated with extraordinary lightness. The 
 still water reflects the brightness of the sky. Touches 
 of red among the men in the boats are the only 
 notes of bright colour in the scheme. 
 
 Portrait of a Gentleman 
 
 By De Keyser. 
 
 Lent by Edgar Speyer, Esq. 
 
 Portrait of William of Orange, as a Boy 
 By Rembrandt 
 
 Lent by The Rt. Hon. Earl Spencer, K.G. 
 
 This is in all respects a very great work, and in its 
 courageous disregard of anything (such as costume 
 detail) that might disturb the singleness of the artist's 
 impression, it is thoroughly and enjoyably modern. 
 Rembrandt seldom drew or painted children ; they 
 did not people his vision of the world as did things 
 marked with experience. There is an unconscious 
 wistfulness in the expression of the little lad before 
 us which enlists our sympathy and love. Looked at a 
 little while, his boyish smile seems to wane, and one 
 becomes aware of the underlying melancholy of all 
 Rembrandt's moods. 
 
 Conversation Piece 
 By Scalken. 
 
 Lent by Sir Charles Turner, A.K.C.I.E. 
 
 Portrait 
 
 By Rembrandt. 
 
 Lent by Sir Charles Turner, A.K.C.I.E. 
 
 The Circumcision 
 By Rembrandt. 
 
 Lent by The Rt. Hon. Earl Spencer, K.G. 
 
 The tones of the picture are beautifully mellow, and 
 the work is rich in the reflections of a noble mind, 
 The scene has the aloofness and solemnity of a dream. 
 There is a curious point about the picture, to judge 
 from the stable accessories, Rembrandt's first in ten- 
 
23 
 
 tion seems to have been to represent the 11 Adoration 
 of the Magi." The Virgin has a very tender and 
 spiritual bearing. 
 
 157A Head of a man 
 
 School of Rembrandt 
 Lent by Mr. W. L. 
 
 158 Portrait of an Old Lady 
 By Gerard Dou. 
 
 Lent by Sir Charles Turner, A.K.C.I.E. 
 
 159 Portrait of a Man 
 By Frans. Hals. 
 
 Lent by H. P. CunlifXe, Esq. 
 
 160 Landscape 
 By Van Go yen. 
 
 Lent by J. Gretton, Esq., M.P. 
 
 161 The Dutch Pensionary De Witt and Family 
 By Van der Helst. 
 
 Lent by The Earl of Yarborough. 
 
 Bartholomaus Van der Heist studied under Thomas 
 de Keyser (c.f. Nos. 164 and 176). He was a 
 faithful portrait painter and skilful artist, and his 
 literal truth was more appreciated by his contempo- 
 raries than the imaginative works of Rembrandt, who 
 read too much into his sitters to please them and often 
 forgot the superficial resemblance. 
 
 Van der Heist's colouring is cold, and his pictures 
 are so much devoid of atmosphere that figures meant 
 to be in the background appear as if in the fore- 
 ground. He excelled at those groups of portraits for 
 Companies and Charities which vexed Rembrandt's 
 genius so much. 
 
 Van der Heist managed to catch the likeness and 
 character of each member of a large group and sub- 
 ordinated none unduly. He is at his best artistically 
 in single portraits. The present collection unfor- 
 tunately does not contain one of these marvels of 
 delicate elaboration of detail and faithful portraiture. 
 Though he was so popular, unlike Rembrandt, 
 he left no pupils. 
 
 162 Young Man Smoking 
 By Verelst. 
 
 163 Portrait of an Old Lady 
 By De Gheest. 
 
 164 Head of a Lady 
 By De Keyser. 
 
 Lent by Sir William Agnew, Bart. 
 
 Thomas de Keyser (1595-1674), the son of a sculp- 
 tor, is one step further in advance than Miereveldt 
 on the path to the great Dutch portrait painters. Still 
 a trifle archaic at times, he has a fresh colour and a 
 bold masterly touch. 
 
24 
 
 165 Coast Scene 
 
 By Aert van der Neer. 
 
 166 River Scene — A Calm 
 By Van Goyen. 
 
 167 Portrait of a Man 
 By C. Janssens. 
 
 Lent by Sir Charles Turner, A.K.C.I.E. 
 
 Cornelius Jansson van Kenlen (1590-1665). This 
 painter lived for thirty years in England, only return- 
 ing to Holland the year before Charles I. was be- 
 headed. He was much appreciated by the noble 
 families of the Stuart period, and his portraits are 
 often found in English country houses. He is skil- 
 ful in composing his subjects. His flesh tones are 
 not very brilliant, but his work is marked by great 
 delicacy and good taste. Those of his works like 
 the one here shown, with blue backgrounds, are 
 generally most pleasing. 
 
 168 The Adoration of the Shepherds 
 By Dietricy. 
 
 Lent by Charles T. D. Crews, Esq. 
 
 We have here a work which is scarcely Dutch at all 
 in character. It contains an odd infusion of late 
 Italian influence, and the result seems academic by 
 the side of Rembrandt's M Circumcision " on the 
 neighbouring wall. Rembrandt has an etching of the 
 " Nativity," which probably suggested the group of 
 peasants looking over the partition of the manger, 
 while Saint Joseph and the Virgin seem to have 
 stepped from some Italian picture. For all the 
 dramatic lighting of the scene, there is little mystery 
 or spirituality about it. But the details of the work 
 are carefully executed, and the scene as a whole, is 
 distinctly effective. 
 
 169 Coast Scene 
 
 By Aert van der Neer. 
 
 170 River Scene 
 By Van Goyen. 
 
 In the flat landscape of Holland the sky necessarily 
 plays such a large part that it was necessary to treat 
 the sky in such a way that it should move and trans- 
 port us. It had to be made to tell us what sort of 
 day it was, what hour of the day, what wind it was 
 that was moving the clouds across the vast expanse. 
 
 Van Goyen and Wynants fixed certain methods 
 which all other painters observed more or less. A 
 point of light and interest was chosen as a centre and 
 the rest of the picture Was grouped round this centre, 
 leading the eye in to it, for all Dutch pictures are 
 concave. They show us the cave of atmosphere 
 leading into the one central point. Most are of 
 small size, and of sobe* colour. The effect in concen* 
 trated and concentric, every detail is grouped round 
 one central point of interest. 
 
25 
 
 171 Portrait of a Woman 
 By Rembrandt. 
 
 Lent by The Rt. Hon. Earl Spencer, K.G. 
 
 172 Peasants playing Cards 
 By Sorgh. 
 
 An oft repeated family scene, set in one of those 
 cellar-like kitchens with their wash-tubs and beer 
 casks, with which Teniers and Ostade have familiar- 
 ised us. The grouping is skilful, the colour warm 
 and pleasing. It tells its own tale. 
 
 173 \Vinter Scene 
 
 By Van de Cappelle. 
 
 Lent by Mrs. Stephenson Clarke, 
 
 174 Landscape 
 By A. Cuyp 
 
 175 Portrait of a Lady 
 
 By Cornelius Jannssens, 
 
 Lent by Charles T. D. Crews, Esq. 
 
 176 Head of a Gentleman 
 By De Keyser. 
 
 Lent by Sir William Agnew, Bart. 
 
 177 The Gipsy Halt 
 
 By Philips Wouverman. 
 
 Lent by The Rt. Hon. Lewis Fry, P.C. 
 
 178 Landscape 
 By Van Go yen. 
 
 179 Portrait 
 
 By A. Ravesteyn. 
 
 Lent by W. A. Abraham, Esq. 
 
 Jan van Ravestevn (1580-1665), whose best work 
 is to be seen at the Hague, is one of the most vigorous 
 and truthful of Dutch portrait painters. This portrait 
 like its pendant (No. 183), is a simple arrangement 
 of black and white, unrelieved by any colour except 
 that of flesh tints. The sitter is not comely, but 
 there is dignity in the pose, if also a little stiffness, 
 and the lace collar helps to relieve the severity of 
 the scheme. 
 
 Ravesteyn was the first Dutch painter to treat 
 those groups of ( civic guards ' and c companies of 
 Regents,' which were to become such a common 
 subject with Dutch painters, but his single portraits 
 are his finest work. 
 
 180 Landscape 
 
 (Solomon Koninck?) School of Rembrandt. 
 Lent by Arthur Kay, Esq. 
 
 Supposed to represent all Rembrandt models. 
 
 This remarkable river ferry with its very mixed 
 
26 
 
 cargo of humanity is obviously a mere studio pro- 
 perty, and indeed the whole work is artificial in the 
 highest degree. It halts between several influences, 
 and in consequence does not carry any sort of convic- 
 tion with it to the mind. But nevertheless the picture 
 has considerable pictorial qualities. It has been 
 conceived in the grand manner, and there is some- 
 thing impressive in the way the wooded bank to the 
 left rises against the sky. 
 
 Portrait of the Painter 
 By Rembrandt. 
 
 An early work ; brilliant in effect but scarcely 
 suggestive or deeply human in its appeal. That was 
 to come later when the gay young man before us had 
 become an absorbed visionary, old before his time 
 with study and harassments. 
 
 Mouth of a River 
 By Van Goyen. 
 
 People always long for what they have not got. 
 That is why perhaps we English generally under- 
 stand by colour, bright blues, greens and reds, 
 the colours seen in sunny lands. The Dutch 
 with Van Goyen and Rembrandt first accep- 
 ted the northern scheme of colouring, the 
 luminous greys, browns and greens, with the pale 
 blues of northern skies as an occasional accident. 
 They saw that the secret of colour lay, not in some 
 vivid tint, but in the amount of ligfht and shade to be 
 found in any hue however ' subfusc, 3 as the Eliza- 
 bethans called our English attempts at colours. The 
 Venetians seem to us the greatest colourists, because 
 they combine the bright hues we secretly hanker 
 after with the ligdit and shade of the Dutch artists. 
 Both Venetians and Dutch owed much of their mas- 
 tery over colour to their damp, misty, luminous atmo- 
 sphere. 
 
 Van Goyen may not at first seem to be a colourist 
 with his almost monochrome greys and browns, but 
 in reality he is a master of light and shade, the 
 true basis of colouring. Anv Londoner may see a 
 hundred Van Govens by walking alongf the Embank- 
 ment on a grey day, but especially when the wind is 
 East and the hay barges £ive a note of faint lemon- 
 yellow to the brown, grey and silver harmonies of 
 the banks of the Thames. 
 
 Portrait of a Man 
 By A. Ravesteyn. 
 
 Lent by Sir Charles Turner, A.K.C.I.E. 
 
 Portrait of a Gentleman 
 By Frans Hals. 
 
 a Photogravure. 
 
2 7 
 
 WEST SIDE- 
 YOUNGER DUTCH PAINTERS. 
 
 NOTE. — Owing to the claims of the St. Louis and other 
 exhibitions, the collection of the works of the Younger 
 Dutch Artists is not as completely representative as 
 the Committee had hoped to make it. 
 
 During the last twenty years a certain change has come 
 over Dutch art. A new generation has arisen. In a 
 country like Holland, where both older and younger men 
 are genuine artists and no close circle of academic art is 
 recognized, the younger generation was free to follow its 
 bent and did so, full of respect for the great older painters. 
 This new movement has done much to give relief and variety 
 to Dutch art, which, refined and serious as it had proved 
 itself to be, began to produce a slight feeling of monotony. 
 Form was somewhat too much sacrificed to intimacy of feel- 
 ing. Simple rustic verities are not the whole of life, nor 
 perhaps the most engrossing part for modern city-dwellers. 
 The key of gentle melancholv, however worthy and dignified 
 its aim, is a limited and unstrenuous one, as Dickens per- 
 haps saw, when he made one of his characters indulge in 
 "that cheapest luxury, a fit of melancholy- 5 ' 
 
 The younger painters have vindicated Dutch art from the 
 reproach of stagnating. They have widened its range and 
 its technique. The evolution, for it has been more evolution 
 than revolution, has progressed in several different direc- 
 tions. Some of the younger painters have advanced on 
 the old lines, adopting a broader technique, a bolder colour 
 scheme, and a more energetic interpretation of every moment 
 in the many-sided fulness of life. Their pictures have 
 come and knocked at the doors of the older generation in 
 its subtle quietude, but there has been no ill-feeling, for 
 the older painters recognized them as their children. Others 
 of the vounger generation have been inspired by mysticism, 
 the craving the modern world is experiencing for what it 
 thinks it has lost. Mysticism came on to painting from 
 literature. Whether it will make a long stay with an art 
 so little suited (one would imagine) to express it, is an open 
 question. But the somewhat unnatural union of immaterial 
 mysticism with an art so limited by means of material 
 expression as painting, has produced some fascinating 
 results in the painting of Matthew Maris, who, the more he 
 strives to abandon material form the more hauntingly ex- 
 presses it. The East and the Past have inspired M. Bauer, 
 and his work relieves Dutch art from the possibility of the 
 reproach of self-satisfied provinciality. 
 
 On the whole the instinctive genius of Dutch art seems to 
 be realistic, ond many of the younger artists are seeking by 
 more directness of expression to tear out the inmost essence 
 of their subject, whether that subject is a phase of nature 
 in landscape or a phase of human psvchology in portrait. 
 
 The older generation of modern Dutch' painters gave us 
 their impressions of a scene, and solemn, poetic impressions 
 they were. Some of the younger men seem to be trying 
 
28 
 
 to efface their own personalities and to submit their minds 
 more passively to the spirit of the scene they are painting, 
 and, by so doing, they may argue that they are paying a 
 still higher reverence to the divinity immanent in nature 
 which Wordsworth was among the first to recognize. 
 
 185 *View of Scheveningen 
 
 By M. MONNICKENDAM. 
 
 186 *The Salvation of Moses 
 
 By P. CORNELIS DE MOOR. 
 
 187 Landscape, with Farmhousse 
 By A. H. Koning. 
 
 Lent by A. Preyer, Esq. 
 
 188 ^Landscape 
 
 By W. A. VAN KONYNENBURG. 
 
 189 * August Garden 
 
 By Jacobus van Looy. 
 
 190 *An Interior — First Lesson 
 By M. de Groot. 
 
 191 ^Summer 
 
 By S. Moulyn. 
 
 192 *An Interior — Card Trick 
 By M. de Groot. 
 
 193 *Still Life 
 
 By Philip Zilcken. 
 
 194 Taking a Donkey-ride 
 By Isaac Israels. 
 
 Lent by A. Preyer, Esq. 
 
 The painter is a son of the veteran, Josef Israels. 
 The outlook of the younger painter's is well seen in 
 this loose impressionist effect, as compared with the 
 examples of his father's early method, where the aim 
 is not tone and movement, but clearness of definition 
 and clean smooth surface. 
 
 195 *Rainy Morning in Holland 
 By Philip Zilcken. 
 
 196 Interior— St. Paul's 
 By J. C. W. Cossaar. 
 Lent by W. Marchant, Esq. 
 
 This young Dutchman's view of our great Cathe- 
 dral, has an atmosphere which few of us mav identify. 
 One beautv of it is the complete unity of the impres- 
 sion ; architecture, furniture and worshippers are all 
 merged in one vision, and the painter has subordinated 
 evervthing to this chief end and clothed his picture in 
 one beautiful tissue of light. 
 
 197 *Still Life 
 
 Bv E C Ekker. 
 
29 
 
 198 *Still Life 
 
 By G. D. Gratama. 
 
 199 Dressing Baby 
 By J. S. H. Kever. 
 Lent by A. Preyer, Esq. 
 
 200 ^Theatre 
 
 By Jacobus van Looy. 
 
 201 * Winter in Holland 
 By N. Bastert. 
 
 202 ^Paradise 
 
 By P. CORNELIS DE MOOR. 
 
 This view of the temptation is inspired by the 
 Belgian mystic school, who in turn owe much to our 
 William Blake. The painter has made all creation 
 spectators to the eternal act of Eve and the twisted 
 and mingled shapes of the animals, the sub-marine 
 look of the garden are possibly intended to give the 
 shudder of the world at the downfall of primeval 
 innocence 
 
 203 *Autumn 
 
 By Philip Zilcken 
 
 204 ^Street in Algiers 
 Bv Phtlip Zilcken. 
 
 205 A Fine Autumn Dav 
 By T. DE. Bock. 
 
 Lent by Messrs. Boussod, Valadon & Co. 
 
 206 A Sick Village Boy 
 By Toorop. 
 
 Lent by Mons. Aim. 
 
 Here Toorop with the same simplicity of effect 
 and tenderness of feeling, gives a touching picture 
 of a sick child. It is interesting to see how he moves 
 our emotion without the accessories of sick-bed 
 or sympathetic spectators, purely by the truth of 
 the thing itself. 
 
 207 ^Landscape 
 
 By M. W. Van d^r Valk. 
 
 208 ^Travellers in Railway Carriage 
 By Jacobus van Looy. 
 
 Touched with the spirit of dullness, which is not 
 common only to railway travelling in Holland, the 
 tired boy in the fore-ground lolls beside his musical 
 instrument, the crowded passengers behind are en- 
 livened by the bright face of the little girl. 
 
 209 Moonshine 
 By Toorop. 
 
 Lent by Mons. Ahn. 
 
 Toorop was born in the Dutch Colony of Java, and 
 has passed through many artistic changes before he 
 
30 
 
 found his present way of seeing and painting. This 
 nocturne attempts to give the brooding beauty that 
 night hangs alike on the great works of nature, and 
 the little homes of men. 
 
 210 *Grey Morning at Venice 
 By Philip Zilcken. 
 
 A thoughtful composition of fisher-boats on a calm 
 evening. The tasteful arrangement of the tall sails 
 and their actual appearance makes this a work of 
 distinction. 
 
 211 Watercolour 
 By Breitner. 
 
 Lent by Messrs. J.J. Van Wisselingh. 
 
 The road menders with their tar engine, are a 
 familiar sight, but Breitner has made of it a beautiful 
 mosaic of colour and movement that delights and 
 excites the spectator. One of the finest water colours 
 in the collection. 
 
 212 *Town of Hattem 
 
 By J. VOERMAN. 
 
 213 ^Morning 
 
 By J. VOERMAN. 
 
 214 Children Playing with a Stuffed Bird 
 By J. S. H. Kever. 
 
 Lent by C. Newton Robinson, Esq. 
 
 215 Spanish Landscape 
 By M. A. J. Bauer. 
 
 Lent by Messrs. J. J. Van Wisselingh. 
 
 Unlike most of the painters of the old and modern 
 Dutch Schools, Bauer is a traveller whose sympathies 
 lie away from his native land, but his grave, dreamy 
 art, which in his etchings often rises to the rhapsodical 
 and the mystic, has drawn the heart of its inspiration 
 from Rembrandt. The Spanish pastel with the two 
 cavaliers and the lady riding away from the silent 
 town under a darkening sky is drawn with such sig- 
 nificance and power that we enter at once into the 
 mood of its creator. 
 
 216 * Evening 
 
 By Edgard Koning. 
 
 217 ^Winter Solitude in Holland 
 By Philip Zilcken. 
 
 218 Watercolour 
 By Witsen. 
 
 Lent by Messrs. J. J. Van Wisselingh 
 
 This snow scene, despite the severe reserve of its 
 colour and the almost literal presentation of a scene 
 which is like what everyone in London has often seen 
 with little attention, is full of interest and beauty. 
 
219 *Rainy Weather 
 
 By D. J. R. Jordaens. 
 
 220 *Early in the Morning 
 By D. J. R. Jordaens. 
 
 221 ^Landscape 
 
 By M. W. Van der Valk. 
 
 222 *Little Sister 
 
 By Marius van der Maarel. 
 
 223 ^October — Man Gathering Leaves 
 By Jacobus van Looy. 
 
 224 *On the Isle of Vlieland 
 By Hart Nibbrig. 
 
 225 *Sunny Morning 
 By C. O. Breman. 
 
 226 *Autumn 
 
 By C. O. Breman. 
 
 The pictures here by C. O. Breman and Hart 
 Nibbrig show the influence of the French scientific 
 impressionist movement which, spreading rapidly 
 over Europe during the last ten years, has found many 
 disciples among the younger Dutchmen. In their 
 pictures these artists desire to state the appear- 
 ance of a certain place at one specific moment, instead 
 of building up a composition to express the sentiment 
 which nature has left on the artist. Breman's picture 
 is particularly successful in giving the transitory 
 beauty of the golden leaves against the grey-blue sky. 
 In painting his sky he has used separate flecks of blue 
 and pink which effect one's eye as though it were 
 painted the one colour he aims at, its purpose being to 
 convey something of the throb of a heated atmosphere. 
 
 227 *Golden Rain 
 By Hart Nibbrig. 
 
 228 * Winter 
 
 By Louis W. van Soest. 
 
 229 ^Spring 
 
 By Hart Nibbrig. 
 
 230 *A Dutch Garden 
 By H. C. Bosch Reits. 
 
 231 * Autumn 
 
 By A. M. Gorter. 
 
 232 ^Schevening Woman 
 By G. D. Gratama. 
 
 The woman's carefully drawn face under the simple 
 spaces of her white cap, shows the spirit of old Dutch 
 Art still persisting, but this picture stops where the 
 old men would have begun to cloth it with their 
 beautiful lumino as textures of colour. 
 
32 
 
 233 ^Bridge in an Old Town in Holland 
 By Jacobus van Looy. 
 
 234 Watercolour 
 
 By Johannes Akkeringa. 
 
 Lent by Mess:". J.J. Van Wisselingh. 
 
 235 *A Portrait 
 
 By G. D. Gratama. 
 
 236 * Morning in Spring 
 By Edgard Koning. 
 
 237 ^Happiness — Interior 
 By C. O. Breman. 
 
 238 ^Fishing Boats in St. Ives Harbour 
 By H. C. Bosch Reits. 
 
 239 *In a Remote Quarter 
 By Antony Coert. 
 
 7^ hen follows the Screen. 
 
 240 *The Old Castle 
 By J. G. Veldheer. 
 
 241 *Rocks 
 
 By Henricus. 
 
 242 ^Golgotha 
 By Henricus. 
 
 243 In the Pyrenees 
 By M. A. J. Bauer. 
 
 Nature, grim and menacing, forsaken by the day, 
 lies like a great beast waiting for its prey. The hills 
 and caverns are seen with something of the horror 
 that Browning writes of in " Childe Roland to the 
 dark tower came." In the middle distance of this 
 wild place, a knight on horseback and a half-hidden 
 figure appear, giving the romantic motive so charac- 
 teristic of the painter. 
 
 244 *On the Heath 
 
 By D. WlGGERS. 
 
 245 *Castle by Moonlight 
 
 By D. WlGGERS. 
 
 246 *Gld Picturesque Bridge 
 By J. G. Veldheer. 
 
 247 ^Spring 
 
 By Lucie Ekker. 
 
 248 *Veere 
 
 By Lucie Ekker. 
 
 249 ^Rising Moon 
 
 By D. WlGGERS. 
 
 An interesting example of the younger Dutch land- 
 scape school which is succeeding the Maris brothers. 
 
33 
 
 The feeling is more cosmopolitan and the infltfeilce* 
 of France is easily traced, but in the poetic arrange- 
 ment of the trees and path we see the romance of 
 Matthew Maris still persisting. One noticed the 
 same influence at work in the landscape of the Glasgow 
 School in the Scottish Exhibition. As in Mr. Cossaar's 
 work, we see in this nocturne a desire for an unity 
 of atmospheric effect. 
 
 250 *View of Amsterdam 
 
 By M. MONNTCKENDAM. 
 
 251 *01d Pegnitz Bridge 
 By J. G. Veldheer. 
 
 252 *River Scene 
 By J. Voerman. 
 
 253 *Roses 
 
 By J. Voerman. 
 
 254 *The Gothic Window 
 By J. G. Veldheer. 
 
 255 ^Landscape 
 By Ec C, Ekker. 
 
 Ekker's beautiful water-colour has the finer 
 qualities of light and air. The arrangement is highly 
 decorative, but not to a point which interferes with 
 the reality of this view of the outskirts of a Dutch 
 town dressed by the exquisite hand of Winter. 
 
 256 *The Haunted House 
 By Henricus. 
 
 257 Models of old Dutch Marqueterie Furniture. This in- 
 
 laying of furniture with coloured woods in imitation 
 of flowers, has always been a speciality of Dutch 
 Craftsmen. 
 
 258 Carved Wooden Mangling Boards from Friesland. 
 
 The clothes are laid on a roller and pressed with this 
 primitive mangle. One side is smooth and flat, but 
 the other is often beautifully carved. The Dutch 
 peasants like to decorate even such humble pieces of 
 domestic furniture as these. 
 
 259 Dutch Marqueterie Cabinet, containing Lead Cruets, 
 
 Delft China Inlaid Tea Caddies, and fine old Dutch 
 Silver of 17th and 18th Centuries. 
 Lent by T. H. Fitzhenry, Esq. Cabinet lent by J. 
 Staal, Esq. 
 
 260 Cotton Bed Quilt, Hand-painted, by Dutch Artists in 
 
 the East Indies. Early in the 18th Century, Dutch 
 Arts and Crafts, especially porcelain and fabrics, 
 were much influenced by the intercourse with China 
 and Eastern Countries, with which their early adven- 
 tures in trading brought the Dutch into close contact. 
 
 261 Old Dutch Tile Panel. The Judgment of Solomon, 
 
34 
 
 262 Modern Tile Panel of Landscape with Windmills. The 
 
 blue is not such a good colour as in the old panel. 
 
 263 Old Dutch Stove Tiles. 
 
 264 Dutch Tile Panel from Cassiers's design. 
 
 265 A Typical Dutch Polder or meadow, surrounded by 
 
 dykes and reclaimed from the sea. These meadows 
 are formed by the alluvial soil brought down from 
 Central Europe by the Rhine and Moselle. The soil 
 is extremely rich once it is reclaimed from the sea. 
 Napoleon said he was justified in seizing Holland, 
 because the whole country was stolen from France 
 by the rivers. 
 
 266 Collection of Modern Dutch Pottery. The green pot- 
 
 tery pigs are a quaint and popular form of money box 
 in Holland. 
 
 CASE A.— Doll's House (18th Century). 
 
 This fascinating Doll's House, meant as a toy for the 
 children of the 18th Century, has become through its 
 exact Dutch realism, a valuable illustration of by- 
 gone habits, dress and crafts. The dolls are in much 
 the same dresses as those worn by the English 
 painter Hogarth's sitters. Notice that China is still 
 rare. The regular plates for eating are of pewter. 
 The glasses, chair, and cups without handles are of 
 excellent form. 
 
 CASS B,— Furniture. 
 
 CASE C— Delft China. 
 
 CASE D. — Reproductions of Gold and 
 Silver plate. 
 
 267 Photogravure 
 
 Photogravure of a celebrated sacred picture by 
 Vermeer, a leading Dutch master who is not 
 adequately represented in the present collection. The 
 picture shows us Christ rebuking Martha for being 
 "troubled about many things." 
 Lent by W. B. Paterson, Esq. 
 
 267A Photograph of Van der Heist's famous picture 
 " The Banquet of the Civic Guard. 35 This gives a 
 good idea of Van der Heist's qualities as a painter. 
 
 UPPER GALLERY. 
 
 268 Landscape 
 
 Artist unknown* 
 
 Lent by Miss E. Stewart Wood. 
 
35 
 
 269 Sea-piece 
 
 By Willem Van de Velde. 
 Lent by C. H. Wilkinson, Esq. 
 
 Willem Van der Velde, the greatest of the Dutch 
 marine painters, delighted in calm seas, tranquil 
 skies, and the stately lines and delicate rigging of a 
 man of war. This picture is full of atmosphere, 
 and the red-brown sail on the right adds a grateful 
 touch of warm colour to the scene. 
 
 270 Cattle 
 
 By Berchem. 
 
 Lent by Miss E. Stewart Wood. 
 
 271 Laughing Cavalier 
 By Frans Van Mieris. 
 
 272 River Landscape — Village on Fire 
 By Aert van der Neer. 
 
 273 Lady at her Toilet 
 By Frans Van Mieris. 
 
 274 Portrait of an Old Lady 
 By Backer. 
 
 Jacob Backer (1608-1651) was one of Rembrandt's 
 pupils, who followed the master closely. He posses- 
 sed real talent and was a rapid worker, but his colour 
 is somewhat heavy. His most celebrated work is 
 The Company of Archers at Amsterdam. 
 
 275 Girl's Head 
 By Frans Hals. 
 
 This and its companion picture are merry little 
 works by a very human and jocund painter. True, 
 the little maiden's hair is a trifle stiff and wiry in 
 texture, but despite this there is much enjoyment to 
 be had from the painter's frank and honest work- 
 manship. 
 
 276 Still Life 
 
 By Willem van Aelst (1626-1683). 
 Lent by Arthur Kay, Esq. 
 
 Signed and dated. An exquisite example of the 
 work of a rare artist. 
 
 277 Portrait of a Man 
 By Gonzalez Coques. 
 
 Lent by Charles E. Newton-Robinson, Esq. 
 
 278 Man drinking with a Girl 
 By Jan Steen. 
 
 A pot-houses scene, such as Jan Steen personally 
 enjoyed and often painted. 
 
3& 
 
 279 View in Holland 
 By Van der Heyden. 
 
 Lent by George Donaldson, Esq. 
 
 A most exquisitely distinguished work. Note the 
 subtlety of colour and tone in the distant facade, and 
 how perfectly the emotion of the tranquil light is 
 rendered. It is a little difficult to locate precisely 
 wherein the extraordinary charm of Van der Heyden 
 consists, but one is certain that by the magic wand of 
 his paint brush he is able to make his views of staid 
 country houses and their prim domains more allur- 
 ing to our eyes than any fairy palaces. He was a 
 great poet who conveyed his own vision while appar- 
 ently merely copying with the utmost conscientious- 
 ness these many rows of symmetrical windows, and 
 herein lies the puzzle of him. It is evident enough 
 that his pictures owe much to a beautifully fine per- 
 ception of proportion which enables him to give lofty 
 air and space to even his smallest composition. The 
 present work is a splendid example of his dignified 
 and refined art. 
 
 This is a pastoral duet by two notable lovers of the 
 country. Van der Heyden has provided a quaintly 
 delightful setting to Van der Velde's sheep. The 
 workmanship is very loving and delicate. 
 
 280 Portrait of a Man 
 By Frans Hals. 
 
 Lent by The Duke of Devonshire, K.G. 
 
 281 Landscape, with Sportsman on Grey Horse and 
 
 Other Figures 
 By J. Wynants and Adrian van de Velde. 
 Lent by H. Darell-Brown, Esq. 
 
 282 Young Woman at her Toilet 
 By Judith Leijster. 
 
 Judith Leijster caught perhaps all tfeat a woman 
 could of the very masculine genius of her master 
 Frans Hals. There is real genius in her wonc, and 
 a note of charming colour which is all her own. 
 
 283 A Little Vagabond 
 By Frans Hals. 
 
 284 Portrait of a Lady 
 By Frans Hals. 
 
 285 Musician 
 
 By Molenaer. 
 
 286 Still Life—" All Empty " 
 By W. Heda. 
 
 Lent by Arthur Kay, Esq. 
 Signed and dated 1644. 
 
 A most beautiful example of still life painted in 
 quiet clear tones, the soft grey green of table 
 
37 
 
 cloth and background, the brilliant white napkin 
 and the warm brown jug forming a delicate colour 
 harmony. That the vessels are all empty, though 
 no doubt a point the artist had in mind, is of com- 
 parative unimportance. 
 
 287 Old Woman 
 
 By MOLZNAER. 
 
 288 Courtship 
 
 By MOLENAER. 
 
 289 Nature Morte 
 
 By Weenix. 
 
 Lent by David Nathan, Esq. 
 
 290 River Scene with Peasants 
 By H. Saftleven. 
 
 Lent by Charles E. Newton-Robinson, Esq. 
 
 A comparatively rare painter who painted the hilly 
 country of the Rhine and Moselle. 
 
 This picture is an extremely fine example of this 
 pleasing artist. 
 
 291 Peasant with Dog 
 By A. Brauwer. 
 
 Lent by Charles E. Newton-Robinson, Esq. 
 
 292 An Interior 
 
 By Brekelenkam. 
 
 Lent by Sir Samuel Montagu, Bart. 
 
 293 Portrait of Princess of Orange, with a Pet Goat 
 By A. Cuyp. 
 
 Lent by The Rt. Hon. Lewis Fry, P.C. 
 
 A delicate work by a master whose passion for light 
 can only be compared to that of our own Turner. 
 This little aristocrat is much more real than her 
 ruined castle, indeed the landscape, fine as is the 
 luminous mist which wraps it in such a beautiful 
 tissue, is a trifle make-believe ; but then it is delight- 
 ful make-believe ! The little girl and her goat are 
 just as delightful facts. 
 
 294 Still Life 
 By W. Kalf. 
 
 Lent by W. A. Coats, Esq. 
 
 A group of still life, not this time of the common 
 objects of the kitchen or larder, but of rare and 
 costly objets d'art arranged upon a rich Oriental 
 cloth. The artistic effect is due to the play and dis- 
 tribution of light upon the various pieces. The 
 colouring is harmonious, if rather cold. 
 
295 An Interior 
 
 By PlETER DE HOOGH. 
 
 Lent by Lord Aberdare. 
 
 Pieter de Hoogh was a worshipper of sunlight play- 
 ing on the homes of men. Figures were comparatively 
 unimportant to him. What he really cared to paint, 
 was a quiet spacious sunny interior, and he achieved 
 an extraordinary momentariliness. In a world of 
 shifting appearances, de Hoogh makes us realize that 
 on a particular early summer afternoon, there really 
 was this wonderful sunny peace in a Dutch chamber 
 in the 17th Century, whether anyone saw it or not. 
 Indeed, the fact that the room was empty, and that no 
 one ever saw it, is the essence of the particular effect 
 he gives. To humour public taste, he put a cavalier 
 drinking a glass of wine; or a child watching a man 
 pace solemnly away down the bricked yard, but it 
 was really spoiling the almost painfully acute realiza- 
 tion of Time caught napping for once — for an instant 
 only— in an old Dutch chamber. 
 
 296 River Scene 
 
 By Simon de Vlieger. 
 
 297 Portrait of Lady with Mandoline 
 By Eglon van der Neer. 
 
 Lent by Charles E. Newton-Robinson, Esq. 
 
 298 Landscape with Cattle 
 By Paul Potter. 
 
 Lent by Lord Aberdare. 
 
 299 Woman in a Kitchen Washing Dishes 
 By Jan Vermeer (of Delft). 
 
 Lent by Hugh P. Lane, Esq. 
 
 300 Scene on the River Maas 
 By A. Cuyp. 
 
 301 Castle of Egmont 
 Lent by L. Lesser, Esq. 
 By Solomon Ruisdael. 
 
 302 Landscape (Les Bohemes) 
 By Philips Wouverman. 
 
 Lent by Martin H. Colnaghi, Esq. 
 
 Philips Wouverman (1619-1628) was the pupil of 
 Wynants {cf. No. 281), who taught him his 
 mastery in rendering landscape. Beginning as a 
 painter of sacred subjects, and not succeeding in 
 obtaining popularity in these, he took to depicting 
 military scenes, and became an unrivalled master in 
 the special subjects he had selected. Horses, par- 
 ticularly white horses, figure largely in his delicate, 
 poetic landscapes. His colour is specially harmo- 
 
39 
 
 nious, and he manages to combine much force with 
 his exquisitely delicate touch. 
 
 More than 800 works by this artist are known, in 
 spite of the delicate execution he affected. As time 
 went on he changed his amber tone of light for a 
 more silvery scheme of colour. 
 
 In Wouvermans's pictures we get some hint of the 
 fierce battles Holland was fighting for existence, but 
 even in his work there is nothing local or particular 
 He paints ' a skirmish ' not c such and such a battle. 5 
 The Dutch liked their art to be a decoration to hang 
 on life, not a moral or anecdotal commentary on it. 
 
 After the Day's Labour 
 By Brekelenkam. 
 
 A very attractive painter. He was much influenced 
 by Rembrandt at second hand, and owes to him the 
 warm amber light in which his sober tranquil scenes 
 are bathed . 
 
 Fruit-piece 
 By De Heem. 
 
 Landscape — Sunrise 
 By Aert van der Neer. 
 Lent by Martin H. Colnaghi, Esq. 
 
 Evening 
 
 By Paul Potter. 
 
 Lent by Chas. T. Harris, Esq. 
 
 Paul Potter is a painter of curious interest. Far 
 from being perfectly accomplished he is the truest 
 of the always veracious Dutch painters. The some- 
 what clumsy forms of the Dutch bulls he delighted 
 to paint accentuate the almost rude outline of his 
 subjects. He was preoccupied with form, and, com- 
 paratively speaking, disregarded colour, but his 
 absolute freedom from convention gives him a pecu- 
 liar attraction. 
 
 Paul Potter's picture of " The Bull," painted when 
 he was only 23 years of age, is perhaps the most 
 famous Dutch picture, excluding Rembrandt's works. 
 It is dry, and in many points, especially in the shep- 
 herd, it is unsatisfactory, but the grand silhouette 
 of the bull against the solemn sky, make it worthy 
 of its astonishing popularity. 
 
 Children playing Cards 
 By Molenaer. 
 
 Man playing Viol de Gamba 
 
 By J. OCHTERVELDT. 
 
 Lent by W. B. Paterson, Esq. 
 
 Ochterveldt is an attractive painter. He is little 
 known because until lately his pictures were attributed 
 
4o 
 
 to the more saleable Ter Borch, and his signatures 
 were all erased, thus a signed picture by him is 
 almost unknown. We have here two amateurs of 
 music, evidently portraits. The man holds a viol 
 de Gamba, a forerunner of the 'cello. The lady 
 has a book of music in her hand. The delightful 
 little spaniel occurs in many of his pictures. 
 
 309 An Interior (Signed). 
 By Jan Steyn. 
 
 Lent by Mrs. Stephenson Clarke. 
 
 An oft-repeated subject of this artist : c The sick 
 lady, J — a young lady seated, reclining her head on 
 a table, is apparently ill ; a medical attendant stands 
 at her side, feeling her pulse ; an old woman on the 
 farther side of the table is taking partin the scene. 
 Notice the brass warming pan in the background and 
 the wooden footstool into v/hich the little charcoal 
 pipkin in the middle of the floor should be inserted. 
 Exactly similar footstools are used in winter in all 
 the churches of Holland to this day. 
 
 This picture is an unusually fine example of per- 
 haps the most technically accomplished among the 
 Dutch painters. 
 
 310 Sea-piece 
 
 By Willem Van de Velde. 
 Lent by George Salting, Esq. 
 
 311 Rembrandt — Portrait of himself as a young 
 
 man 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 312 An Interior 
 By Jan Steen. 
 
 Lent by Mrs. Stephenson Clarke. 
 
 313 Sea View 
 
 By Van de Cappelle. 
 
 Lent by Mrs. Bischoffsheim. 
 
 314 Family Group 
 By De Keyser. 
 
 Thomas de Keyser, who represents the older school 
 of portrait painting in Amsterdam before Rembrandt 
 arrived there from Leyden, is distinguished for great 
 truthfulness in his portrayal of faces. This group 
 of stiff Dutch figures representing a man and his wife 
 surrounded by their children, is curious because 
 of the unusual addition of little angels in the sky 
 supposed to represent children who have died. 
 
 315 Landscape — River and Town in distance 
 By Van Goyen 
 
4 i 
 
 316 Vertumnus and Pomona 
 By Netscher. 
 
 317 The Tailor 
 
 By P. VAN Slingelandt. 
 
 Lent by The Rt. Hon. Lewis Fry, P.C. 
 
 318 Moonlight — River Scene 
 By Aert van der Neer. 
 Lent by Edgar Speyer, Esq, 
 
 A beautiful example of the painter's characteristic 
 moonlight scenes on a canal, with the note of quiet 
 melancholy which always distinguishes his work. 
 
 319 Poultry 
 
 By Hondecouter. 
 
 Lent by Martin H. Colnaghi, Esq. 
 
 320 Still Life 
 By W. Heda. 
 Lent by Mr. X. 
 
 321 A Group of Three 
 
 By Jan Miense Molenaer. 
 Lent by Edgar Speyer, Esq. 
 
 The momentary expression on the face of these 
 three children, delighted with the noise they are pro- 
 ducing, has been cleverly arrested by the painter. 
 
 322 Merry-making 
 By Dirk Hals. 
 
 Lent by Thomas Carwardine, Esq. 
 
 323 Landscape 
 
 By Jan Wouverman. 
 
 Lent by J. Gretton, Esq., M.P. 
 
 Jan Wouverman was a brother of the more 
 celebrated Philip Wouverman, whose success raised 
 up many pupils and followers. Without the masterly 
 elegance of his brother Philip, Jan is a faithful 
 painter of landscape. 
 
 324 An Interior 
 By Van Velsen. 
 
 Lent by George Salting, Esq. 
 
 325 The Letter 
 
 By Gabriel Metsu. 
 
 Lent by C. H. Wilkinson, Esq. 
 
 A lady disturbed at her toilet by a messenger with 
 a letter. The movement of her hands, which Metsu 
 was so clever in drawing, expresses her surprise at 
 the intrusion. Except for Terburg, Metsu had no 
 rival in depicting such scenes of polite c genre.' 
 
 326 Temptation 
 
 By Judith Leijster. 
 
42 
 
 327 Landscape 
 By Van Goyen. 
 
 Lent by Dr. A. B. Stevens. 
 
 328 Fish Stall, with view of Beach, etc. 
 By A. Van Beyeren. 
 
 Lent by Col. de Courcy Daniell. 
 
 329 Le Mari Amoureux 
 By Frans Van Mieris. 
 
 330 The Expected Visit 
 
 By Molenaer and Leijster. 
 
 A charming picture painted by a husband and wife 
 in co-operation. It was formely ascribed to de 
 Hoogh, but incorrectly. The feeling of space and 
 cool atmosphere render the picture very pleasing. 
 The lady's elaborate attire and the wine bottles 
 cooling in the copper vessel on the floor fully justify 
 the title. It should be noticed that the pictures on 
 the walls of the room have black frames, showing 
 what was the practice of those for whom they were 
 originally painted. 
 
 331 Sunny Landscape 
 By Jan Both. 
 
 Lent by Charles T. D. Crews, Esq. 
 
 The work of two brothers, who painted under the 
 blue skies of Italy, imitating the sunny, golden man- 
 ner of Claude. The blue hills in the distance, the 
 yellow of the sky at the horizon, and the figures and 
 cattle wending their way across the landscape, are 
 entirely Italian, and differ fundamentally from the 
 quiet grey of Holland as depicted in Van Goyen's 
 scenes. Beautiful as are many of the works of these 
 Italianate Dutchmen, there is no doubt that as artists 
 they forfeited more than they gained in abandoning 
 their own land. 
 
 332 River Scene — A Ferry 
 By A. Cuyp. 
 
 Lent by Mr. X. 
 
 333 A Fruit Stall 
 By Jan Victoors. 
 
 Lent by Arthur Kay, Esq. 
 (1620-1672). Signed in full. 
 
 A characteristic picture of peasant life by this pupil 
 of Rembrandt, who was more successful in this 
 branch than in his more pretentious historical and 
 biblical pictures. It is fully signed Joannes Victor 
 on the front of the barrow. 
 
 Dirck Bouts and the Dutch miniature painters had 
 already shown a love for landscape, Vries and Steen- 
 and Vroom for sea-pieces. New subject for art 
 were rapidly developed by the Dutch painters of the 
 17th century. 
 
43 
 
 As practically all the great painters were born and 
 died between 1600 and 1700, and as all the towns 
 they worked in are within a few miles of each other, 
 they acted and reacted on each other to such an 
 extent that the attempt to trace local schools is not 
 very successful. Dutch painters divide themselves 
 most satisfactorily according to the subjects they 
 treated. The great period of Dutch Art came after 
 Holland had secured national independence. The 
 acquisition of sea power and trade at the expense of 
 Spain provided the 1 sinews of war 3 for artistic 
 victories. 
 
 Their climate had given the Dutch an eye for 
 colour. The earlier ' Italianizing ' painters who 
 had sought inspiration in Italy had trained the Dutch 
 in a feeling for design. The natural instinct of 
 both painters and patrons insisted on realistic 
 naturalism. 
 
 The Reformation and Revolution deprived the 
 Dutch of the till then customary religious or 
 ceremonial subjects, and forced to open out new 
 fields for art, like the subject treated in the picture 
 before us. 
 
 334 Portrait of a Lady and Boy 
 By Cornelius Janssens. 
 
 This picture shows strong affinity with Van Dyck, 
 with whom the painter was on most friendly terms, 
 while both were painting at the Court of Charles I. 
 Notice the delicate painting of the taper-like hands, 
 recalling Van Dyck's well-known treatment. 
 
 335 Sea-piece, with Shipping 
 By Backhuysen. 
 
 336 Berchem and his Dog 
 By Berchem. 
 
 Lent by The Earl of Yarborough. 
 
 337 An Interior 
 
 By R, Brakenberg. 
 
 Lent by Sir Marcus Samuel. 
 
 338 Portrait of a Woman 
 By J. G. Cuyp. 
 
 Lent by J. Gretton, Esq., M.P. 
 
 339 Conversation Piece 
 By Dirk Hals. 
 
 Lent by Sir William Agnew, Bart. 
 
 Dirk Hals, the brother of the great Frans, has few 
 rivals in the rendering of such gay society pieces, 
 with their clever, well drawn up figures in attitudes 
 of rollicking abandon. 
 
 340 The Dairymaid 
 
 By Willem van Odekercken. 
 Lent by Arthur Kay, Esq. 
 
44 
 
 34 1 Landscape 
 
 By Philips De Koninck. 
 
 Lent by Martin H. Colnaghi, Esq. 
 
 One of the panoramic vistas in which de Koninck 
 excelled, gaining his effect of space and distance 
 largely by his use of parallel lines both in sky and 
 landscape. 
 
 This extensive prospect has rather the character of 
 a German than a Dutch scene. De Koninck belongs 
 to the romantic side of Dutch landscape painters, and 
 so stands nearer to our modern landscape painters 
 than Hobbema does. De Koninck's landscapes are 
 closely allied with those of Rembrandt. There is 
 the same breadth and inwardness of mood. The 
 present is a typical example of the painter in the 
 theme chosen. The great clouds sailing overhead 
 give an austere largeness to the far perspective of 
 the distance 
 
 342 Landscape with Cattle 
 By A. Cuyp. 
 
 Lent by Lord Aberdare. 
 
 343 Conversation Piece 
 By Dirk Hals. 
 
 Lent by Sir William Agnew, Bart. 
 
 344 Jewel Merchant 
 
 Lent by L. Lesser, Esq. 
 By Solomon Koninck. 
 
 345 Cavalier and Lady 
 By Aert van der Neer. 
 
 346 View of Katwyk 
 By Ruisdael. 
 
 The architecture of the tower is quite different to 
 that in the Glasgow Katwyk. Perhaps it is another 
 little seaboard village. 
 
 347 Kitchen Interior 
 
 By Adriaen Van Ostade. 
 Lent by C. H. Wilkinson, Esq. 
 
 348 The Ford 
 
 By Adam Pynacker, 
 
 Lent by Chas. T. Harris, Esq. 
 
 349 Mountainous Landscape 
 By N. Berchem. 
 
 Lent by L. Lesser, Esq. 
 
 Ad. exceptionally fine picture by Berchem (1620- 
 1683), a Dutch painter who went to Italy for his 
 subjects, and delighted in grand romantic scenery, 
 high mountains and ruined castles, such as are not 
 to be found in Holland. Yet Berchem was the pupil 
 of Van Goyen, the most typically Dutch of all Dutch 
 painters. 
 
45 
 
 350 A Village School 
 By Jan Steen. 
 
 Jan Steen was quite without rival among Dutch 
 painters in his power of portraying individuality and 
 expression. The stern old schoolmaster, the blubber- 
 ing boy, and the half delighted, half frightened 
 children, are admirably hit off. The attitude of 
 the boy in the foreground, laboriously plodding out 
 his exercise, is full of significance. 
 
 351 Landscape with Figures 
 By Philips Wouverman. 
 Lent by Lord Aberdare. 
 
 352 A Game of Gallet 
 
 By Adriaen van Ostade. 
 
 Lent by The Duke of Wellington. 
 
 Adriaen Van Ostade (1010 — 1085) was a pupil of 
 Hals. He excelled in deputing trivial scenes of 
 peasant life, but the gay, unconventional manner 
 combined with a feeling for harmony of colour and 
 technical skill, have secured him an acknowledged 
 position. This is a particularly fine example of his 
 style. 
 
 353 Portrait of a Lady 
 By Gerard Ter Borch. 
 Lent by H. P. Cunliffe, Esq. 
 
 354 Sea Piece 
 
 By Willem Van de Velde. 
 Lent by L. Lesser, Esq. 
 
 355 Interior 
 
 By Gerard Ter Borch. 
 
 Lent by The Rt. Hon. Lewis Fry, P.C. 
 
 A simple subject treated with such beauty of colour 
 and light and shade that it becomes a veritable gem 
 affording intense pleasure to the eye. The effect 
 of light inside a room was a problem in which the 
 . artist has delighted. The attitude is restful, and 
 the figure is beautifully set within the space. 
 
 With all their individual differences one great 
 common bond united the Dutch painters of the 17th 
 century. That bond was an excellent education in 
 the technique of their art, which made their colour 
 resplendent though quiet, more powerful though less 
 visibly violent than that of modern painters. The 
 secret of the training, so universally extended in 
 the 17th century appears unfortunately to have been 
 lost. 
 
 356 Portrait of a Lady 
 By Mierveldt. 
 
 357 Old Woman Stirring Fire 
 By Jan Vermeer (of Delft). 
 Lent by Mrs. Bischoffsheim. 
 
4 6 
 
 Sea-piece 
 
 By Jacob van Ruysdael. 
 Lent by The Duke of Rutland. 
 
 Painting of the "Royal Sovereign," with a 
 
 Portrait of her builder, Sir Phineas Pett 
 By Van de Velde. 
 Lent by The Earl of Yarborough. 
 
 The man and his work. This is a fine decorative 
 picture of Phineas Pett the celebrated ship-builder 
 who planned the Royal Sovereign in Charles I.'s reign, 
 the best ship built in England up to that time. He 
 was not a man of perfect or exact science. His fine 
 ship took twice the amount of timber he estimated 
 for. Still here we have a man who could do his 
 special work preeminently well. Not many men have 
 the good fortune to go down to posterity blazoned 
 thus side by side with their greatest achievement. 
 The painters of the picture, the two Willem Van de 
 Veldes, belonged to one of those family dynasties of 
 Dutch painters, being the son and grandson of Esaias 
 Van de Velde, and father and brother of Atiriaen. 
 
 Willem. the elder, was trained to be a sailor, and 
 actually served as one. Both painters were employed 
 by the Dutch and English East India Companies and 
 Governments to paint pictures of their ships. Willem 
 the younger, died at Greenwich in 1707, after being 
 in England 30 years. The flag is the Cross of St. 
 George, the picture being painted long before the 
 Union with Scotland. 
 
 The ship itself will specially interest those who 
 visited the Shipping Exhibition. Phineas Pitt im- 
 proved greatly on the older ships which had been 
 "over-pestered and and clogged with great ordi- 
 nance," but his fine ship with all its gilding and 
 carving must have soon become very shabby at sea. 
 Compare this ship with the Dutch ship in the back- 
 ground of Maas's portrait of Admiral Tromp. 
 
 A Market Woman, outside a Cottage 
 
 By G. Metsu. 
 
 Lent by Lord Rothschild. 
 
 A piece of minute, careful painting, which allows 
 the picture to be looked closely into, and yet tells 
 effectively at a distance. The warm red sleeves play 
 an important part in the colour scheme. 
 
 View of Katwyk 
 
 By Jacob van Ruisdael. 
 
 The little northern hamlet, dominated by its church, 
 surrounded by the loneliness of the sand-dunes on 
 three sides, closed in on the other by the still greater 
 loneliness of the sea, has afforded the great landscape 
 painter one of his loveliest themes. 
 
47 
 
 Interior (Man and Woman Drinking) 
 By Jan Steen. 
 
 Lent by C. H. Wilkinson, Esq. 
 
 Portrait of a V/oman 
 
 By Ver Spronk. 
 
 Lent by Mrs. Stephenson Clarke 
 
 Landscape 
 
 By Meyndert Hobbema. 
 Lent by Lord Aberdare. 
 
 Boy with Spaniels 
 By Karel de Moor. 
 
 Lent by Charles E. Newton-Robinson, Esq. 
 A Lady in a Red Jacket 
 
 Artist unknown (perhaps the elder Maris). 
 Lent by Sir Edmund Verney, Bart. 
 
 Scene on the Ice 
 By Ruisdael. 
 
 Ladies playing Cards 
 By Eglon van der Neer. 
 
 Temptation of St. Anthony 
 By Teniers, jun. 
 
 A favourite subject with Teniers and his school, 
 because of the opportunity it gave them of introduc- 
 ing grotesque and impossible creatures — fantastic 
 hobgoblins, and fish like serpents — by which the 
 harmless-looking Saint is surrounded. The small 
 ' T 5 on St. Anthony's cloak is the painter's signature. 
 
 Choice between Love and Riches 
 
 By MOLENAER. 
 
 Landscape with Huntsman 
 
 By D. Teniers. 
 
 Lent by J. Gretton, Esq., M.P. 
 
 River Scene 
 By Van Goyen. 
 
 A Young Lady holding a Flute 
 By Judith Leijsters. 
 
 Interior — A Lady Playing 
 
 By J. OCHTERVELDT. 
 
 Lent by Sir Cuthbert Quilter, Bart., M.P. 
 
 Portrait of a Lady 
 
 By Cornelius Janssens. 
 
 Coast Scene— Sunset 
 By A. Van de Velde. 
 Lent by Arthur Kay. Esq. 
 
 River Scene 
 
 By Solomon Ruisdael. 
 
48 
 
 378 Coast of Holland — Cargo being landed from a 
 
 Ship 
 
 By Simon de Vlieger. 
 
 Lent by J. E. Gray Hill, Esq. 
 
 A pleasant coast scene with a strong suggestion of 
 movement and a salt sea breeze bringing up the great 
 rolling clouds whose shadows are reflected in the 
 water. 
 
 To see the real colours, unaltered by varnishing, 
 in which Dirk Hals delighted, see No. 339. 
 
 379 Flower-piece 
 By Van Huysum. 
 
 Lent by Mrs. Stephenson Clarke. 
 
 Stiff and somewhat unnatural as it appears, this 
 group of many-coloured flowers is most exquisite in 
 drawing and execution. The labour bestowed upon 
 such a work must have been enormous. Notice the 
 drops of water on the leaves, the flies settled on the 
 flowers. 
 
 Still life and flower pieces were two of the last 
 subjects that Dutch artists exploited before their final 
 decadence. The Van Huysum family formed a 
 regular dynasty of flower painters. 
 
 379A Portrait of a Lady 
 By Cornelius Janssens. 
 Lent by Earl of Yarborough. 
 
 SCREEN A. 
 
 380 Portrait of a Lady 
 
 By Cornelius Janssens. 
 Lent by Sir Marcus Samuel. 
 
 381 River Scene (drawing) 
 By Van Goyen, 
 
 Lent by Mr. X. 
 
 382 Sketch of a Boy's Head 
 
 By Adriaen Ostade. 
 
 Lent by Frank L. Emanuel, Esq. 
 
 383 Landscape (drawing) 
 
 By Jacob van Ruisdael. 
 Lent by Mr. X. 
 
 384 Hawking Scene (drawing) 
 By P. Wouverman. 
 
 Lent by Mr. X. 
 
 385 A Cottage Interior (drawing) 
 By P. de Hoogh. 
 
 Lent by Dr. A. B. Stevens. 
 
49 
 
 River Scene 
 By Van Go ye*. 
 
 All life and movement. The massive clouds, 
 choppy sea, and swaying sails, suggesting a stiff 
 breeze. Notice the brown tone of the shallow water 
 as it appears off the coasts of Holland. 
 
 River Scene (drawing) 
 By Van Goyen. 
 Lent by Mr. X. 
 
 Sketch of Girl's Head 
 
 By Adriaen Ostade. 
 
 Lent by Frank L. Emanuel, Esq. 
 
 Calm at Sea, with Fishing Boats 
 
 By Simon de Vlieger. 
 
 Lent by J. E. Gray-Hill, Esq. 
 
 In this picture de Vlieger betrays the influence cf 
 Van Goyen, who was probably his master. The only 
 touch of positive colour in the quiet greys and browns 
 is the light blue stripe in the flag on the right. 
 
 Landscape with Figures 
 By A. Cuyp. 
 
 SCREEN B. -PRIMITIVES. 
 
 Considering the prolific artistic output of Holland 
 in the 17th century, it is curious that so comparatively 
 few works of Dutch artists in earlier times are to be 
 found. Those that exist are marked by a realism 
 and attention to landscape rare at the time. The 
 extreme length of the human figures, and a paleness 
 of the complexion are also distinguishing character- 
 istics. 
 
 The Reformation, with the changes and destruc- 
 tion of religious art that it caused, together with the 
 pride of the Dutch in dating their history from the 
 time of their national independence, account for the 
 small amount of attention paid to primitive Dutch 
 painters. 
 
 The Dutch town of Maestricht, from the neighbour- 
 hood of which the famous Flemish painters, the Van 
 Eycks, came, had a celebrated factory for the paint- 
 ing of glass for windows, and probably Holland had 
 its fair share of painters ; but the nearness of the 
 more famous Flemish painters at Bruges, dwarfed 
 the reputation of such Dutch masters as existed. 
 Thus Thierry Bouts was of Dutch origin though he 
 settled at Louvain in Flanders and is ranked as a 
 Flemish painter. Cornelis Enghelbrechtsz, by whom 
 is the drawing No. 393, worked at Leyden (1468- 
 1553) and imitated the Van Eycks, but his colour is 
 more fluid and that realism of types, which is so 
 strong a peculiarity of Dutch art, is already apparent. 
 
5° 
 
 391 Portrait of a Young Nobleman 
 
 By Lucas van Ley den. 
 
 Lent by The Trustees of the Roscoe Collection. 
 
 This charming portrait of a young man with his 
 hands folded in an attitude of prayer is, perhaps, 
 by Jan Mostaert, of Haarlem, court painter to 
 Marguerite of Austria. A very similar portrait of 
 a man in the Brussels Gallery is now ascribed to Jan 
 Mostaert.* In the background, on the left, the scene 
 of St. Hubert's conversion is depicted. We may 
 compare this landscape background with its small 
 figures with the lovely picture of the Legend of S. 
 Giles in the National Gallery, probably by the same 
 master. The Flemish St. Hubert, and the Roman 
 St. Eustace, are saints with the same legend. Both 
 were gay young nobles whose conversion to Christi- 
 anity followed upon a vision they had of Christ on 
 the Cross, which appeared between the horns of a 
 stag they were hunting. 
 
 cf. Reproduction placed by the side of the painting. 
 
 392 Bridge across a Mountain Gorge 
 
 By Jan Scorel. 
 
 Lent by Charles E. Newton-Robinson, Esq. 
 
 This drawing belongs to a fairly common class. 
 They were done by Dutch artists as travel notes of 
 the scenery they passed through in Germany and 
 Austria on their way to Italy. 
 
 393 Coronation with many figures 
 By Cornelius Engelbrechtsen. 
 
 Lent by Charles E. Newton-Robinson, Esq. 
 
 Cornells Enghelbrechtsz (1468-1553) was a native 
 of Leyden. He was inspired in his work by Van 
 Eyck, but adopted more realistic types, and was the 
 first painter to treat popular life, thus early showing 
 the Dutch tendency to seize on the actual rather than 
 the ideal. Only two of his many pictures have sur- 
 vived. He is of interest as the master of Lucas van 
 Leyden. 
 
 394 Potiphar's Wife 
 
 By School of Lucas van Leyden. 
 
 Lent by Sir Charles Turner, A.K.C.I.E. 
 
 395 The Mocking of Christ 
 By Jerome Bosch. 
 
 Lent by W. B. Paterson, Esq. 
 
 Jerome of Aachen or Jerome Bosch (1450-1516) is 
 an artist chiefly celebrated for his grotesque imagin- 
 ations in paint : fantastic eggs with eyes and legs, 
 and strange hybrid animals and goblins. Extra- 
 ordinary as these are, they betray a real gift of 
 grotesque .imagination, which is at the same time 
 thoroughly characteristic of Dutch feeling. Many 
 of these grotesque pictures are now proved to be 
 quite falsely attributed to Bosch, and this fine render- 
 ing of a sacred subject shows an original strength oi 
 
5i 
 
 observation and feeling that probably presents this 
 artist in a new light to many people. The compo- 
 sition is skilfully arranged. A similar rendering of 
 the same subject by this artist is in Madrid. Christ 
 is wearing, not the purple robe which the Bible 
 speaks of as put on Him on this occasion, but a blue 
 robe, possibly meant for His own garment. 
 
 396 Joseph's Interpretation oi Pharaoh's Dream 
 
 By School of Lucas van Leyden. 
 
 Lent by Sir Charles Turner, A.K.C.I.E. 
 
 Lucas van Leyden (1494 - 1533) is the first 
 national Dutch artist of importance. He was a 
 pupil of Enghelbrechtsz. He was more distinguished 
 as an engraver than as a painter. Albert Dtirer 
 visited him, and Vasari, the Italian painter and critic, 
 placed him before Diirer. He may be called the 
 creator of that typical form of Dutch art, namely 
 " genre,' 5 that is, the painting of trivial scenes and 
 objects for their intrinsic artistic interest alone. He 
 was, however, a painter of portraits, and the one 
 on the other side of the screen has many of the 
 characteristics of his style. 
 
 SCREEN C 
 
 Nos. 397 to 406 are lent by Charles E. Newton- 
 Robinson, Esq. 
 
 397 Group of Women and Children 
 
 By D. VlNKENBOOMS. 
 
 398 Half length Portrait of a Man 
 By Frans Hals. 
 
 399 .Study of a Chair with Cloak 
 By P. de Hoogh. 
 
 Drawing of a chair and cloak by De Hoogh. The 
 chair and the folds of the cloack occur in the picture 
 by De Hoogh at Buckingham Palace. 
 
 400 View near Chatsworth L > LaX .< Mdckxtt <^A{* 
 By Jan Siebrechts. 
 
 This drawing of the Derbyshire Moors near Chats- 
 worth, by the Dutch artist Sybrecht, is of interest in 
 its bearing on the work of the early English water- 
 colour painters. 
 
 401 Landscape 
 
 By Aert Van der Neer. 
 
 402 Full length Portrait of a Gentleman 
 By J. S. Backer 
 
 403 An Interior with four figures 
 By Rembrandt. 
 
 404 Portrait of an English Herald 
 By J. de Bray. 
 
5^ 
 
 405 Rocky Landscape 
 By J. Both. 
 
 406 A Farm ^ Yard 
 By Jan Lievens. 
 
 END WALL. 
 
 407 Portrait of a Lady 
 By Van de Veldt. 
 
 Lent by Sir Marcus Samuel. 
 
 408 Landscape 
 
 Attributed to Ruisdael. 
 
 Lent by the Rev. the Dean of Ely. 
 
 409 Shipping in a Calm 
 
 By Willem Van de Velde. 
 Lent by J. E. Gray Hill, Esq. 
 
 410 Portrait of the Duchesse de Montpensier 
 By Karel du Jardin. 
 
 Karel du Jardin. This painter, who was born in 
 1625, and died at Venice in 1678, belonged to the band 
 of Dutch painters termed by a famous critic "the 
 joyous deserters, 55 who forsook the native tradition 
 in art and sought in France or Italy a more imagina- 
 tive or fanciful expression for their art. Karel du 
 Jardin, abler than most, while he certainly lost the 
 special excellencies of Dutch art, did succeed in 
 catching some of the graceful fantasy of the contem- 
 porary French painters. He was a clever draughts- 
 man and modeller, and his colour, though cold, is 
 limpid and hannonious. 
 
 411 The Ford 
 
 By N. Berchem. 
 
 Lent by The Rt. Hon. Lewis Fry, P.C. 
 
 412 
 
 By Michel van Muscher. 
 By James T. Tullis, Esq. 
 
 413 Still Life 
 
 By Hondecouter. 
 
 Lent by Lt.-Col. Stephenson Clarke. 
 
 This picture is full of charming detail. The dis- 
 tance on the left is wonderfully rendered. The cow 
 and sheep on the right seem outlaws. The cow is 
 evidently a biter, as it has a curious muzzle on, and 
 the sheep has an expression of bitterness of spirit 
 rare even among ovine pessimists. The whole scene 
 is redolent of the sunny peace that falls on farm life 
 at the close of day. 
 
 414 Portrait of Rachel Ruisch, Flower Painter 
 By Caspar Netscher. 
 
 Lent by The Rt. Hon. Lewis Fry, P.C. 
 
 415 The Whale Fishery 
 By L. Backh-jysen. 
 
 Lent by The Rt. Hon. Lewis Fry, P.C. 
 PENNY AND HULL, PRINTERS, LEMAN STREET, E. 
 
LIST OF LECTURES. 
 
 All lectures will begin at 8 p.m. 
 ★ 
 
 April 6, Wednesday — " Draughtsmen and Humour " (lantern 
 illustrations). Windsor Fry, Esq., R.B.A. 
 
 April 12, Tuesday — " Life in Holland " (lantern illustrations). 
 Horace Warnek, Esq. 
 
 April 13, Wednesday — ' Modern Decorative Art in Holland" 
 (lantern illustrations). C. Harrison Townsend, Esq. 
 
 April 15, Friday — Talk on Dutch Pictures. R. C. Witt, Esq. 
 
 April 16, Saturday — " Naval relations of Holland and 
 England." David Hannay, Esq. 
 
 April 19, Tuesday — tl Holidays in Holland." Horace 
 Warner, Esq. 
 
 April 22, Friday — " Dutch Cities " (lantern illustrations). 
 W. H. Gover, Esq. 
 
 April 23, Saturday — "A prelude on Practical Art Criticism " 
 (lantern illustrations). Arthur Kay, Esq. 
 
 April 26, Tuesday — " Holidays in Holland " (lantern illustra- 
 tions). Horace Warner, Esq. 
 
 For children (admission by special tickets). 
 
 April 27, Wednesday— Concert by Miss May Mukle and 
 friends. 
 
 April 29, Friday-" Rembrandt." Herbert E. A. Furst, Esq. 
 
 May 3, Tuesday — "A trip to North Holland and the Zuyder 
 Zee " (lantern illustrations). Charles W. Walker, Esq. 
 
 May 6, Friday — " History of Landscape Painting " (lantern 
 Illustrations). The Director. 
 
 Reserved Seat Tickets for these lectures can be obtained by 
 forwarding 2/6 for the Course, or 1/- for a single lecture, to the 
 Director at the Gallery. 
 
Committee : 
 
 CANON BARNETT (Chairman). 
 SIR WILLIAM AGNEW, Bart. 
 M. A. J. BAUER, Esq. 
 ROBERT BRECHIN, Esq. 
 Dr. A. BREDIUS. 
 MARTIN H. COLNAGHI, Esq. 
 J. H. FITZHENRY, Esq. 
 Dr. HOFSTEDE DE GROOT. 
 W. J. VAN HOYTEMA, Esq. 
 JOSEF ISRAELS, Esq., H.R., S.A., H.R.I. 
 ARTHUR KAY, Esq. 
 WILLIAM MARCHANT, Esq. 
 WM. B. PATERSON, Esq. 
 HENRY J. PFUNGST, Esq. , .' : 
 LORD REAY, G.C.S,L, G.C.I.E. 
 S. C. BOSCH REITZ, Esq. 
 Dr. B. W. F. VAN RIEMSDIJK. 
 C. NEWTON-ROBINSON, Esq. 
 Dr. MAX ROOSES. 
 FRANK STOOP Esq. 
 Dr. SNIJDER VAN WISSENKERKE. 
 ROBERT C. WITT, Esq. 
 Mrs. WITT. 
 
 CHARLES AITKEN, Esq. (Director). 
 C CAMPBELL ROSS, Esq. (Secretary). 
 
 No charge is made for admission, but the 
 Trustees and Exhibition Committee hope that 
 every Visitor will place a contribution in the 
 boxes, to enable them to meet the heavy expenses 
 of this large undertaking. 
 
 If funds are forthcoming a short Exhibition of Amateur 
 Sketches will be held in July, and an Exhibition illustrating 
 Indian Life and Art in October. 
 
 Offers of loans and help for the Indian Exhibition, will 
 be welcomed by the Director.