RUISDAEL HOBBEMA CUIJP POTTER fci«!«m^^ -- ■■- ■ •■'■■■•'-• ■■■■<.•■« .cy a* <*w . LYNDHURST HOUSE, WALLINGTON , SURREY ^Vf*^^ tt'y . ^u fc*. *Y /fees-Wfe » £•7 03 i\\w m % ?&*$, *. ■ 1 I *;..** a /s.c ILLUSTRATED BIOGRAPHIES OF THE GREAT ARTISTS THE LANDSCAPE AND PASTORAL PAINTERS OF HOLLAND RUISDAEL HOBBEMA CUIJP POTTER XUttStt'attU BioQvapIjies of tlje Creat Artists. NEW SERIES* Each volume, with about twenty illustrations : bound in cloth. Price 3-r. 6d. The Painters of Barbizon.-j - I. Memoirs of Jean Francois Millet, Theodore Rousseau and Narcisse Diaz. By J. W. Mollett, B.A. With lists of their principal Works. The Painters of Barbizon.! II. Memoirs of Jean Baptiste Corot, Charles Francois Daubigny and Jules DuprL By John W. Mollett, B.A. With lists of their principal Works. William Mulready, Memorials of. Collected by Frederic G. Stephens. With reproductions of his celebrated Studies from the Life and lists of all his exhibited pictures. "he Landscape and Pastoral Painters of Holland : Ruisdael, Hobbema, Cuijp, Potter. By Frank Cundall. With a catalogue of their principal paintings and etchings. David Cox and Peter De Wint. Memoirs of their Lives and Works. By Gilbert R. Redgrave. With lists of their drawings exhibited at the Gallery of the Old Water- Colour Society. George Cruikshank, His Life and W r orks : including a Memoir by Frederic G. Stephens, and an Essay on the Genius of George Cruikshank by W. M. Thackeray. With a list of the principal books illustrated by Cruikshank. " Gavarni," Memoirs of. By Frank Marzials. With many humorous Illustrations. [In preparation. ~\ Van Eyck, Memlinc, Matsys, and other Painters of the Early Flemish School. [In preparation.] * For a complete classified list of the Series, see the end of this volume. f The two volumes in one ; bound in half morocco : gilt tops. Price js. (id. LONDON : SAMPSON LOW, MARSTON, SEARLE & RIVINGTON, LIMITED, St. Dunstan's House, Feuter Lane. *aam PORTRAIT OF PAULUS POTTER. BY VAN DER IIELST. From the painting in the Gallery of the Hague. " The whole world without Art would be one great wilderness." THE LANDSCAPE AND PASTORAL PAINTERS OF HOLLAND RUISDAEL HOBBEMA CUIJP POTTER By FRANK CUNDALL EDITOR OF ''AN ELEMENTARY HISTORY OF ART: PAINTING" & W LONDON .'SAMPSON LOW, MARSTON, SEARLE & RIVINGTON LIMITED St. Dunstan's House, Fetter Lane. i8qi " Landscape painting, and fresh and vivid descriptions of nature, alike conduce to heighten the charm emanating from a study of the external world, which is shown us in all its diversity of form by both, while both arc alike capable of combining the visible and invisible in ojr contemplation of nature." — Humboldt's ' Cosmos.' {All rights nserved.) PREFACE. In the following pages an endeavour has been made to tell, so far as the materials at command would permit, the stories of the lives of the four principal landscape and pastoral painters of Holland, the details of which —meagre enough unfortunately in some cases — have been supplemented with notes on their predecessors and cotemporaries in Art. Although the later day appreciation of Dutch Art, especially in the case of Hobbema and Cuijp, is undoubtedly due to the initiative of English connoisseurs, yet during the last few years Dutch savants have shown a justifiable pride in the works of their great countrymen. Special mention must be made of Heer Veth's valuable articles on the Cuijp family in ' Oud-Holland,' the latest treasury of Dutch research, and of the recent communications of Dr. Bredius to the same periodical. Here also must be mentioned M. Michel's recently-published monographs of Ruisdael and Hobbema, the former of which appeared while these pages were passing through the press. VI PREFACE. The appended lists of the principal works of the masters catalogued under their present positions, as well as the Biblio- graphy, will, it is hoped, prove of use for reference. Any corrections for a future edition will be gladly received by the author. All the full-page illustrations are direct reproductions of the paintings, and the various etchings and original drawings have been copied in facsimile. The smaller sketches, made from the paintings for this work, are given in order to indicate the composition of the various pictures. F. C. Wallington, Surrey, November, 1 890. CONTENTS. Bibliography Introduction CHAPTER I. JACOB VAN RUISDAEL. Haarlem — Early Painters — The guild of St. Luke — The Ruijsdael family — Mennonites — Izack and Salomon Ruijsdael — Jacob Ruijsdael, son of Salomon — Jacob van Ruisdael, son of Izack : birth: influence of Everdingen: removal to Amsterdam: poverty: will: death: acquaintance with Hobbema, Adriaen van de Velde, Wouwerman, and other artists — Genealogical table — Jacob van Ruisdael : signatures and dates on pictures — Subjects of his pictures : waterfalls, views of Haarlem, landscapes, forest scenes, sea-pieces — Criticisms by Ruskin, Blanc, Kugler and Goethe — Paintings on the Continent and in England — Etchings . CHAPTER II. MEINDERT HOBBEMA. Birth — Marriage — Friendship and influence of Ruisdael — Appointed gauger — Children — Death of wife — Death and burial in pauper's grave — -Discussion as to his birthplace —His works ignored in the eighteenth century — Prices realized by works by Hobbema — Cotemporary artists — Appreciated first in England — Dates on his paintings — Scenes of his labours — Figures added by other artists — Scarcity of his works — Truth to nature — His best pictures — Drawings — Comparison with Ruisdael — No pupils — No successors 39 CONTENTS. CHAPTER III. AELBERT CUIJP. Dordrecht in the Middle Ages — Its artists — The Cuijp family : Gerrit Gerritsz : Jacob Gerritsz : Benjamin Gerritsz — Aelbert Cuijp : Birth : The Great Synod : Religious strife : Cuijp's student days : Scenes of his studies : Marriage : Daughter : Son-indaw : Houses : Religious and Civil offices : Acquaintance with good families : Death of wife : Own death : Family — Versatility of his art : Paintings : Drawings : Etchings — Successors . . . 63 CHAPTER IV. PAULUS POTTER. Forerunners — Enkhui/.en — Potter's ancestors — His father Pieter Potter as a painter — Birth : Early studies : At Delft : Removal to the Plague : Marriage : Plome : Neighbours, Balckeneijnde, Van Goijen : Children : Removal to Amsterdam : Dr. Tulp : Will : Death : Portrait by Van der Heist : Marriage of his widow — Paintings on the Continent and in England— Drawings — Etchings — Followers ........ 105 Appendix : — I. Paintings by Ruisdael II. Etchings by Ruisdael IIP. Paintings by Hobbema IV. Paintings by Cuijp . V. Etchings by Cuijp . VI. Paintings by Potter VII. Etchings by Potter . Index .... 145 154 154 1 59 167 167 171 173 LIST OF ILLUSTRATIONS. RUISDAEL. A Cascade Barges on a Canal . The Bleaching Fields of) Haarlem . . . , J The Forest .... Storm on a Sea Coast The Field bordered by Trees Painting .Drawing Painting Painting Painting Etching. The Avenue, Middelharnis The Water Mill The Castle of Brederode The Water Mill IIOBBEMA. Painting Painting Painting Painting CUIJP Landscape with Cattle and Figures : Evening . View of Dordrecht . Herdsman and Cattle The Samson Huis, Dordrecht A Member of the De Roovere\ Family .... Study of Boats. Landscape with Cattle and Figures .... The White Horse in a Riding Stable .... Fishing on the Ice . Two Greyhounds Five Cows lying down . Painting Drawing Paint in? Painting Drawing Painting Painting Painting Drawing Etching. Gallery of the Hague British Museum Gallery of the Hague Louvre Deepdene National Gallery . Hertford House National Gallery . Buckingham Palace National Gallery . British Museum Deepdene Gallery of the Hague British Museum . Dulwich College . Dulwich College . Dulwich College . British Museum PAGK 4 5 19 29 33 37 39 49 57 62 63 72 75 77 80 93 95 98 100 103 LIST OF ILLUSTRATIONS. H TOTTER. Portrait of Paulus Potter j , ? J!*?. \ Gallery of the Hague The Young Bull Cattle in a Meadow The Nieuwe Bierkade, in tiie\ Hague The Cow reflected in Stream . Two Oxen Fighting . The Neighing Horse Facsimiles of Signatures \de, Painting Gallery of the Hague Painting Bridgwater House. \ Painting Gallery of the Hague Etching. Etching. PAGE Fron- tis- piece 104 105 114 129 135 137 144 BIBLIOGRAPHY. RUISDAEL. Michel, Emile. ' Jacob van Ruysdael et les Paysagistes de l'Ecole de Harlem,' in 'Les Artistes Celebres' Series. Paris, 1890. Van der Willigen, Dr. A. ' Les Artistes de Harlem.' La Haye, 1870. Bode, W. 'Die Kiinstler von Haarlem,' in the ' Zeitschiift fur Bildende Kunst,' vol. vii. Leipzig, 1872. Bredius, A. ' Het geboortejaar van Jacob van Ruisdael,' in ' Oud- Ilolland,' vol. vi. Amsterdam, 1888. Duplessis. ' F.aux-fortes de J. Ruysdael,' reproduces par Amand-Durand, texte par Georges Duplessis. Paris, 1878. HOBBEMA, Michel, ifmilG. ' Ilobbema et les Paysagistes de son temps en Hollande,' in ' Les Artistes Celebres' Series. Paris, 1890. Scheltema, Dr. P. ' Meindert Ilobbema; quelques renseignements sur ses ceuvres et sa vie,' with notes by W. Burger, in the ' Gazette des Beaux Arts,' vol. vi. Paris, 1864. Burger, W. ' Ilobbema,' in the ' Gazette des Beaux Arts,' vol. iv. Paris, 1859. Heris. ' Notice raisonne sur la Vie et les Ouvrages de Meindert Hobbema.' Paris, 1854. Boever, N. de. ' M. Hobbema,' in ' Oud-Holland,' vol. i. Amsterdam. CUIJP. Veth, G. H. ' Aelbert Cuyp, Jacob Gerritsz Cuyp en Benjamin Cuyp,' in ' Oud-Holland,' vol. ii. Amsterdam, 1884. ,, ' Aanteekeningen omtrent eenige Dordrechtsche Schilders,' in ' Oud-Holland,' vol. vi. Amsterdam, 1888. Xll BIBLIOGRAPHY. POTTER. Westrheene, T. van. ' Paulus Potter, sa vie et ses oeuvres.' La Haye, 1867. Duplessis. ' Eaux-fortes de Paul Potter,' reproduites et publiees par Amand-Durand. Texte par Georges Duplessis. Paris. Wurzhach, Dr. Alfred von. ' Die Niederl'andischen Landschafts-, See-, Thier-, und Schlachten-Maler des xvil. Jahrhunderts,' in the ' Kunst und Kunstler' Series. Leipzig, 1876. "Woltmann, Alfred, nnd Karl Woermann. • Geschichte der Malerei.' Leipzig, 1887-88. Bredins, Dr A. ' Die Meisterwerke des Rijks-Museums.' Munich. Burger, W. ' Musees de la Hollande,' 2 vols. Paris, 1858 and i860. ' Tresors d'Art en Angleterre,' 3 mo Edition. Paris, 1865. Crowe (Sir), J. A. Kugler's ' Handbook of Painting — the German, Flemish and Dutch Schools.' London, 1874. Havard, Henry. ' La Peinture Hollandaise.' Paris. Blanc, Charles. 'Jacques Ruysdael,' ' Minderhout Hobbema,' 'Albert Cuyp,' ' Paul Potter,' in the ' Histoire des Peintres de toutes les Ecoles.' Paris. Waagen, Dr. ' Treasures of Art in Great Britain,' 4 vols. London, 1854 and 1857. 'Athenaeum.' A series of Articles on the ' Private Collections of England.' London, 1873 et seq. INTRODUCTION. The Low Countries must be regarded as the cradle of Land- scape Art. Long before rural scenes were depicted for their own sake, much attention was paid by the Van Eycks, by Memlinc and by Van der Weyden, by Dirck Bouts* and a host of others, to landscape backgrounds. But it was not till the dawn of the seventeenth century that landscapes became a recognised subject for an artist's pencil. Many of these painters of country scenes were no better able than their fellow- labourers in portraiture and historic art to withstand the in- fluence of the great Art movement in Italy. Numberless artists left the Netherlands for the sunny south, and although a few were tempted by the beauties of the Tyrol and Switzerland, yet many, such as Poelenborch, Asselijn, Pijnacker, Berchem, the Boths, Du Jardin and De Heusch, reached Italy and stayed there long enough to acquire a richness of colouring and a finish of composition which they would probably never have attained in their native land, and in which the influence of the German Elsheimer played no small part. But on the whole it must be admitted those who have done most for Dutch Art — those whose works are now most highly prized — never went beyond the confines of their own country, and remained true to themselves and to the life of the Netherlands. * His epitaph, on his tomb in the church of the Recollets at Louvain, runs as follows : — " Claruit inventor in describendo rure." 2 LANDSCAPE AND PASTORAL PAINTERS OF HOLLAND. And this is especially noticeable in the case of Hobbema, Cuijp and Potter, and to a great extent of Ruisdael also. But although the limited space of the present volume only admits of the inclusion of these four chiefs of Dutch landscape and pastoral art, yet it must not be supposed that others did not execute work which, at times, at all events, came near to theirs. The chief landscape and animal painters of Holland may all be said to have been born and to have died within the limits of the seventeenth century. The only two exceptions are Van Goijen, who was born four years before the century began, and Hobbema, who outlived it by nine years. If we take, for example, the year 1650, Van Goijen was then fifty-four, Aart van der Neer forty-seven, Jan Both about forty, Wijnants perhaps about thirty-five, De Koninck thirty-one, Cuijp and Berchem thirty, Everdingen twenty-nine, Du Jardin twenty- eight, Potter twenty-five, Ruisdael twenty-two, Adriaen van de Velde fifteen, and Hobbema twelve — all, except the last two, capable of doing master-work. Turning to the subject-painters, we find that Hals was about seventy, and Rembrandt forty-four, whilst a host of others, such as Van der Heist, Flinck, Hoogstraten, Adrian van Ostade, Bol and Anthoni Palamedes, were all in the zenith of their power. The minute touch and love of detail inherent in the Dutch character have proved no small stumbling-block in the way of the full realization of Landscape Art. It is, of course, difficult to compare modern work with old, but a century hence Rous- seau, at his best, will possibly be held a greater landscape painter than Ruisdael; Troyon will be justly placed above Potter, and the pictures of Corot and Daubigny will be more highly thought of than those of Hobbema and Wijnants ; although the present craze for works of the Barbizon School will probably, before many years are passed, suffer a decline. INTRODUCTION. That the Auction Mart is no true criterion of the artistic merit of paintings — even after the lapse of centuries since their production — becomes evident when we consider the case of the two great Dutch landscapists. Critics are unanimous in placing Ruisdael above Hobbema, and yet the works of the former have never realized such high prices as those of the latter. This is, however, doubtless due in part to the greater scarcity of Hobbema's productions. That landscape art demands, more than portraiture and his- toric painting, a bold treatment follows as a natural sequence from the fact that, as a rule, we regard our fellow-men near to us, and nature at a greater distance. Had Ruisdael and Hobbema and Wijnants, lived in these days, they would doubtless have treated their art in a bolder manner. At that time they had not dreamt of the practice now prevalent with some searchers after truth — and first it is said adopted by Daubigny* — of painting a picture completely out of doors. The minute preparatory studies of detail which the Dutchmen made, naturally led to the production of highly-finished paint- ings. On the other hand, the Dutchmen of the seventeenth century undoubtedly possessed an honesty and simple-minded- ness of purpose in their Art which well compare with the habits of some latter-day painters. They loved their art, not for its profit, but for the pleasure it afforded them. And it seems hard that they should not have received even a tithe of the sums which their works now realize. [In the face of the large amounts which their works now command, it is pitiable to think that Ruisdael ended his days in an alms- ■ house, and Hobbema found his last resting-place in a pauper's grave.] It is surely hard to blame them for the absence of qualities which they, from their very natures and surroundings, * Also said of Creswick. B 2 4 LANDSCAPE AND PASTORAL PAINTERS OF HOLLAND. could not possess, or for the prominence of those characteristics which were the very essence of their work — a truthful repre- sentation of their country and their lives : and Mr. Ruskin hardly does them justice when he says, " Amongst the professed landscapists of the Dutch School, we find much dexterous imitation of certain kinds of nature, remarkable usually for its persevering rejection of whatever is great, valuable, or affecting in the object studied." No other painters have given us such a large insight into the cotemporary domestic life of their countrymen as the Dutch. The Italians devoted their energies to the glorification of the Church. The majority of Spaniards did the same : when Velazquez painted cotemporary scenes, as he often did, it was usually of some royal pageant or battle-scene. In Germany we have little beyond the portraits of Holbein and others, and it was not until Hogarth came that scenes of English life were de- picted. The truth of Dutch genre, and architectural painting, is well known ; as regards the landscapists, Ruisdael has handed down to us faithful representations of his native Haarlem seen from a distance : Hobbema makes us intimately acquainted with the surroundings of Dutch cottage-life in the seventeenth century : Cuijp, with the affairs of the well-to-do classes, and with his favourite pastoral scenes : whilst Potter gives us the farm life of his time with a truth that has never been rivalled. A landscape painter's life is truly enviable. He is, or can be if he will, ever at one with his subject. For him there .is no troublesome sitter, no stupid model who will not con- form to his wishes. Nature is, to those who seek her aright, a perfect model. She has moods for all, from the downright representations of Hobbema and Constable to the misty morns of the dreamer Corot. Variable, she may be ; but untrue, never. A CASCADE. BY RUISDAEL. From the painting in the Gallery of the Hague. barges on a canal. By Ruisdael. From a drawing in the British Museum. CHAPTER I. JACOB VAN RUISDAEL. Haarlem — Early Painters — The guild of St. Luke — The Ruijsdael family — Mennonites — Izack and Salomon Ruijsdael — Jacob Ruijsdael, son of Salomon — Jacob van Ruisdael, son of Izack : birth : influence of Ever- dingen : removal to Amsterdam : poverty : will : death : acquaintance •with Hobbema, Adriaen van de Velde, Wouvverman, and other artists — Genealogical table — Jacob van Ruisdael : signatures and dates on pictures — Subjects of his pictures : waterfalls, views of Haarlem, land- scapes, forest scenes, sea-pieces — Criticisms by Ruskin, Blanc, Kugler and Goethe — Paintings on the Continent and in England — Etchings. The majority of the principal towns in the Netherlands played a part more or less important in the history of the art of the THE LANDSCAPE PAINTERS OF HOLLAND. country. To Haarlem — famous for its heroic defence against the Spaniards — was assigned a role by no means insignificant. In fact, after Amsterdam, no town was so rich in painters. In portraiture and corporation pieces its townsman, Frans Hals, was second only to Rembrandt; in views of towns, the Berck-Heijdes, and in cavalry pieces, Wouwerman, were unequalled ; while in landscape Jacob van Ruisdael stands pre-eminent in a country to which landscape painting owes its rise and some of its greatest triumphs. Indeed, Haarlem may be said to have been the birth-place and centre of that realistic form of Landscape Art which is so essentially Dutch. Of the predecessors of Ruisdael at Haarlem, the principal were the three fathers of landscape art, Pieter &§ Molijn,* Jan van Goijen,t and Jan Wijnants,| to whom must be added his uncle, Salomon Ruijsdael, Esaias van de Velde,§ Jan van der Meer, of Haarlem, || and Allart van Everdingen.1T Though * A native of London, entered the Guild of Haarlem in 1616, of which he became doyen in 1633 ; died in that town in 1661. f Born at Leyden in 1596, he received his early instruction in art from four unimportant painters, Koenraad Schilperoort, Isaak Nicolai, Hendrik Klok, Willem Gerretzen and others. When in his nineteenth year he made a tour through France, and studied under Esaias van de Velde. After a short stay at Haarlem, he settled at Leyden ; but in 163 1 he went to the Hague, and in 1640 was elected President of the Painters' Guild, and there died in +666. + A native of Haarlem, he was probably born about 16 1 5 or 1620 (Dr. Bredius keeps to the old date, 1600 (?)). His earliest picture bears date 1641. Between 1660 and 1665 he left Haarlem and settled at Amsterdam, where it is assumed he died some time after 1679, the latest date on any picture bearing his signature. § A native of Amsterdam, born about 1590. In 1610 be joined the Protestant Community at Haarlem, and entered the Guild there two years later ; but in 1618 he became a member of the Painters' Guild at the Hague, where he died in 1630. || So called to distinguish him from Jan ver Meer, of Delft. He was born in Haarlem in 162b, passed all his days there, and there died in 1691. 1T Born at Alkmaar in 162 1 ; studied at Utrecht under Roelandt Saverij, with whom he travelled through the Tyrol, and at Haarlem under Pieter de Molijn. He had two brothers, Cesar and Jan, who were painters of JAN VAN GOIJEN. some of them only remained in the town for a time, yet all exercised an influence on its art. Jlfe- Molijn was one of the earliest to paint cavalry combats, skating, and such like scenes. Though he gave prominence in his pictures to men and animals, yet he was one of the first to devote his attention to landscape, which he depicted with much truth. From the fact that many of his best paintings are in Sweden, it is thought that he, like Everdingen, sought subjects in Scandinavia. Van Goijen, who was the father-in-law and master for a time of Jan Steen, was not content with painting only. He specu- lated in paintings, in houses, and in tulips for which Haarlem was especially famous ; and, so far as one can gather, he was more successful with flowers than in either of his other ventures. Van Goijen may fairly be said to be the first to have represented landscapes — or rather canalscapes — for their own sakes. He saw that there was poetry in the flat watery land- scapes of his native land. His subjects are simple — a canal, usually running straight across the canvas, with boats, and on ' its further bank a group of cottages, or a town such as Flushing, Nymegen, Utrecht, or Dordrecht. His sky-line as a rule is placed very low in the picture : sometimes not more than a quarter of the canvas is given to the landscape, the remainder being devoted to fleecy clouds. This characteristic is seen, though not to the same extent, in the works of Salomon Ruijsdael, De Koninck, Van der Meer, and sometimes in the early works of Jacob van Ruisdael. Foliage is never intro- duced to any great extent into his pictures. It is a significant fact that Van Goijen — the father of landscape art — should have been elected President of the Artists' Guild at the Hague, an honour which, with all our profession of note. He was a member of the Artists' Guilds of Alkmaar and Haarlem. About 1640-45 he travelled in Norway, and on his return settled at Haarlem, but in 1653 he removed to Amsterdam, where he died in 1675. 8 THE LANDSCAPE PAINTERS OF HOLLAND. liberalism in art, has never been paid to a landscape artist by the British Royal Academy. As a landscape painter, ' pure and simple, Wijnants has few superiors, but for his figures he was compelled to seek extraneous aid. His pictures display great minuteness of detail, especially in weeds and plants in the foregrounds in his representation of roads ; but they lack the imagination of Ruisdael and the charm of Hobbema. He may be called the painter of the wayside. Esaias van de Velde, who enjoyed the patronage of the House of Orange, was particularly fond of representing cavalry skirmishes. As the teacher of Van Goijen, he is worthy of note here. Van der Meer, of Haarlem, contented himself with depicting the flat dunes around the native town, but he possessed not the power of composition which Ruisdael displayed when treating such subjects. A good example of his art is in the Brunswick Gallery. Allart van Everdingen, consciously or unconsciously, gently satirised the good people of Haarlem by painting Diogenes seeking an honest man in their market-place. The picture is now in the Hague Gallery. But it is on his influence on Ruisdael that his chief interest rests. When he went to the Baltic — with which his native town was in frequent communication, for the Dutchmen sought in Scandinavia the wood for their vessels — history tells us that he was ship- wrecked, and then made a number of sketches on its rockbound coast. These studies served him in after life for the subjects of many a rocky landscape and wild cascade, which gained for him the title of the " Salvator Rosa of the North." Everdingen has left, besides a number of etchings of woody landscapes and cascades, a series of fifty-seven plates illustrating the history of " Reynard the Fox : " the original drawings in burnt sienna are in the British Museum. As much of the somewhat scanty details which have been handed down to us respecting the lives of the Netherlandish ' i GUILD OF ST. LUKE OF HAARLEM. 9 artists is derived from the records of their guilds, it may not be inopportune to glance for a moment at the history of the guild of St. Luke of Haarlem, of which city Jacob van Ruisdael was, after Hals, the most famous painter. The first mention of this guild is found in the record of the endowment, on the 28th February, 1504, by the widow of a certain Floris van Adrichem, of three masses a week to be said on the altar of St. Luke in the Groote Kerk, or church of St. Bavon. The altar was near the north-west pillar in the middle of the church, one of the large pillars which supported the tower : but in the time of the Reformation, it was removed to the church of the Great, or Shodden, Carmelites. In the early stages of these trade associations, when they were known merely as brotherhoods or confraternities, each had its altar in some particular church, and its members celebrated festivals and funerals in common.* The Haarlem guild was — as was customary — governed by a dean (doyen) and several commissioners elected annually. Even in those days they appreciated the truth of the motto adopted by their de- scendants, L Union fait la force, and this, like other corporations of St. Luke, was composed of members of numerous kindred crafts.f While exercising judicial authority in trade matters, in binding themselves to serve in a military capacity for the purposes of defence, those old Dutch artists did not forget their charitable obligations. In 1660, we read, all the fees were doubled in order to provide funds for an orphanage which the guild supported. Their last charter bears date * Woltmann and Woermann, " Geschichte der Malerei." t It contained painters, engravers, painters on glass, and illuminators, sculptors, architects, astronomers, picture dealers, gilders, frame-makers, glass manufacturers, pottery and porcelain manufacturers, cabinet makers, carpet-weavers, goldsmiths, watchmakers, workers in copper and tin, and printers and binders. The goldsmiths left the guild in 1576. IO THE LANDSCAPE PAINTERS OF HOLLAND. 1 75 1, and on the 23rd October, 1789, the guild was dispersed by the action of the corporation. The name of Ruijsdael is first mentioned in the records of this guild in 1623, when Salomon Ruijsdael was admitted a master, and again in September, 1640, when the following entry occurs : — " Restored to the dean the act of the sale with reduction, held by the brothers Ruijsdael the 10th August last, in the place called ' 't Pant ' for the benefit of the Society." Lotteries of the works of members of the guild were not un- common in those days. Two years later the dean and committee of the guild called a meeting to discuss the desirability of putting down the numerous public auctions of pictures which were being held. All painters and engravers and picture-dealers were invited to attend, amongst them were Izack and Salomon Ruijsdael. They were probably the brothers Ruijsdael re- ferred to above. A little later on they are mentioned as not having adhered at all to the resolution passed at the meeting. Van der Willigen points out that Izack must have been either a painter or a picture-dealer, and as no painter of that name is known, he was in all probability a picture dealer, to which he united the trade of frame maker ; and he doubtless carved some of those fine ebony frames which suit so well the pictures of the Dutch masters, and which afford such a relief in a picture gallery to the interminable gilt frames of other schools. " Burger "* and Dr. Bode both, however, think that Izack was a landscape painter, and Mr. (now Sir) J. A. Crowe in his edition of Kugler's ' Handbook ' agrees, and points to three landscapes in the galleries of Frankfort, Vienna, and Brunswick. The first and last are signed I. R., the second I. v. Ruijsdael. And it is now generally admitted that he was * The late Theophile Thore. SALOMON RUIJSDAEL. II a painter. Woltmann and Woermann mention pictures by him at Munich and Berlin and in the French provincial Museums of Bordeaux, Orleans, Lyons, and Rouen. The family of Ruijsdael took its name from a chateau and hamlet — existing in 1630, but now no longer standing — in the neighbourhood of Naarden, a fortified town, south-east of Amsterdam. The Haarlem register of marriages under date 9th March, 1642, records the marriage of Izack Ruijsdael, widower, of Naarden, and Barbartjen Hoevenaers, a spinster of Haarlem. Izack apparently belonged at one time to the Mennonite Sect,* but later he became a member of the Reformed Church, for in 1660 his daughter Maria, a young girl of seventeen, was baptized. Izack was then living in the St. Pieter Straat. In 1672, he lost his second wife, and in 1677 he himself died, and was buried in the new church. Salomon Ruijsdael, his brother, who was born at Haarlem about 1600, and who had joined the guild of St. Luke as a master in 1623, became in 1647 a member of the committee, and, in the following year, dean. In 1669 he reappears as a member of the committee. In this same year his name is inscribed in the register of the Mennonites. He was then living in the Kleine Houtstraat ; but he died in the following year, and was buried in St. Bavon behind the * A religious sect which sprung up in Holland and Germany about the time of the Reformation, and which is identified by many writers with the sect of the Anabaptists, with whom the Mennonites held several leading doctrines in common. They received their appellation from Simon Menno, who was born at Witmarsum, a village in Friesland, in the year 1505. In 1536. he left the Roman Catholic Church, in vvhicn he was a priest, to preach his doctrines throughout Holland and Germany. The followers of Menno very soon split into two sects, the Flemings and the Waterlandians, so called from the countries in which they arose. In the seventeenth century the Mennonites obtained toleration in Holland, Germany, and England. In the year 1630, a considerable part of them arranged their differences, in a Conference at Amsterdam, and formed a union, which was renewed in 1649. 12 THE LANDSCAPE PAINTERS OF HOLLAND. choir on ist of November, 1670. His wife had been buried in the same church ten years previously, the 25th of December, 1660, and a daughter had been buried there in 1650. Salomon Ruijsdael belongs, with Pieter de Molijn and Esaias van de Velde, to the founders of the School of Haarlem landscape painters, of which school Jacob van Ruisdael was the chief. Salomon's work, though richer in tone, resembles much in style that of Van Goijen. His pictures chiefly represent canals bordered by willows, with houses on their banks, and occa- sionally winter scenes. He only now and then approaches to the excellence of his celebrated nephew, Jacob. His principal works are The Halt, in the Amsterdam gallery, and two Ferries, in the Brussels and Antwerp galleries. Van der Willigen tells us of a second Jacob van Ruijsdael, he who is mentioned by Van der Vinne as the son of Salomon, and as entering the Guild of St. Luke in 1664 — sixteen years later, therefore, than our Jacob, the son of the frame- maker. This second Jacob was married in the same year (1664) to Geertruijd Pietersdr. van Ruijsdael of Alkmaar. As several painters married on entering the guild, we may assume that joining the guild was considered in those days as equivalent to winning their spurs in art. This Jacob van Ruijsdael left Haarlem, and settled at Amsterdam probably in 1666, as it is proved by the register of attestation of the Flemish, German, and Frisian Mennonite church assembled at the " Lam " (lamb) at Amsterdam. Under date, 30th July, 1666, Jacob Ruijsdael and his wife are mentioned as coming from Haarlem, and being received by their brothers and sisters in religion. Dr. Bredius has discovered in the archives of Amsterdam an act,'"' dated 3rd February, 1673, in which Jacob * In this act occurs the signatures of the two Jacobs. Each adds, as was then the custom, the name of his father, thus : — Jacob van Ruijsdael, Salomonsz — Jacob van Ruisdael, Isaacksz. See ' Oud-Holland,' vol. vi. JACOB SALOMONSZ VAN RUIJSDAEL. 13 van Ruijsdael Salomonsz, widower of Geertruijd van Ruijs- dael, contracts to marry a certain Annetje Jans Colijn, whose sole dot consisted of the clothes in her possession. In this act he calls himself a shopkeeper, and in the will executed between them in the following July, a hosier ; but in a later document mentioning his widow he is expressly referred to as a painter. It is probable therefore that he, like others of his cotemporaries, combined trade with art. Shortly before his death he returned to his native town. In the register of deaths at Haarlem under 16 November, 1681, is recorded the interment of Jacob van Ruijsdael in the cemetery of St. Anna. This entry, Van der Willigen points out, refers to Jacob the son of Salomon and not to Jacob the son of Izack the frame-maker, and he adds that, " It is very probable that Jacob had been a follower of his father Salomon. It is a pity that one cannot now discover his works and distinguish them from those of his illustrious cousin." Much has been done however in that direction since Van der Willigen wrote. One of his principal works, a Wooded Landscape, in the Rotterdam Museum, signed and dated 1665, tends to show his inferiority to his great namesake. Other works attributed to him are the Entrance to a forest, in the Cassel Gallery, and landscapes in the galleries of Dresden, Stockholm, and Bordeaux. After the death of Jacob, the son of Salomon, his second wife Annetje Colijn demanded that her four children should be baptized in the reformed church of Amsterdam, 29th January, 1682, because she had been pre- vented from doing so by her husband, who was a Mennonite. Jacob van Ruisdael, the principal subject of our Memoir, was the son of Izack by his first wife, and was probably bap- tized into the Mennonite faith, the faith of his father. M. Blanc surmises from the fact that he more than once painted a view H THE LANDSCAPE PAINTERS OF HOLLAND. of the Jews' cemetery at Amsterdam (as in his picture of a convent cemetery in the Dresden gallery, commonly called the Jewish Cemetery), that he might have belonged to the Jewish religion, but this is altogether impossible. His father was a Mennonite, and he himself was in his old age assisted by his Mennonite " friends." The date 1635 given by some writers as the year of his birth is manifestly wrong, as an etching and two pictures by him bear date 1646, and we know that he entered the guild of St. Luke at Haarlem in 1648. Dr. Bode places his birth as early as 1625 ; but, according to a document discovered by Dr. Bredius, in which Ruisdael, on the 9th June, 1661, declared himself to be thirty-two years old, he must have been born between June 10, 1628, and June 9, 1629.* About this time Haarlem, in spite of the great fire of 1576 which had destroyed between four and five hundred houses, possessed 42,000 inhabitants. We know nothing of his early youth. Van der Vinne, who is followed by Houbraken, tells us that his father was a frame- maker, and this (as we have seen) seems to be true, but we cannot so readily believe Houbraken when he tells us that Jacob studied and practised medicine, and gained "a great reputation as a surgeon," for his name does not appear amongst the list of physicians and surgeons of Haarlem or Amsterdam of that date, although Immerzeel mentions a Cascade painted by a Dr. Jacob Ruijsdael, which was sold at Dordrecht in 1720. There is, however, a possibility of the truth of the assertion made by several writers that he studied under Everdingen, for the latter is known to have resided at Haarlem in 1645-46, where he married in the former year, and joined the guild in the latter. At all events, the work of Everdingen at one time had great influence on his style, as is shown by his * ' Oud-Holland,' vol. vi. p. 21. See also p. 41 of this book. RUISDAEL AT AMSTERDAM. 15 pictures of northern scenery. There is no evidence in favour of his having been a pupil of Berchem, as has been asserted. Dr. Bode thinks that he studied under his father, and perhaps under his uncle Salomon. His early works, those which he executed at Haarlem, have sunny and attractive effects, which the poetic renderings of his later years do not possess. We do not know under what circumstances he lived at Amsterdam, whither he removed in 1659 (about the same time as Wijnants and six years after Everdingen had removed thither), in which year he obtained the rights of citizenship. As Van der Willigen points out, it was probably at the best only in a position little removed from indigence, and this idea is corroborated by the sad and gloomy feeling of so many of his works — forest scenes which breathe of loneliness and melancholy and wild and dreary waterfalls, for which he was glad to receive sixteen or twenty florins apiece, and which would now probably realize about one thousand pounds each. In May, 1667, Ruisdael, who was then living in the Calver- straat, opposite the Court of Holland, was in very ill-health, and he signed a will * at the notary's office in the Egelantiers- graft (wild rose canal), leaving all he possessed to a half-sister born of his father's second marriage, with the proviso that she should pay to her father all the sums that were due to him. Her guardians — Salomon Ruijsdael and his son Jacob — were made responsible for the execution of this clause. We read in the register of Transfers of Haarlem under date 1 ith April, 1668 : — " In the presence of Jacob van de Camer, Public Notary, living in this town, admitted by the noble Court of Holland and the Magistrates of Haarlem, the honourable Izack Ruijsdael, resident in this town, certifies that he will cede, assign, and give his entire property by this act, to his son the honourable Jacobus Ruijsdael, living at Amsterdam, all his rights, ' Oud-llolland,' vol. vi. 16 THE LANDSCAPE PAINTERS OF HOLLAND. his movable goods, such as kitchen utensils, cupboards, chests, benches, chairs, beds and bedding and linen, — as well as bonds and all the assignor possesses, or is likely to possess in the future ; the whole in payment of the sums of money lent him by his son, according to the proofs given on this subject, the assignor promising besides not to make any further claim or to retain anything. This is according to the formalities of the present act. Done and passed in the above-mentioned town of Haarlem, in the presence of Pieter Sasters and Willem van de Camer, witnesses. (Signed) J. v. d. Camer, " Public Notary." . From this document, from which we learn incidentally that Jacob was a son of Izack, we see that Jacob helped to support his indigent father in his declining years, and at all events at that time was not entirely without means. On the other hand, history tells us that in 1681 his friends {Vrienden, thus the Mennonites called themselves amongst themselves) at Amster- dam, addressed to the Burgomasters of Haarlem a petition begging that something should be done for him, with the follow- ing result : — " The friends of Jacob Ruijsdael of Amsterdam having manifested a desire to procure a place for Jacob Ruijs- dael in the hospital (Aalmoezeniers huis)^t Haarlem, and engaging besides to defray the expenses of his board, we have granted their wish, and beg the regents to pay themselves well, so that the above- named boarder be no cost but a profit to the said hospital." One may conclude that he accepted the proffered asylum ; but he was not destined to enjoy it long, for in the following year, on the 24th of March, 1682, he was buried in St. Bavon — the groote kerk, the tower of which so often appears in his pictures. The fee for opening the tomb was four florins. Van der Wil- ligen points out that Ruisdael was not married, or at any rate had not a wife living in 1681, for only one place was asked for in the hospital, and a husband was not admitted without his wife. There is something very sad in his living and dying without THE RUIJSDAEL FAMILY. 17 any near friends or relations. And yet he cannot have been quite friendless. Amongst his acquaintances he reckoned his rival Hobbema, for Ruijsdael was one of the witnesses to his marriage at Amsterdam in 1668. He must also have known Berchem, Lingelbach, Ver Meer of Delft, Adriaen van de Velde and Wouwerman, who all added figures to his landscapes. Amongst other artists who assisted him in this manner must be noticed Gerard van Battem,* a painter and etcher of Rotterdam, as in two Views of Amsterdam in the Berlin arid Rotterdam galleries. The above facts are all that the careful researches of Van der Willigen and Dr. Bredius have been able to gather about the family of Ruijsdael at Haarlem. From which it will be seen that but little has been handed down to us concerning the life of Jacob, the foremost landscape painter of Holland, and by some considered second only to Rembrandt amongst Dutch artists. So much confusiont has arisen with respect to the Ruijsdaels that it may not be amiss to append the following table showing their relationships : — Izack Ruijsdael (d. 1677) 1st marriage Jacob van Ruisdael (6. ab. 1628, d. 1682) t. 2ndly, 1642, Barbart- jen Hoevenaers I . Maria (b. 1643) Salomon Ruijsdael (b. ab. 1600, d. 1670) i Jacob van Ruijsdael (d. 1681). ;;/. 1st, 1664, Geertruijd van Ruijsdael m. 2nd, 1673, Annetje Colijn * He died at Amsterdam in 1690. f Even Sir J. A. Crowe, in his revised edition of Kugler's ' Handbook,' leaves in Kugler's statement that Salomon and Jacob (Izacksz) were brothers, while he says that Jacob was the son of Izack, brother of Salomon. In the new edition of Bryan's Dictionary, Izack is said to be the brother of Salomon and Jacob : and M. Michel makes confusion worse confounded by a misprint which calls the son of Salomon, Isaac instead of Jacob. C 18 THE LANDSCAPE PAINTERS OF HOLLAND. It is to be regretted that we possess no authentic portrait of Ruisdael, Like many of his countrymen, he painted both on canvas and panel. In early life he signed his pictures Ruijsdael ; but all his later productions bear the signature Ruifdael, which form is now usually adopted by the best art historians. In the former case the s is a short one ; in the latter usually long. He alone of the four (Izack, Salomon and the two Jacobs) adopted the form Ruifdael, and it is conceivable that he did it in order to distinguish his work from that of his cousin or his uncle. The initial letter of the name is usually a monogram of J and R, or v and R, and sometimes of J. v. R. Occasionally he merely signed with a monogram composed of J. v. R. (see page 144). He was apparently the first of his family to adopt the aristocratic van. His pictures were rarely dated. Those which are, extend as a rule from 1646 to 1649, though thedates 1661 (Amsterdam Gallery), 1667 (Munich Pinakothek), and 1673 (National Gallery), also occur. The subjects of Ruisdael's pictures would suggest that he travelled in Germany, Switzerland, Norway, and even Italy; but no records .exist of his travels, and, so far as one knows, he never went further from Haarlem than Groningen, Bent- heim, or Wijk-bij-Duurstede, between which and Arnheim are some of the most hilly portions of Holland. M. Blanc thinks —and M. Michel thinks so too — it impossible to believe that he could have painted cloud-topped mountains and deep waterfalls from pure imagination or from the works of others ; and he fancies that he, like Everdingen, visited Norway. From the pencil studies of fir-trees which he made, one may assume that he at least studied these trees from nature — where one cannot say — and did not take them second-hand from the works of Everdingen. ^ ^ "2 JACOB VAX RUISDAEL. 19 Some of his pictures (such as The Weir, No. 160 in the Secre'tan Sale) are as peaceful as Hobbema's. And amongst some of his justly most valued works are representations of the flat plains around Haarlem, depicted in a manner recalling De Koninck and Van der Meer of Haarlem. Examples are in the galleries of the Hague, Amsterdam, and Berlin, in the National Gallery and in the collections of Lord Northbrook, Mr. Holford and the Marquis of Bute. The scene is usually taken from the sandy dunes in the vicinity of the village of Overveen, about a mile and a half to the west of the town ; Haarlem itself, with its church-spires and windmills, is seen in the distance, a prominent feature being the tower of the Groote Kerk, 255 feet high, which was completed in 15 16, some twenty years after the body of the church. In the fore- ground are seen the famous bleaching grounds, now abolished, which, before the discovery of chemical means of bleaching linen, were a great source of income to the town. Linen was brought here from all parts of the continent to be bleached — ■ and then went back again as " Dutch linen " or Holland. In other pictures he gives us magnificent representations of fine old oak trees, veritable monarchs of the forest, in a manner which has only been approached in later years by Rousseau. Again, sometimes he depicts rich corn-fields, but usually placed on the verge of a forest whose deep shadows well contrast with the golden tints of the ripened crops. His mysterious and solitary waterfalls belong to his later period. He also sometimes painted the sea-shore as at Scheveningen. In his sea-pieces he frequently places a gleam of bright sunlight across waves of inky blackness. " As for the sea-pieces,'' M. Blanc tells us, •* one knows that Ruysdael excelled in them ; it was not necessary for him to search far for his model. A few miles from Amsterdam where he stayed, was the Zuyderzee and, C 2 20 THE LANDSCAPE PAINTERS OF HOLLAND. apart from that, almost all the coast of Holland is bathed by the ocean. The Dutch School numbers many painters who have shone in the repre- sentation of marine scenes ; but those of Ruysdael are easily distinguished from the works of the same kind ; they carry the seal of his genius as all the rest. It is no longer the calm and transparent sea of Jan van Goyen, the large soapy wave, the dramatic storm, of Bakhuysen, still less the exact finish or the charming truth of Willem van de Velde. Ruysdael's billows are deep and dark ; menacing even more than terrible ; tempests have, with him, I scarcely know what measure of silence and restraint, of which the aspect fills one with an unexplained anguish and recalls the genius of Rembrandt." And M. Michel, who also cannot speak too highly of his sea-pieces, says : "As a painter of the sea, he far surpasses all the marine artists." On the other hand Mr. Ruskin has not much to say in praise of his representation of water : — "To suggest the ordinary appearance of calm water — to lay on canvas as much evidence of surface and reflection as may make us understand that water is meant — is, perhaps, the easiest task of art ; and even ordinary running or falling water may be sufficiently rendered, by observing careful curves of projection with a dark ground, and breaking a little white over it, as we see done with judgment and truth by Ruysdael. But to paint the actual play of hue on the reflective surface, or to give the forms and fury of water when it begins to show itself — to give the Mashing and rocket-like velocity of a noble cataract, or the precision and grace of the sea wave, so exquisitely modelled, though so mockingly transient — so mountainous in its form, yet so cloud-like in its motion — with its variety and delicacy of colour, when every ripple and wreath has some peculiar passage of reflection upon itself alone, and the radiating and scintillating sunbeams are mixed with the dim hues of transparent depth and dark rock below ; to do this perfectly, is beyond the power of man ; to do it even partially, has been granted to but one or two, even of those few who have dared to attempt it." And again he says : " Ruysdael's painting of falling water is also generally agreeable — more than agreeable it can hardly be considered. There appears no exertion of mind in any of his works ; nor are they calculated to produce either harm or good by their feeble influence. They are good furniture pieces, unworthy of praise, and undeserving of blame." M. Blanc, in a sympathetic essay on the poetry of his work, says, " Ruys- JACOB VAN RUISDAEL. 21 dael was the painter of nature's elegies and the poet of souls tried by sorrow. He seeks the most mysterious solitude, paths untrodden ; he sits at the foot of ruins ; he wanders in the midst of deserted tombs, he follows the side of torrents of which the noisy and monotonous fall lulls human suffering to rest ; at times he contemplates the ivy clinging to the large trees, mirrored in the midst of inundated plains. In a corner of the world, forgotten by man, where mourning nature seems to weep over her isolation, he lingers. The dying Goethe cried, ' Light, more light ' ; I imagine that Ruysdael in speaking of his cascades, rocks, waves and lowering clouds would have taid : ' Sadness, more sadness.' He knew, in short, that kind of sentiment that Montaigne vaguely guessed, without having felt, when he wrote : ' I imagine that there is a certain kind of daintiness and fastidiousness even in the bosom of melancholy.' He had no need to search for funereal and terrible effects in his landscapes, to call to his aid thunder or the deluge. Often it sufficed him, in order to inspire in us an inexplicable melancholy, to show us a gigantic pine-tree, of which the foliage opens like a parasol at the summit of a trunk, tall and naked. The depth of the wooded landscape loses itself in the mists of the horizon ; the tree raises itself lonely and detached against the deep sky ; the still shadow darkens the waters of the lake which surround the narrow promontory where its roots are buried. One or two cows bathe further off, and the ripples of the water alone trouble the deep silence of this retreat. The idea, the arrangement, and the composition of the picture are of the greatest simplicity, and yet the effect is grand. A young German dreamer said to me one day when showing an engraving of the picture, ' I cannot look at this pine with the rigid foliage, the straight and bare trunk, in the country where its dark countenance dominates all the surrounding vegetation, without thinking of those earthly kings, who, reaching supreme power, find themselves alone and without friends by reason of their having no equals.' " The following criticism from the pen of Kugler is less imaginative than M. Blanc's : — "Jacob Ruysdael is, beyond all dispute, the greatest of the Dutch landscape painters. In the works of no other do we find that feeling for the poetry of Northern nature and perfection of representation united in the same degree. With admirable drawing he combined a knowledge of chiaroscuro in its most multifarious aspects, a colouring powerful and warm, and a mastery of the brush which, while never too smooth in 22 THE LANDSCAPE PAINTERS OF HOLLAND. surface, ranges from the tenderest and most minute touch to the broadest, freest and most marrowy execution. The prevailing tone of his colouring is a full, decided green. Unfortunately, however, many of his pictures have, in the course of years, acquired a heavy brown tone, and thus forfeited their highest charm. Many also were originally painted in a greyish but clear tone. . . . Taken altogether, his wide expanses of sky, earth, or sea, with their tender gradations of aerial perspective, diversified here and there by alternations of sunshine and shadow, may be said to attract us as much by the deep pathos as well as picturesqueness of their character. Ruisdael did not often paint particular views. As Linnell said of himself, he was no topographer, but whatever views he selected one feels that he represented the details with accuracy and care, although they were only considered a means to express his poetic melancholy, and the ensemble was frequently altered by him to meet his requirements. As a mere portrayer of nature, he was undoubtedly surpassed by Hobbema, Wijnants, Dekker, and others. In addition to the representations of the plains of Haarlem and the Dam and Fishmarket of Amsterdam, he occasionally depicted the old Palace or Castle of Bentheim, as may be seen in the examples in the galleries of Amsterdam, Rotterdam and Dresden; the Castle of Kostverloren on the Amstel,* near Beverwijk ; and the Castle of Brederode : the two last also served as model to his friend and rival Hobbema. The Castle of Bentheim rests perched on a height above the Wechtel in the Province of Hanover, not far from the Dutch border; and in its woody neighbourhood — now the favourite haunt of Dussel- dorf landscape painters — Ruisdael made many a subject for his pictures. He was not very successful with his few views of Amsterdam. " Only," says M. Michel, " the View of the Damrak, with the old church, which belongs to M. M. Kann, * A view of this castle passed in 1834 from the De Berri Collection to that of Mr. George Stone. Cf. Smith, 256. JACOB VAN RUISDAEL. 23 appears to us worthy of him." Several views of canals, gates and bridges of Amsterdam by him are only known to us by Blotelingh's engravings. In the Marquis of Bute's collection is an Interior of a Gothic church (called the New Church at Amsterdam) which is said to be by Ruisdael. Though he is not known to have ever painted a church interior, there is no reason why he should not have done so, and, as Dr. Richter points out, "the peculiar grey colouring of the walls is in accordance with the traditional ascription of the picture." The figures are by Wouwerman. A pretty tale is told by Mrs. Jameson of the soothing influence of Ruisdael's work :■ — ■ " 'I cannot express to you,' said a most distinguished statesman of the present day, as we stood together in the midst of his beautiful pictures, ' I cannot express to you the feeling of tranquillity, of restoration, with which, in an interval of harassing official business, I look round me here ! ' And while he spoke, in the slow, quiet tone of a weary man, he turned his eyes on a forest scene of Ruysdael, and gazed on it for a minute or two in silence — a silence I was careful not to break, — as if its cool, dewy verdure, its deep seclusion, its transparent waters stealing through the glade, had sent refreshment into his very soul." One may perhaps assume that the distinguished statesman was Sir Robert Peel, and the picture a Forest Scene now (No. 854) in the National Gallery. The number of works ascribed to Ruisdael is great ; and it is highly improbable that he executed all that now bear his name. On the other hand, at one time Hobbema's name was removed from his works, and those of Ruisdael and other more popular artists placed in its stead. When the time came for the restitution of his rights it is possible that to Hobbema were ascribed some works which were really Ruisdael's, by those who considered that, while every rocky landscape must be by 24 THE LANDSCAPE PAINTERS OF HOLLAND. Ruisdael, every peaceful scene of cottages beneath high trees with water-mills, must be by Hobbema. Amongst other artists whose work has been ascribed to Ruisdael, must be mentioned Roelof de Vries* and A. Verboom.f Smith in his '■ Catalogue Raisonne ' records no less than 445 works attributed to Ruis- dael, and Waagen mentions 130 pictures by him in England. As we have seen, but few of his pictures are dated, and it is difficult to place them in anything approaching chronological order. Broadly speaking, his views of flat, sandy landscapes belong to his earlier years, and his waterfalls and romantic forest scenes to a later period. In the Hermitage at St. Petersburg there are no less than fifteen of his works, of which a Marsh in an Oak Forest is by some considered his masterpiece. It is a typical work of the master, and full of peaceful solitude, into which he has introduced the often used symbol of death, a fallen tree trunk. Another is a view, said to be in the neighbourhood of Gronin- gen, signed and dated 1647 : it must have been painted when he was about nineteen years of age. The rest of the pictures in the gallery are all landscapes. In the Belvedere at Vienna is a large picture, entitled The Forest, six feet wide by five feet high. M. Viardot says it is " the largest, the most important, and perhaps the most perfect of Ruysdael's works, and the truest, most excellent portrait of simple nature that can be imagined. The only landscape paintings that can be placed above it are those dreamed of and composed by Claude Lorrain." * Born at Haarlem in 1631 ; painted there from 1643 to 1669. Pictures by him are at Berlin, Amsterdam, Munich, Frankfort and Vienna (Liech- tenstein and Czernin collections). f He flourished in the latter part of the seventeenth century. The dates of his birth and death are unknown. Works by him are at Dulwich, Amsterdam, Brussels and Rotterdam. JACOB VAN RUISDAEL. 25 In the Pinakothek at Munich are eight works by him, of which one, a Northern Mountain Landscape (No. 547), shows the influence of Everdingen : another, a Steep road over a sandy hill, is one of the few dated pictures by him ; unfortunately, however, the third figure is illegible. It is read by Woltmann and Woermann as a 6, making the date 1667, or by others as a 4, which would make it a very early work. Its style rather points to this earlier date. At Dresden there are no less than thirteen works by him, several of the highest class. Of these the most famous is the so-called Jewish Cemetery, which probably belongs to his later years. That Ruisdael borrowed the motive of his tombs from a Jewish burial-ground is proved, says Dr. Woermann, by the engraving which A. Blotelingh made in 1670 from two drawings* by Ruisdael, which, according to a contemporary inscription, represents the Jewish Cemetery at Amsterdam. The tombs in the picture are, in part, exactly like those in the drawing ; but to them, Ruisdael added a mountain stream and a river. Of this work, M. Blanc writes : — " But if one would understand the pathetic beauties that Ruysdael knew how to diffuse over even his most simple works, one must linger, with deep respect, before the celebrated canvas representing the Jew's Cemetery at Amsterdam. Three or four tombs, composed of large stones hewn in a simple and even rough style, are scattered in disorder at the foot of a large elm. The grass and the wild plants cover the uneven and stony soil, rarely disturbed by the foot of man. In the distance one sees a mass of bushy trees which surmount the spire of a chapel. The sky is dark, but there is a ray of sunlight, splendid and brilliant, piercing the clouds falling on this field of rest. The effect of this sunlight is dazzling ; the whiteness of the tombstones, brilliantly lighted, is rendered still more remarkable by the contrast of the deep shadows which cover the other objects. One might say death and life ; but the splendour of the day has Now in the Teyler Museum at Haarlem. 26 THE LANDSCAPE PAINTERS OF HOLLAND. a coldness and a wanness which it is impossible to define. In vain the shining star throws her light and warmth on the stones of sinners : — ' The sun of the living no more warms the dead ! ' " What an austere elegy, and what wonderful things can be done with the brush ! The sky is above all a desolation which words are as powerless to explain. It is veiled, like the earth, with a dull tint. "What grave and religious thoughts must not assail those three Jews, clothed in long robes, who wander there below in a narrow pathway winding between the tombs ! Touching inspiration ! the great painter has made hover over those men, faithful to those who are no more, a group of swallows, birds of memory, who every year build their nests in the same places." A drawing by Ruisdael of the above scene, without the tombs or ruins, is in the His de la Salle collection in the Louvre. Of the other pictures at Dresden, attention may be drawn to The Chase, a magnificent work, with figures by Adriaen van de Velde, which certainly add nothing to the value of the picture ; The Monastery, a really fine picture ; a view of the Castle of Bentheim, and a fine Waterfall by a Castle, one of the best examples of this phase of his art. In 1813, Goethe wrote an essay on Ruisdael as a thinking artist,* and in order to consider him from this point of view he takes three pictures in the Dresden gallery — The Waterfall, The Monastery, and The Cemetery. After praising the waterfall, he says of the second : — " Richer, and more attractive in composition, it has a similar motive — to represent the Past in the Present. This is accomplished in a most marvellous manner — the dead and gone brought into connection with the living. On your left hand, you see a ruined, destroyed monastery, but behind it some buildings maintained in good repair, probably the dwelling of some official or agent, who still collects taxes and rents, though they do not any longer bring life to the place, as they did in the old time. " In sight of those buildings stands a round copse of lime trees planted in antiquity, and still growing on — to signify that the works of Nature live and last longer than the works of men ; for underneath these trees, many " Ruysdael als Dichter. JACOB VAN RUISDAEL. 27 centuries ago, at church festivals and fairs, numbers of pilgrims used to come together, and refresh themselves after pious wanderings. "It is made plain that, once upon a time, there has been a great gather- ing of men, a constant busy life, in this place, by the foundations still standing in and near the water of pillars of bridges, which serve a picturesque purpose now, by blocking up the stream and making little rippling water- falls in it. But though the bridge is demolished, there is still a lively traffic finding its way through obstacles : men and cattle, shepherds and travellers, pass through the shallow water, and give the gentle current a new charm. The water is also as full of fishes still as it was when they were wanted for Lenten dinners, and fishermen are still wading in pursuit of these innocent inhabitants, and trying to catch them. And if the hills in the back- ground seem to be wooded with young bushes, you may conclude that thick forests have been cleared from here, and those gentle eminences left to the offshoots and the little bushes. But on this side of the water a remarkable group of trees has taken up its abode next to a weather-worn, disintegrated surface of rock. A lordly old beech tree stands there, already ' over-aged,' stripped of leaves, and branches with bursted bark. But in order that its splendidly painted stem may not make us sad, but the contrary, a number of other trees are grouped with it, which are still full of life, and come to the relief of the bald old stem with their wealth of branches and boughs. Their luxuriant growth is favoured by the moisture close at hand, which is admirably indicated by mosses and reeds and marsh weeds. " Now, whilst a mild light is spreading from the monastery to the limes, and beyond, and glancing on the white stem of the beech, like a mirror, and then gliding back across the gentle stream and the noisy rapids, over shepherds and fishermen, and giving life to the whole of the picture, sitting close to the water in the foreground, turning his back to us, there is the painter himself drawing, and we look at this so-often-abused easel with emotion, so significant and effective is it in its place. He sits here as a spectator, the representation of all who hereafter are to look at the picture, who care to plunge with him in the contemplation of the past and the present, so sweetly interwoven each in each. "Happily caught from Nature is this picture, happily elevated lay the sentiment it expresses, and when we find it also satisfying all requirements of art and execution, it will always be attractive to us ; it will preserve its well -deserved reputation through all ages, and even in a copy, if it is a little successful, bring back to our minds the greater merit of the original." 28 THE LANDSCAPE PAINTERS OF HOLLAND. But the Cemetery evidently appeals most strongly to the German poet. "The third picture, on the other hand, is altogether dedicated to the past, without taking any account of the life of the present. It is called the Cemetery. It is one. The tombs, in their demolished condition, indicate a remote ' more-than-mere-past.' They are their own tombstones. . . . " The most important thought of this picture makes at the same time the greatest picturesque impression. By the fall of immense buildings a peaceful hitherto clearly-flowing stream is blocked with rubbish, and turned out of its way, so now it has to seek for itself a way through the wilderness, even among the tombs. A ray of light, piercing the rain- cloud, falls on a couple of upright, already damaged tombstones, and on a hoary tree trunk and stem, and especially on the advancing flood of water, its rapidly rushing water-flashes, and the spray that comes from it. "All these pictures, so often engraved, will be known to many amateurs. He who is happy enough to see the originals should imbue himself with the thought how far art can and ought to go." At Berlin, are eleven good works by Ruisdael — two of those poetic renderings of the bleaching fields of Haarlem ; two sea pieces, one an Agitated Sea, specially remarkable for the stormy feeling and the grand movement of sea and clouds ; a Waterfall ; a View of the Dam at Amsterdam — showing in the middle of the picture the public Weighing House, on the facade of which are the year of its foundation, 1565, and the town arms — with figures by Eglon van der Neer, or Gerard van Battem; and a Landscape with Peasants' Jfuts, dated 1653. In the View of Haarlein from the Dunes of Overveen, we see on the extreme right, in the foreground, the edge of the dunes, towards which a road is stretching. Behind this, the meadows of Overveen, covered with linen bleaching in the sun, and farther back, the houses of the village scattered amongst the trees. In the distance, across an expanse of meadow land, lies Haarlem, overtopped on the left by the tower of its Groote I 1 ' fi «l||&$£S Wis- •i| ^SH !$fp§4W «i. 11 IS P< ". ; '. •jWp 1 9MSD8& Hi HI HI 6:'' '"Mi JB^ t >'.'. _;/, PHE1 9*419 m : . 52 m • 9 w . <^ag Pi* jijjh. Hi jJSy- M - ■ ^jfe .ll szM$ « ^JrSB 'I :1 3Q THE LANDSCAPE PAINTERS OF PIOLLAND. Kerk. To the right, appears a wood with windmills on its edge. On the road in the foreground is a bleacher and other figures. Light masses of cloud float in the sky. In the Berlin Gallery is also a picture of Poultry — turkeys, pigeons, hens, and ducks — by Jacomo Victor,* to which Ruisdael has painted a landscape background. In the Cassel Gallery is a Waterfall, which is highly praised by Dr. Bode for its poetic conception, its richness and grandeur of composition, and its truth in the treatment of the troubled waters. France possesses, in the Louvre, a fine Forest, with figures by Berchem, which are admirable in their way ; but one cannot help feeling that one prefers Ruisdael unassisted — Ruisdael and nature without Berchem's neat Italian peasants out of all sympathy with the poet-painter's melancholy. f In the Louvre, too, are two good landscapes, known as Le Buisson and Lc Coup de Soleil, with figures by Wouwerman, and a Storm on the Dykes of Holland, in which we see some ships attacked by a squall of wind ; the only shelter offered by the deserted shore is a wooden jetty shaken by the force of the waves. The murky clouds are admirably expressed : — " The colour of the water, becoming yellow at the approach of the hurricane, is an admirable truth. While breaking, the waves curve the long reeds which had their birth in the mud accumulated around the pier. One can almost see them wrenched away and mixing in the water still transparent, although stirred up. Leaden clouds close the day. . . . ; it is rather the presentiment than the spectacle of a tempest ; one does not see the danger of the sailors, but one guesses it, and the imagination is struck by the powerful emotion which is transmitted by the genius of the * A little-known painter of poultry ; probably a relation of Jan Victors. He was living about 1663 at Venice ; about 1670 at Amsterdam. t Smith (103) mentions a Forest Seme, signed by both Berchem anil Ruisdael, and dated 1652. It was once in the Duchess de Bern's collection. JACOB VAN RUISDAEL. 31 painter. Others have seen and painted hurricanes and storms, but Ruysdael has given to his mournful dramas a pathetic sublimity, so to speak, the cry of his soul and the cry of human sympathy." Mr. Ruskin, who has no great sympathy with Dutch Art, says of this picture : — " There is a sea piece of Ruysdael's in the Louvre, which though nothing very remarkable in any quality of art, is at least forceful, agreeable, and, as far as it goes, natural ; the waves have much freedom of action, and power of colour ; the wind blows hard over the shore, and the whole picture may be studied with profit as a proof that the deficiency of colour and everything else in Backhuysen's works is no fault of the Dutch sea. There is sublimity and power in every field of nature from the pole to the line ; and though the painters of one country are often better and greater, universally, than those of another, this is less because the subjects of art are wanting anywhere, than because one country or one age breeds mighty and thinking men, and another none."' M. Michel points out that the group of trees in Le Buissoti is identical (only reversed) with that in the picture of the Road over a sandhill in the Munich gallery referred to above. Le Buisson has been finely etched by Daubigny. Holland is not particularly rich in works by Ruisdael. In the Amsterdam gallery there are nine ; at the Hague three (a Cascade, a Sea-coast view, and a View of Haarlem) ; and in the Rotterdam Museum, a view of the Fish Market at Amsterdam. Of those at Amsterdam, we may mention a Waterfall (one of his finest works), a view of the Castle of Bentheim, a Winter Landscape, an unusual subject with him, one of the several views of Haarlem from the dunes of Over- veen, and three pictures from the celebrated Van der Hoop Collection, of which one is a River Scene near Wijk-bij-Duur- stede, the Batavodurum of the Romans, where the Rhine divides into two channels. This last work is indeed a masterpiece. Fromentin* praises it highly. * ' Les Maitres d 'autrefois.' 32 THE LANDSCAPE PAINTERS OF HOLLAND. Of his works in England, perhaps, the most famous is the Wooded Landscape at Worcester College, Oxford, which Burger says " strikes one by the unity of effect, and the apparent simplicity of colour. At first sight one only sees the ' en- semble ;' all the details, which are nevertheless rendered to perfection, are hidden by perfect harmony. However, when one has received this impression of a severe and profoundly characterised although naively rustic nature, one begins to search for what details there are in this piece of country." One sees a pool, with water-lilies and other aquatic plants resting on its surface, under the shadows of some high trees, prominent amongst which is a magnificent oak. This bit of the forest stretches to the left, and several fallen trees lie on the banks. A road, which leads through the centre of the picture to the pool, runs to the right where are a shepherd and his flock ; and further on a glimpse of distant landscape. In the Dulwich College Gallery are three good works — one, Two Windmills near a pathway, with the Groote Kerk of Haar- lem in the distance, an early work ; the second a Waterfall, a wonderful rendering of troubled water, and a scene on the Edge of a Wood, in which is seen the influence of AVijnants, to whom it was once ascribed despite the fact that it bears Ruisdael's monogram. In the National Gallery there are no less than twelve works by him, of which just half belong to the Wynn Ellis bequest. Five of the twelve are Waterfalls, one of which is signed J. Ruijsdael f, a form of signature which we are told Ruisdael used only in his early works ; and yet, at the same time, we are informed that his waterfall pieces belonged to his later years ! Two other pictures represent Watermills, and in one (No. 989) are bleachers at work, from which we gather that it belongs to his Haarlem period. No. 854, a JACOB VAN RUISDAEL. 33 Forest Scene, is full of that poetic melancholy which makes him stand alone among the landscape painters of Holland. Lord Northbrook's collection is particularly rich in works by Ruisdael. It contains no less than six, a view of the Castle of Brederode, a Landscape, with water in the foreground, The STORM ON By Ruisdael. In the Dcc/hIchc Gallery. Cornfields, which recalls Hobbema, a Landscape with waterfall, of the Van Everdingen type, a Fresh Breeze (a view on the Y off Amsterdam), as good a representation of a fresh breeze as a Bakhuisen, and last but by no means least, a View on the plains before Haarlem, which, as Waagen tells us, " takes a high place amongst this class of Ruysdael's works." D 34 THE LANDSCAPE PAINTERS OF HOLLAND. In the gallery at Deepdene is a magnificent Storm on a Sea- Coast (p. 33), by Ruisdael, which Bakhuisen himself has rarely equalled. Three boats are battling with the storm and endeavouring to prevent the wind from driving them on to a lee shore, against which the waves are dashing in white foam, contrasting forcibly with the dark threatening clouds and the inky sea in which they are reflected. The storm is terrible, but there is not that poetic melancholy which is to be seen in his cascades ; the struggling boats give it a human interest which the lonely waterfalls do not possess. Another fine Storm at Sea is at Bowood, in the Marquis of Lansdowne's galleries ; it was once in the famous Braam- camp collection, from which it was sold in 1771 for ^25 only ! In the foreground are two piers against which the sea is beating heavily ; the boats are endeavouring to enter the harbour. The darkness of the waves is relieved by a streak of light which momentarily breaks through the stormy clouds. In Lord Ribblesdale's gallery at Gisburne Park is a fine work — a Landscape in which a cottage is seen on a height, towards which men and animals are ascending by a road which winds to our left ; on the right is a distant view. This work meets with high praise at the hands of the author of " The Private Collections of England " in the Athenceum : — " The clear depth and purity of Ruysdael's shadow painting, one of the most precious charms of his art, is here in a very large measure ; the greys, which are generally in his paintings, are beautifully harmonized with the greens and browns, and for the sake of which harmonious combination many other fine qualities of art were sacrificed by Ruysdael, are finely pronounced and delicately treated here. The finish of the picture — what is so often affectedly called its pencilling — is very delicate and careful. It is in fine condition, and, on the whole, is one of the most interesting pro- ductions we have seen by the master, quite equal to any of his works which are in the public collections of this country." TACOB VAX RUISDAEL 35 In Bridgwater House are six examples ; a view of the old gate of Amsterdam, a scene near Haarlem, and four other landscapes ; and at Dorchester House (Mr. R. S. Holford) is a fine landscape, known as the Coup de Soleil, showing an extensive view over a flat wooded country ; houses in the foreground, and further off on the left the towers of a castle rising above the trees ; in the immediate foreground are a man and a dog. The middle distance is lighted up by a gleam of sunlight which gives its name to the picture : according to the form of the signature this is an early work. In Lord Wantage's collection — which is especially rich in Dutch art — are five works by Ruisdael, of which the principal is a Waterfall. This picture was once in the celebrated gallery of Baron Verstolk at the Hague, from which was formed the greater part of Lord Overstone's collection, which passed en bloc to his son-in-law, Lord Wantage. Many of the best examples of this gallery have been seen at the " Old Masters" Exhibition of 187 1, '72 and '88. In the Waterfall, we see on the right a foaming torrent rushing between rocks and flowing away towards the left. Above rises a wooded slope, on the top of which are some cottages. On the side are two men seated — one, supposed to represent the artist, sketching. On the extreme left is a cottage, at the door of which are a woman, and a man and his dog. In the distance to the right is a village backed by blue hills ; the sky is cloudy. Waagen tells us that this picture is in every respect one of the finest Ruisdaels known to him. He extols the true and profound feeling for nature, the animation of the water and the breadth and softness of the execution. Of the View of Scheveningen at Castle Howard, the same writer says it is " one of the most powerful and rich of Ruysdael's shore pieces, full of tone, and its solidity is so d 2 36 THE LANDSCAPE PAINTERS OF HOLLAND. complete that the general effect is almost microscopic. The atmosphere is one ofthe finest that we know ; the harmonizing and grading of the greys is magical." A fine Ruisdael, called The Windmill, was burned in the fire at Holker Hall in 1870, when no less than ninety-eight masterpieces perished, and those remaining were only rescued with great difficulty. Of the four works by him now at Holker one recalls De Koninck and another Hobbema. It is of course impossible to here mention all even of the first-rate Ruisdaels in this country, but the following collec- tions have each one or more specially fine examples : Bearwood (Mr. J. Walter), Clumber (Duke of Newcastle), Duke of Bedford, Marquis of Bute, Buckingham Palace, and Hertford House (Lady Wallace). During the twenty-one Exhibitions of work by the " Old Masters," there have only been two col- lections (one of which was confined exclusively to pictures by Landseer) without an example by Ruisdael. Although much of the charm of Ruisdael's paintings is due to his own poetic imagination, yet for the details of his work he made many careful studies, as is proved by the drawings by him preserved in the Louvre, the British Museum (from the Payne Knight, Cracherode, and Sheepshanks collections), the Berlin Museum, the Fodor Museum at Amsterdam, and the Teyler Museum at Haarlem. They are done for the most part in pencil or chalk, or in the manner much in vogue in Holland at the time — i.e., a wash of Indian ink or bistre on a carefully prepared drawing. In the Teyler Museum is a drawing by him of the Castle of Kostverloren, near Beverwijk, lying between Amsterdam and Haarlem. As an etcher, Ruisdael only left twelve plates in all. This, Mr. Hamerton considers the more surprising, because after the first usual preliminary failures, he successfully overcame 38 THE LANDSCAPE PAINTERS OF HOLLAND. technical difficulties. His touch, however, was never very- bold, and lacks both depth and force and simplicity of line, and he cannot be held to rank high in this branch of art. Of his plates one of the best is a Landscape with a cottage (Duplessis 9), "a dashing rapid sketch, well composed, very pictorial, and perfectly suggestive of effect." Unfortunately, the sky is overbitten and the buildings and the neighbouring tree underbitten. Ruisdael apparently did not know how to remedy these defects. Two other plates of his were spoiled by overbiting, one beyond repair. The Little Bridge is the largest and most popular of Ruisdael's etchings ; but of them all, Mr. Hamerton gives the palm to the Field bordered by Trees, of which a reproduction is given on the preceding page. He says, in his ' Etching and Etchers,' " He was the first artist who habitually went to nature in the true spirit of a landscape painter, the first who loved the scenes of nature for them- selves, the first who distinguished himself by nonconformity to the perpetual popular requirement of figure interest in landscape. The best lesson to be derived from the art of Ruisdael, as from that of nearly all eminent Dutchmen, is directness and simplicity of purpose. His work is as honest as daylight, without any intentional display of skill, and though he was a less accomplished artist than some of his modern successors, he worked in a healthier frame of mind than that of the man who is constantly trying to be clever." It is strange that Ruisdael, the greatest landscape painter of Holland, should have had no pupils. Except his great rival Hobbema, there is no other artist of any importance on whom his art left much impress, and with him it is not always apparent. the watermii.l. By Hobbema. In the Hertford House Gallery. CHAPTER II. MEINDERT HOBBEMA. Birth— Marriage— Friendship and influence of Ruisdael— Appointed gauger —Children— Death of wife— Death and burial in pauper's grave- Discussion as to his birthplace— II is works ignored in the eighteenth century— Prices realized by works by Hobbema— Cotemporary artists —Appreciated first in England— bates on his paintings— Scenes of his labours— Figures added by other artists— Scarcity of his works- Truth to nature— His best pictures— Drawings— Comparison with Ruisdael — No pupils— No successors. Of details of the life of Meindert* Hobbema we know as little as we do of that of his great rival Ruisdael. His birth- place even is uncertain. For about the last fifty years, art * Or as it is sometimes written, Minderhout. 40 THE LANDSCAPE PAINTERS 01-' HOLLAND. critics and historians have been making researches, but without much avail. What has been learnt may be told in a few lines. He was born in 1638, probably at Amsterdam ; he married,* at Amsterdam, in 1668, a young woman of Gorinchem. The marriage was published on the 2nd of November, 1668, in the Oude Kerk, Amsterdam, and was celebrated in the Nieuwe Kerk on the 1 6th of the same month. The two entries run as follows : "2 November 1668: Compareerden Meijndert Hobbema van A(msterdam), Schilder, oud 30 jaren, ouders doot, geassisteert met Jacob van Ruijsdael, woot op den Haerlemmer-dijc, ende Eeltje Vinck von Gorkum, oud 34 jaren, ouders doot, geassisteert met Corn(elis) Vinck, haer broeder, woot op de Keijzergracht. (get.) Meijndert Hobbema. Ekltien Vinck.'' " 18 November 1668 : Getrouwd door Dom. Belkampuis, Meindert Hobbema en Eeltje Vinck." From this record we learn that he was thirty years old when he married and was presumably born in 1638, that his wife Eeltje Vinck, who came from Gorinchem, was four years his senior, that he himself was then living in the Haarlemmer Dijc (the Haarlem dyke) at Amsterdam, that both the bride and bridegroom were orphans, and that he was a friend of a Jacob van Ruisdael, who was, one likes to think, his celebrated rival, although there were no less than five Jacob Ruisdaels known to have been resident in Amsterdam about this time. Almost all doubt on the point has, however, been removed by an important discovery by Dr. Bredius of a record of one of the instances not uncommon at that period, when artists were * To M. Rammelman Elsevir, archivist of the town of Leyden, is due the credit of having discovered the record of his marriage. MKINDERT HOBBEMA. 41 asked to decide as experts on the authenticity of paintings. On June 9th, 1661, at the request of a Sieur Laurens Mauritsen Doucy, Barent Cornielisz, Allart van Everdingen, Willem Kalff * and Jacob van Ruisdael, testified as to the authenticity of a painting which Doucy had bought at Delft as the work of Jan Porcellis;f and after the signatures of the experts appears the undoubted signature of Meindert Hobbema as witness, together with that of a Harrnan Hage. Hobbema was then only twenty- three years of age too young to be called as an expert. It was on this occasio n that Ruisdael stated that he was thirty-two years old — thus placing his much disputed birth in 1628 or 29. From the joint appearance of their names on two separate documents, it is fair to assume that the two great rivals were known the one to the other. And from the inscription on two drawings by Hobbema of views in a town, sold in the Feytama collection at Amsterdam in 1758, Scheltema assumed that he was also Ruisdael's pupil; and, indeed, the internal evidence of the work of the two masters, not so much the brush work as the subject and its treatment, as well as their relative ages, is in favour of the hypothesis, which is now generally accepted by Dr. Bredius an d other authorities, although there is nothing to prove that Hobbema was actually what one understands as a pupil of Ruisdael. The benefit of the intercourse, however, does not appear to have been all on one side. Dr. Richter points out } that Hobbema's Castle in a Rocky Landscape (No. 996) in the National Gallery shows the influence of Ruisdael, whilst Ruisdael's Water mills (No. 986) in the same gallery recalls Hobbema. That Ruisdael and Hobbema worked in the * The painter pav excellence of brass pots and such like articles. t Jan Porcellis, oir Parcelles, a native of Ghent, flourished at Haarlem from 1622 to 1680.. He was a pupil of De Vroom, and excelled in painting stormy sea-pieces. He was also an etcher. \ In the Dulwich College Gallery catalogue. 42 THE LANDSCAPE PAINTERS OF HOLLAND. same country is evident, especially at Brederode and Kostver- loren, and in the environs of Haarlem. M. Michel alludes to the similarity in subject of Ruisdael's Water Mill, in the National Gallery (No. 986), with its fall of water seen from the front, with Hobbema's picture of a similar scene in the same gallery (No. 832), with those in the Amsterdam Gallery (Nos. 506 and 507), and with a Mill in Gelderland, formerly in the Demidoff collection ; and Waagen instances, as an example of Hobbema's influence over Ruisdael, the View in the Neighbour- hood of Haarlem, by the latter, in the. Bridgwater Gallery. In 1668, the year of his marriage, Hobbema was appointed gauger (wijnroeier)* for the town, for foreign liquids — wines, oils, &c, which on their importation had to be re-measured according to the measures of capacity then used in Holland. The coincidence of his marriage and this appointment was not by chance. In the very month in which he married, Hobbema admitted, in a deed signed before the notary, Frans Meerhout, of Amsterdam, f that he owed his appoint- ment to the intervention of a companion of his wife, Saertgen (Sarah) Valentijn by name, when she was a servant in the house of Burgomaster Lambert Reijnst. In considera- tion of this service, he undertakes to pay — so long as he holds the appointment- — an annual commission of 250 florins to this young woman, provided that, should she marry, she did not obtain any employment for her husband. This Saertgen Valentijn seems to have largely profited by the influence which she exercised over the good burgomaster, the more especially in this year of 1668, when Reijnst, as president burgomaster, had the gift of several good appointments, which * ' Oud-Holland,' vol. i. p. 81. t The document is given at length by Heer A. D. de Vries in ' Oud- Holland, ' vol. iii. p. 151. MEINDERT HOBBEMA. 43 — as was then the custom — were disposed of amongst the dependents of the fortunate magistrate who happened to be in power. So that latter-day municipal jobbery would seem to have precedents even amongst the actions of the simple- minded Dutchmen of the seventeenth century. In this year, the insatiable Saertgen obtained for the husband of a late nurse of the Reijnst family the office of superintendent of the water-post between Buiksloot and Amsterdam ; and from him she also exacted an annual commission of 250 florins. Hobbema was not the only painter of his time who found it necessary to eke out a bare subsistence realized from the sale of his pictures by other and more lucrative employment. Salomon van Ruijsdael was also a frame maker; Van Goyen speculated in houses, picture-dealing, and in tulips ; Jan Steen was brewer and innkeeper, and Esa'ias Boursse served as an ensign on a ship of the East Indian Company which sailed in 1 66 1. Nor were the poets or philosophers more fortunate. Vondel was a hosier, Jan Krul, a blacksmith, and Spinoza was compelled to polish optical glasses. Hobbema's duties as gauger doubtless took up a large portion of his time, for from the date when he received the nomination his paintings become scarce. In the year following the marriage, a son Eduart was baptized in the New Church. One of the witnesses was Cornelis Reijnst ; he, Burger suggests, may perhaps have been a relative of the Gerard Reinst whose portrait Karel du Jardin painted, and who was a person of some importance, and he was undoubtedly the son of the Lambert Reijnst to whom Hob- bema owed his gaugership and possibly other favours as well. Kramra mentions that at a sale at Leu warden, in 185 1, some armorial bearings, painted on glass, were sold, which bore the date 1620, and the names of Otto Hobbema and his wife 44 THE LANDSCAPE PAINTERS OF HOLLAND. Margaretha van Bornier. But there is no conclusive evidence to connect this Otto Hobbema, who was of noble family, with Meindert. M. A. Jal,'"' mentions a marriage contracted in December, 1669, at the Reformed Church of Paris, by a certain Edouard Hobbema, goldsmith, twenty-eight years of age, a son of a Hubert Hobbema, deceased, carpenter, of Amsterdam ; and it has been thought that this may probably refer to a younger brother of Meindert. The fact that the father in both cases is dead, and that Meindert christened his son Eduart, a name not commonly used in Holland, lends colour to the sup- position; in which case our painter would clearly not have been of noble birth. Hobbema's eldest son probably died soon after his birth, for in the next year (1670), in the same church a second son was baptized in the same name, and the same Cornells Reijnst was one of the witnesses. In 1 67 1 a daughter was christened Pieternelle, in the Wester Kerk ; and she also, presumably, died in infancy, for in 1672, at the same church, a second daughter was also baptized with the same name. This second Pieternelle died in 1706, aged thirty-three years, in poverty, as is proved by the entry of her burial in the Leidsche Kerkhof (Leyden Cemetery), at Amsterdam. In 1675 we find that Hobbema was witness to the baptism of a child of Johan van Kessel,f a follower and possibly a pupil of Ruisdael. Hobbema's wife, Eeltje, died poor in 1704, while inhabiting a house in the Konijnen Straat (rabbit street), near the Lauriergracht, at the sign of V Schip (P Hoop (the vessel Hope). * In his ' Dictionnaire Critique,' (Paris, 1867). t Not to be confounded with the Fleming Jan van Kessel, who- flourished at the same time at Antwerp. MEINDERT HOBBEMA. 45 He died in December, 1709,* and was interred in the Wester Kerkhof in a pauper's grave, from which it would seem that the post of gauger was not a lucrative one. He was then living in the Rozengracht (Rose Canal), in a house directly opposite to that in which Rembrandt had died forty years previously. In the Dood bock of the Wester Kerk, we read : — "Saturday, 14th December, 1709, Meijndert Hoppema (sic), of the Rozengracht near the Doolhof." One may suppose that Hobbema did not remove to the Rozengracht till after 1704, the date of his wife's death, for, as we have seen, she was then in- habiting a house — presumably her husband's — in the Konijnen Straat ; but, from the entry of the burial of his daughter, one may assume that he lived in the Rozengracht at least from the middle of the year 1706. From the foregoing it is evident that Hobbema was resident in Amsterdam for, at any rate, part of the years 1668, '69, '70, '71, '72, '75, and in 1704, '06 and '09, and the evidence of the various baptismal and burial registers is corroborated by the fact that several of the artists who added figures to his landscapes then resided in Amsterdam. But, says Burger, " In the north it is not exceptional for picture dealers to couple on the same canvas the names of two artists not even known to each other." M, Scheltema searched in vain in the archives of the town of Amsterdam for any record of Hobbema's own birth or his baptism at either the old or new church ; and he therefore thinks that, if he was baptized in Amsterdam, it must have been in one of the other Reformed Churches, the existing records of which do not, however, go back as far as 1638. He even hunted for traces of the artist in the records of the Bankruptcy Court * On the 10th of the month, the Wijnroeijers recorded that their " Con- frater Meijndert Hobbema " had died on the 7th instant. 46 THE LANDSCAPE PAINTERS OF HOLLAND. (Desolate Bocdelskamer), where Rembrandt's name is unfortu- nately to be found. A full account of what has been gleaned is published in the ' Gazette des Beaux Arts,'*' in an article originally read before the Society Arti d Amicitice, in 1863, by Scheltema, with annotations by Burger and De Brou. The researches of Scheltema have been followed by those of Heer de Roever and Dr. Bredius, published in the pages of 'Oud- Holland.' Burger points out that according to the rendering of the entry of his marriage, the A only of Amsterdam is given, and suggests that it may as well stand for any other Dutch town in Friesland or elsewhere ; but surely, as the record is made in an Amsterdam church, it is fair to assume that the A refers to that town ; and it has been justly inferred by Scheltema and others that Hobbema was a native of Amsterdam. But, on the other hand, it has also been pointed out that the reference to Amsterdam may merely signify that he was resident at the time in that town, and the claims of Koeverden, in the pro- vince of Drenthe, of Haarlem, and of Middelharnis in Zeeland, have all their supporters to be the birthplace of Hobbema, and even the towns of Antwerp and Hamburg and Dusseldorf have been suggested, but without much show of reason. Koeverden, especially, is the favourite with Dutch writers. His family probably came originally from Friesland, for Hobbema is a Frisian name. Van Eynden and Van der Willigen, on the strength of an article in the Drcntschc Volks Ahnanak (almanac of the people of Drenthe), of the year 1839,! tell us that Meindert Hobbema's father was a certain Serjeant Willem Hobbema, of the company of Captain Solckma, in the garrison at Koeverden, and that he was baptized at Koeverden * Vol. xvi. 1864. t ' Geschiedenis der Vaderlandsche Schilderkunst,' 4 vols., 1616-1842. MEINDERT HOBBEMA. 47 on the 6th of August, 1654,* when — assuming his statement as to his age on his marriage register to be correct — he would have been sixteen years old. The fact that Hobbema is a Frisian name, and that he painted scenes resembling those in the neighbourhood of Koeverden, has lent additional strength to the supposition that the Meindert Hobbema referred to, is the painter. But, on the other hand, Schel- tema points out that it is not probable that this Hobbema was either a Mennonite or an Anabaptist, with whom the baptism of adults was usual, but who were forbidden to carry arms ; and he assumes, and apparently with good reason, that the entry in the baptismal register refers therefore to an infant, and consequently not to the painter. Hobbema, who outlived his great cotemporaries in painting, remained long enough to see the decadence of art in Holland. His works were little thought of during his lifetime or even during the succeeding generation. No mention is made of his name in any sale catalogue until 1735 (twenty-six years after his death), when two landscapes by him were sold for no florins (70 and 40). It is interesting to compare with this the prices realized at the same time by the works of cotemporary artists. A Wouwerman fetched only 25 florins ; a Snijders 55 ; a Weenix 40 ; and an Adrian van Ostade 65 ; while a picture by a now forgotten master, Conraed Roepel,t fetched 300 florins ; but Roepel was then in the heyday of his fame and enjoying princely patronage. In 1764, at Leyden, a landscape by Hobbema realized 190 florins, and in 1767, at Amsterdam, the price had risen to 604 florins. During the present century * The ' Nieuwe Amsterdamsche Courant ' gives the date, 31 August, 1656. f Born at the Hague in 1679, died there in 1748. Painted flower- pieces for Prince William of Hesse. 4 8 THE LANDSCAPE PAINTERS OF HOLLAND. they have changed "hands at as high a price as ,£8,820, the sum realized at the sale of the San Donate- Collection in 1880, by a Landscape with cattle and figures by Adriaen van de Velde, which however at the Secretan Sale in 1889 only fetched ^5,460. It is now in the possession of Mr. Cunlifife-Lister, of Swinton Park. It is a curious fact pointed out by De Brou, that from the ■end of the seventeenth century to the middle of the eighteenth, no engraver thought it worth while to reproduce any of Hobbema's pictures,'"" although works by almost all of his cotemporaries were engraved. Houbraken, who gives us in- formation concerning nearly all his cotemporaries, does not notice him. Nor is he mentioned by De Dapper in his Description of Amsterdam, published in 1668, in which most of the artists who were then living are included. Sir Joshua Reynolds in his 'Tour in Holland,' in 1781, makes no reference to Hobbema, although he must have seen some of his pictures. And it was not until the end of the eighteenth and the beginning of the present century that English amateurs paved the way for the modern appreciation of this now much admired — though by some thought over- rated — painter. Holland was scoured by picture dealers and agents, and the majority of Hobbema's best pictures, as well as those of many of his fellow-countrymen were procured for this country, where happily they still remain, and where they have been the means of influencing for good a large number of English landscape painters, notably Constable, Crome and Nasmyth. The earliest date on any picture by him is, according to * Since then they have been engraved by J. Brown, Earlom, J. Mason, "Vivares and Prestel, and etched by Milius, Delauney, Greux, Toussaiut, and others. MEINDERT HOBBEMA. 49 Burger, 1657,* (Scheltema gives 1654, but he would have been only sixteen in that year), and the latest 1670,1 unless those are right who read as an 8 the illegible figure in his signature on the Avenue of Midddharnis, and thus make it 1689. In the Berlin Museum is a drawing dated 165 1, and said to be by him. His pictures bear the 'intermediate dates of 1657, '59, '62, '63, '65, '67, '68, '69 : and the six years from 1663 to 1669 seem to have seen the production of his best work. It is somewhat curious that there should be such a long gap as twenty years between 1670 and 1689 without a date, and those who assume that he gave up painting on his marriage and his appointment to the customs office in 1669, have strong presumptive evidence on their side. Before Scheltema had proved that his birth in all probability took place in 1638, it had been customary to place it earlier in the century — in 1 6 1 1 : and the date of his death was also said to be much earlier than it really took place — 1670 was at one time given, and later, 1696. Dr. von Wurzbach has pointed out that owners of works bearing his signature and dates subsequent to 1670 have probably altered them in order to make their genuineness appear the more likely ; and he thus accounts for the absence of any paintings by Hobbema bearing dates between 1669 and 1709, always excepting the indistinct inscription on the Midddharnis picture. Of Hobbema, like Ruisdael, we unfortunately possess no portrait. No one has suggested that Hobbema indulged in extended travel, although some think that he sought subjects for his pictures in Westphalia. He is essentially Dutch. His native * The date on the ' Water-Mill ' in the Bridgwater House Gallery, formerly in the Saint Victor Collection. t On a "Water-Mill" in the possession of Consul Weber in Hamburg. See Dr. Bredius in the ' Kunstchronik,' 1886, p. 476. 5° THE LANDSCAPE TAINTERS OF HOLLAND. land sufficed for him. His scenes are taken from Gelderland, Overijsel and Drenthe, especially the first-named. Burger, who had a great fondness for the work of Hobbema, found, in the neighbourhood of the railway between Dortmund and Dusseldorf, scenes identical with those selected by him. Beyond the one or two representations of specific places, such as the Avenue of Middelhamis, and the Ruins of Brederodc Castle (views of both of which are in the National Gallery, and of which we give reproductions), his pictures possess no very strong local impress, nor indeed do they evince any great power of composition, and he would lose rather than gain by an exhibition in one gallery of all his best works, for his poverty of invention would be then the more apparent. He probably merely selected a pleasing view and set himself to work to reproduce it faithfully — in several instances copying it more than once with but slight alterations. As an example, we may notice a Watermill in the Hertford House collection (see p. 39), and another which was formerly in the Demidoff collection at San Donato, in which the same mill is represented from the same point of view, with only a slight alteration in the foreground to the left. Other instances of a similar kind could readily be given. His works have been enriched by figures painted, amongst others, it is said, by Adriaen van de Velde, Dirk van Bergen, Wouwerman, Helt-Stokade, Barent Gael, Wijntranck, Storck and Lingelbach, and perhaps by Adrian van Ostade and Berchem ; but with few exceptions the size of the figures is unimportant, and their execution is not such as to demand any very special attention. It seems almost incomprehensible that Hobbema, who was painting for a period of at least twenty years, should have pro- duced no more than the hundred or so paintings that are MEINDERT HOBBEMA. 51 known to be by him. But it is a matter of history that his works were often re-christened, chiefly with the names of Jacob van Ruisdael and Wijnants, in order to procure better prices for them at auctions ; and it is no more than probable that many still remain with their false ascriptions, though, as we have already shown, it is possible that he may now in revenge be the accredited author of some of Ruisdael's works. The Ruins of Brcdcrodc Castle, now in the National Gallery, once bore, as M. He'ris points out, the name of Wijnants, although it is signed by Hobbema. Constable, Redgrave tells us, was the first artist to paint under the sun, i.e., with the light falling on to the top of his pictures. Hobbema is par excellence the painter of the effects of the afternoon sun. He loves to show the light piercing through the trees and casting long shadows across the open glades. Ruisdael makes us admire his representation of nature : Hobbema compels our love. His pictures are full of content- ment and peace, and well typify the quiet Dutch character. An exception to this rule of bathing his pictures in sun is to be found in a Landscape with Water mill, in the Marquis of Bute's collection, in which there is no direct sunlight, but which is, however, a beautiful picture. Dr. Richter calls it " one of the most valuable pictures of the collection," — high praise, for the gallery is famous for its examples of seventeenth century Dutch Art. It is interesting to give the following description of Hobbema's art by his fellow-countryman, Scheltema. "Nature, as he painted her, is not a beautiful fiction; it is nature herself, such as we meet with in certain parts of our country. His landscapes are not crowded with figures, but he has introduced them soberly so as not to disturb the calm which pervades them, and which so well suits their rustic life. Hobbema did not trouble to embellish his subjects by strange and unsuitable ornament ; he sought nature in nature, E 2 52 THE LANDSCAPE PAINTERS OF HOLLAND. and not elsewhere. There are moments when her aspect inspires us with indescribable sensations, sometimes with melancholy joy, sometimes with a holy quietness. In these moments of rapture, the soul, initiated into the beauties of creation, opens itself to all which is good, pure, and noble. Hobbema knew how to seize such effects and translate them in his painting. We there find again pictures which the contemplation of nature herself had produced and developed vaguely in our mind, rendered clear and precise. It is that which draws us to his paintings, so to speak ; while contem- plating them, one feels oneself transported into nature's midst. It follows that the value of his works increased so soon as the relationship of beauty and the ideal with truth and simplicity was understood, and that art inclined towards a purer taste and philosophic intelligence." The Netherlandish artists, as a race, are perhaps the most msaanered of all painters, and surely Hobbema is one of the most mannered of Dutchmen. Slight variations of one simple scene suffice for many of his works. A glimpse in a wood, a tumble-down red-tiled cottage, a water-mill, a bridge over a small stream, and perhaps a pond — and the whole lighted by the after- noon sun. So far as is known, he but once made an exception to his rule of painting landscape scenes only. This is a view of The new Haarlem lock at Amsterdam (Nieuwe Haarlemmcr Sluis), with the herring packers' tower (Haringpakkers toren), in the distance. It was formerly in the collections of Smeth van Alphen and Baron Verstock van Soelen, but is now in England.* To prove how closely Hobbema followed truth to nature, M. Michel gives in his monograph, side by side, a repro- duction of Hobbema's Ruins of Brederode Castle, and a sketch from his own pen of the ruins as they exist to-day, which, with the exception of the addition of a modern barbaric bell-turret and some battlements, preserve almost the identical appearance which Hobbema portrayed upwards of two centuries ago. "The ivy continues to entwine its garlands round the disjointed bricks ; and, as formerly, the ducks sport * It was sold by Nieuwenhuijs in 1833 for ^798. cf. Smith, 28. MEINDERT HOBBEMA. 53 in the stagnant waters of the moat, or take a luxurious siesta amidst the tufts of grass on its banks, while the rooks and crows, installed as masters in the recesses of the ancient walls, fill the air with their incessant cries." Hobbema's work possesses in Mr. Ruskin's eyes very small merit. He complains of his too great detail, especially in painting leaves, and in his middle distances ; and says, " A single dusty roll of Turner's brush is more truly expressive of the infinitude of foliage than the niggling of Hobbima could have rendered his canvas, if he had worked on it till domesday," and he will not even allow him eminence amongst his own countrymen : " Cuyp, Wouwermans, and Paul Potter paint better foliage than either Hobbima or Ruysdael," an opinion which is expressed by but few other writers on art. Hobbema's best work is considered by many to be the Avenue of Middelhamis* the composition of which is, strangely enough, by no means characteristic of him. M. Michel, while admiring the coloration and execution of the picture, confesses that he is a " little shocked " by the composition. He complains of the road coming straight, at once cutting the picture awkwardly in two, of the slender trees with which it is symmetrically bordered, and which have on their tops only small plumes of foliage, of the parallel ditches which hold in the road on either side, and of the cross road which cuts the picture horizontally, and lastly, the rose-trees and shrubs planted regularly in straight lines. All this, he says, does not make a very picturesque picture. For our own part, it is the fearless and truthful manner in which Hobbema has treated what must at first sight have appeared an unpromising subject, that is one of its greatest charms. And one likes to think that — as in the case of the Brederode ruins — we * Or Middel-Harnis, a village, eighteen miles south-west of Rotterdam, chiefly engaged in the herring fishery. 54 THE LANDSCAPE PAINTERS OF HOLLAND. have here a faithful representation of that quiet Dutch village two centuries ago, as well as a lasting memorial of Hobbema's art as a landscape painter. The same bold and uncompromising manner of treating apparently unpicturesque subjects may be noticed in Ruisdael's and De Koninck's rendering of the bleaching fields near Haarlem. Of the Middelharnis, Waagen says, " Such daylight I have never before seen in any picture." A somewhat similar composition is shown in his Country House, with figures by Helt-Stokade, formerly in the Pereirc collection. M. Michel places in the front rank of Hobbema's pictures the Water Mill, in the Louvre — a rare example of an upright landscape by this artist — which is also highly praised by Fromentin," who says : "This mill is a charming work, it is so exact, so firm in construction- very necessary from first to last in this trade — of a fine and strong colouring, and the sky is of rare quality ; all appears to have been so strongly drawn before being painted, and so well painted over this strong outline — in short, to make use of an expression used in the studios, he frames in a manner so sharply, and 'fait si bien dans l'or,' that sometimes — perceiving not two feet away from it, the little Bush of Ruysdael, and finding it yellowish, woolly and rather full in method — I have been obliged to judge in favour of Hobbema and to commit, for a moment, an error which, although not lasting, is unpardonable even for an instant." One of his best pictures is the Little Mills (de Molentijes), formerly in the gallery of the Due de Morny. It was at one time in the Van der Meersche collection : in 185 1, at the Van Sasseghem sale in Brussels, it was bought for 78,000 francs by M. Patureau, at whose sale in 1861 M. Schultze of Berlin pur- chased it for 96,500 francs, but was induced to part with it to the Due de Morny for 105,000 francs. * ' Les Maitres d'autrefois.' MEINDERT HOBBEMA. 55 M. Lagrange, writing of Hobbema in an article on the Morny Collection,* says of this picture :— " Whither does he go, if not to the mills of Guelderland, mills made for him, around which he has lingered during half his lifetime, turning always to a new aspect of the same place, a new revelation of inexhaustible nature ? You recognize them from having seen them at the Louvre, roofs tinted red, palings worm-eaten and water-worn, the shepherd from the farm, the quiet stream sleeping in the shade of large trees, and men with red caps wandering by the way. How often has he not sat there waiting for the sun to bring him the wished-for effect, forcing himself then to calculate the exact relationship of tones until his hand could give with strict justice each detail of the harmonious 'ensemble,' which nature displayed before him ! Some read nature, some listen to her : Hobbema reveals her. Here, as in the Landscape of the Louvre, the key of it all is the mill with the red roof, caressed by a faint ray of sunlight. That is what lights the drowsy landscape ; that is what one might call the allegro of the rustic symphony. The pink gable of the second mill sustains the principal note ; and, all around the pale-leaved willows, the young trees in the orchard, and -the carpet of weeds growing plentifully accompany it with a subdued bright- ness. The grey surface of the planks which form the huts and the supports of the banks have only a reflected light ; then comes the still and leaden mirror of water, and the bluish distance, and the sky absolutely grey, not even attempting to contrast with the mill, a large grey cloud. It is a succession of coldness calculated, of grey always dull, of shaded half-tints which gradually become nearer, stronger and warmer so as to meet the sombre greens of the foreground, a violent contrast admirably connected with the brightness of the mill by wonderful management. From that proceeds the powerful harmony in which is lost all detail, and which is nothing but an echo of detail in nature noted exactly. Poet without know- ing it, Hobbema thought to paint prose, but while slowly making his prose he was beautifying the poetry even of the original." In the Amsterdam gallery are three landscapes, two from the celebrated Van der Hoop collection. In the Rotterdam gallery there are two. .At Munich, a Cottages beneath oak trees recalls the style of Ruisdael, as also does a Wooded Landscape in the Dresden Gallery. In the Berlin gallery is * ' Gazette des Beaux Arts,' vol. xiv. 56 THE LANDSCAPE PAINTERS OF HOLLAND. an upright landscape of great beauty, though somewhat heavy in execution, which foreshadows the art of Constable. It represents a forest of oaks and willows with a quiet pool in the foreground and a village in the distance. But the majority of Continental galleries were formed when Hobbema was little valued, and it is in England — with the few exceptions noticed above — that his best works must be sought. In the National Gallery, besides the Middelharnis and the Brederode Castle already referred to, are five other landscapes of merit. In Lord Wantage's collection is a beautiful little landscape only i of inches high, which was done under the influence of Ruisdael, and which is somewhat similar in style to the Little Mills. In the Hertford House gallery, one of the most famous of the four Hobbemas is the Water Mill (of which a small sketch is given at the head of this chapter) for which the Marquis of Hertford gave ^2,200 at the sale of the King of Holland's collection, and which Dr. Richter and other critics call the chef d'ceuvre of the master. Another is a view of the Ruins of Brederode Castle. In the Dulwich College gallery is a Water Mill, in which the execution of the mill-house and the farm buildings beyond is especially admirable. At Buckingham Palace are two fine Water Mills, one dated 1 66 1. At Dorchester House is the famous Cobbe Hobbema, which Mr. Holford purchased from the Cobbe family in Dublin for ^"3,000. It is dated 1663, and bears the artist's signature, with his Christian name in full, a very unusual occurrence, thus — Meijndert Hobbema, 1663. It represents a forest of large trees, some of which are moved by the wind. In the centre is a pond. A road 1 winds through the forest, and near it is a cottage half-hidden by the trees. " Never," says Waagen, 58 THE LANDSCAPE PAINTERS OF HOLLAND. " has the power of art in expressing the effect of low afternoon sun, in the light clouds in the sky, on tree, bush, and meadow, been exhibited with such astonishing power, transparency, and freshness." It is thought to be a companion work to the picture in the possession of Lord Hatherton, which bears the same date, 1663, to which Dr. Waagen gives even higher praise : — " For striking truth of nature, delicacy of aerial perspective, effect of a bright afternoon sun, and masterly lightness of execution, there are probably very few pictures in the world which bear a comparison with this." The Duke of Westminster owns three good examples, two of which — a Road through a Village, with figures by Lingelbach, and dated 1665, and another similar subject — are companion pictures; and a Village of the year 1668. In the Marquis of Bute's gallery is a Road under large trees with figures by Storck. One of the few good works in the Stover collection, which was dispersed in June, 1890, was a Woody Landscape by Hobbema, executed in his happiest manner. Under a group of trees to the left is a cottage, with a man advancing ; on the right another man and a boy pass along a road. In the middle distance, near a pool of water, are three figures. In the back- ground, which is admirably rendered, is a village to the right. The figures are in complete harmony with the picture. It is now in the possession of Messrs. T. Agnew & Sons. In the collection of Mr. Perkins, at Chipstead, is a View of the Castle of Kostverloren, which, as we have seen, was also painted by his rival Ruisdael. In the possession of Dr. Richter, in Florence, is a beautiful little Meadow, in which the effect of the sunlight is particularly well rendered. It bears on the back of the canvas the date 1660. Drawings by Hobbema are rare, and of no special interest ; COMPARISON OF RUISDAEL AND HOBBEMA. 59 they are chiefly in black lead, sometimes heightened with wash. Several are to be' found in the Teyler Museum at Haarlem. In the British Museum are two, a study of windmill, and (in the Payne Knight collection) a fine landscape with trees. In the Berlin Museum is a bistre drawing of an Old Beech Tree, bearing the inscription, Meijndert Hobbema, 165 1, Haarlem. If, as Dr. Bode seems to think, the inscription is genuine, the drawing must be a very early production, dating from the artist's fourteenth year. The comparison of Ruisdael with Hobbema is drawn by every writer on Dutch landscape art, and there appears to be a great unanimity amongst the critics with regard to their relative merits, to the advantage of Ruisdael. It may not be unin- teresting to give side by side the opinions of Kugler, Heris, Scheltema, Michel, and Woltmann and Woermann. Kugler says : — "The peculiar characteristics of this master, who, next to Ruysdael, is confessedly at the head of landscape painters of the Dutch School, will be best appreciated by comparing him with his rival. In two most important qualities — fertility of inventive genius and poetry of feeling — he is decidedly inferior to Ruysdael : the range of his subjects being far narrower In the composition of all these pictures, however, we do not find that elevated and picturesque taste which characterises Ruysdael ; on the contrary, they have a thoroughly portraitlike appearance, decidedly prosaic, but always surprisingly truthful. Nor are his lights and shadows distributed in such large masses, his more isolated lights being therefore more striking in effect. In the clearness of his aerial perspective also, and in the clouds which far more sparingly cover his skies, and, being illumined by the sun, have often a silvery tone, he surpasses his rival. The greater number of Hobbema's pictures are as much characterised by a warm and golden tone as those of Ruysdael by the reverse ; his greens being, in such cases, yellowish in the lights and brownish in the shadows — both of singular transparency. In pictures of this kind, the influence of Rembrandt is very evident ; and while they equal those of the great master in force and depth 60 THE LANDSCAPE PAINTERS OF HOLLAND. of luminous tone, they are superior in brilliancy of effect to any work by Ruysdael. While these works chiefly present us with the season of harvest and sunset-light, there are others in a cool, silvery, morning light, and with the bright green of spring, that surpass Ruysdael's in clearness. His woods, also, owing to the various lights which fall on them, are of greater transparency. As regards freedom of the brush both masters rank equally high, while in solidity of impasto Hobbema stands first. If, too, we compare their trees, we find that, while Hobbema's are less lofty and noble in character than those in some of Ruysdael's works, the different kinds are in form and colour more clearly defined ; in the pale tone of the willow, for instance : his pictures, consequently, have more variety of tone. Lastly, single trees are, both in the branches and foliage, more individualized. Amongst Hobbema's works, however, we find many which have contracted a heavy brown tone, and thus have, in a great measure, lost their original charm." M. Heris, the then expert of the Brussels Museum, says in his small monograph on Hobbema * : — " Notwithstanding the comparison which often exists between his works and those of Jacob Ruysdael, we must nevertheless notice here that these celebrated painters had quite distinct qualities ; the former always painted the nature of his country as laughing and gay, whereas the latter, so to speak, always sought sad and gloomy scenes in cold Norway. Ruysdael's works inspire one with the soft emotion which one feels while contem- plating primitive nature ; they are full of charm and mystery. Those of Hobbema are elevating, they are fine and fresh, and in them the sun always plays a principal part. If we are permitted to judge of the character of these two artists from their works, we should say that one must have had a more dreamy and contemplative mind, while the other, from the mere fact of always studying the sun, must have been more brilliant and full of energy : Ruysdael was more of an elegiac, and Hobbema a lyric poet. The one loves light, and spreads it freely over his canvas, and the other delights in shadow and solitude ; the one is more reserved, the other more easily influenced. As a poet, Ruysdael is perhaps the greater by reason of greater depth ; but, as painter and colourist, he is far behind his competitor." * Notice raisonne sur la Vie et les Ouvrages de Meindert Hobbema. Paris, 1854. COMPARISON OF RUISDAEL AND HOBBEMA. 61 M. Michel, in his monograph on Hobbema, thus summarises his comparison of the two great masters : — " Dare we then say that Hobbema in the most of his works is very inferior to Ruysdael. He has neither the same fertility, the equality in his work, the same power of composition, the sentiment, the sense of unity, nor the poetic inspiration which gave to his master the first place in the school of Dutch landscape painters. He did not know how to seize like him, and in a definite manner, some of the most striking aspects of his country, in the never-to-be-forgotten types as the Bush, the Corn Field, the Tempest, the Dimes at Overveen, the Beach at Schweninger*, the Forest of the Belvedere Museum, or the Marsh in the Hermitage. Works by Hobbema have neither this diversity nor value. They are, as a rule, mediocre in value, and the rich country and the deep shadows which he usually represented, could scarcely furnish him with sufficiently original impressions. It is above all from its melancholy side, sad or wild, that the nature of the north strikes and moves us, and it is when he translates eloquently the severity and desolation of the most forsaken tracts that Ruysdael captivates us the most surely. However, it is only just to remember that in a few of his pieces Hobbema approaches near enough to Ruysdael for the one to be mistaken for the other : but let us add, that if many of their compositions are much alike, the analogy does not extend to their execution. Whoever has studied, ever so little, the style and method of the two masters, has been able to observe between them sufficient difference to avoid confusion. Like Ruysdael, Hobbema pleased himself by representing under different aspects the same site, reproduced nearly from the same place ; but while with Ruysdael each of his pictures shows us a distinct impression, often quite different, which has its own value, Hobbema recommences, with scarcely any change, the same picture, and wearies one with repetitions without sufficient interest or merit." The following is Scheltema's comparison : — " Ruisdael's daring genius sought sublime and grandiose subjects. Hobbema, on the contrary, painted the simple and attractive scenery of our country. Ruisdael's inspiration is the more poetic, simple, and abstract ; Hobbema's adheres more to truth and reality. The former seeks his effects in his combination of shadow, and the latter by his combinations of light. There is no doubt that Ruisdael surpasses Hobbema in poetic conception, but, as painter and colourist, Hobbema — in the opinion of competent judges — very much surpasses Ruisdael." 62 THE LANDSCAPE PAINTERS OF HOLLAND. Woltmann and Woermann conclude their notice of the: two masters as follows : — " All things considered, one must perhaps count Hobbema bolder, happier, and more forcible than Ruisdael. In elegance and truth to nature on the one hand, and in deep reflective poetry on the other, he is, however, far behind his master. Nothing but a fleeting fashion can ever put him above Ruisdael ; and yet he remains a truly great master for all time." Hobbema, so far as we know, had no pupils : until recently, however, Jan Looten and Johan van Kessel were, without regard to chronology, reckoned amongst his scholars. The works of Looten, who was Hobbema's senior by about twenty years, have sometimes been mistaken for his. They often display the same olive-green colouring. Van Kessel, who was three years younger than Hobbema, and whose friend'"' we have seen he was, did not however in all probability study under him. Although Hobbema had numerous cotemporaries of merit, whom want of space prevents us from mentioning, yet, for a century and half after his death, no landscape painter of any importance arose in Holland. Through the whole of the eighteenth century, and through the earlier half of this, no land- scapes were produced in the Netherlands which could in any way be compared to the work of Ruisdael and Hobbema — nor even to that of the Boths, Saftleven,Wijnants, Pijnacker, Dekker, Van der Hagen, Du Bois, Rombouts, Verboom, or Hackaert. But within the present generation a school of artists has arisen in Holland which will, in future ages, be held to have worthily- revived the successes of the seventeenth century. * See page 44. 5 «*. VIEW OF DORDRECHT, WITH THE GROOTE KERK. From a drazuimr in the British Museum. By Cuijp. CHAPTER III. AELBERT CUIJP. Dordrecht in the Middle Ages — Its artists — The Cuijp family : Gerrit Gerritsz : Jacob Gerritsz : Benjamin Gerritsz — Aelbert Cuijp : Birth — The Great Synod : Religious strife : Cuijp's student days : Scenes of his studies : Marriage : Daughter : Son-in-law : Houses : Religious and Civil offices : Acquaintance with good families : Death of wife : Own death : Family — Versatility of his art : Paintings : Drawings : Etchings — Successors. It seems strange indeed when we consider the number of volumes which have been published upon artists of all descriptions, that no one has been found to write a mono- graph on Cuijp,* one of the most versatile of all the Dutch painters. In his own particular me'tier unrivalled, he occupies, with Adriaen van de Velde, a position midway between Ruisdael and Hobbema and the other landscape * Commonly written Cuyp. It is occasionally written Kuijp, or Kuip, which form occurs in Houbraken. The artist himself always wrote Cuijp. 6 4 THE PASTORAL PAINTERS OF HOLLAND. painters, and Potter and those who depicted animals for their own sake. True it is that materials at command are small, but they are not so scanty as in the case of Hobbema and many another Dutchman whose life has been made the subject of a special essay ; and within the last few years * the researches of Heer Veth have contributed much to our knowledge of the lives of members of the Cuijp family. In fact, until Heer Veth's articles appeared, details of Cuijp's life were of the scantiest and most untrustworthy character. The good people of Dordrecht, or Dort as it is commonly called by the Dutch, have felt it incumbent upon them to erect a monument to an effeminate artist like Ary Scheffcr, but the glorious colouring of the works of their greater fellow- townsman Cuijp have found no public recognition at their hands ; and it is only within the last few years that they have acquired for their museum a picture worthy of the master. If the town could boast of nothing else, it were fame enough to be the birthplace of this artist ; but Dordrecht, the oldest town in Holland, was in the Middle Ages the most wealthy centre of commerce in the Low Countries. It can also claim Jan and Cornells de Witt as natives ; the one was pensionary and the other burgomaster of the town. At Dordrecht it was that the first assembly of the Independent States of Holland was held in 1572, which resulted in the Treaty of Utrecht four years later, in the combination of the seven Protestant pro- vinces of Zealand, Holland, Utrecht, Friesland, Groningen, Overijssel and Guelderland, and in the ultimate foundation of the Dutch Republic by William the Silent. The painters of Dordrecht — one can hardly call them a school — of the seventeenth century are characterised by a love * In ' Oud-Holland,' vols. ii. and vi. JACOB GERRITSZ CUIJP. 65 for brilliant light and harmony of colour, which is especially emphasized in the works of their greatest representative Cuijp. Much of this may doubtless be traced to the influence of Rembrandt, under whom some of the best had studied — ■ notably Ferdinand Bol, Samuel van Hoogstraten, Nicolaas Maas and Aert de Gelder. Jacob Gerritsz Cuijp, the father of Aelbert, was born at Dordrecht in December, 1594.* He was the son of Gerrit Gerritsz I., a glazier and engraver on glass, of Venlo, and his wife Gertge Mathijsdr, widow of Bernaert Pelgrim, who were married at the Augustine Church of Dordrecht in 1585, in which year Gerrit entered as a " glasschrijver " the Guild in that town, of which body he later filled the post of dean and also book-keeper. It has been inferred that he was not very well off pecuniarily, as he was frequently in arrears with his payments to the Guilds : but this was no uncommon circum- stance in those days. He died at Dordrecht in 1644. His son Jacob studied under Abraham Bloemart, at Utrecht ; but from 1 61 7 he worked at Dordrecht; in that year he entered the old ■Guild of St. Luke, of which he became dean in 1637. He married, in 161 8, Aertken van Cooten, of Utrecht, whose acquaintance he had doubtless made while studying under Bloemart : he was then living in the Schrijver Straat. In 1620 he was dwelling in a house near the Blauwpoort, and in it his celebrated son was probably born. It is not known for certain when he bought the "Samson" house on the Nieuwbrug (new bridge) ; in the Register of Ground Taxes for 1626 he is mentioned as living there, and it is probable that he inhabited it as early as 1623. In 1625, however, he is known to have been at Amsterdam. From the amount of taxes at which he was assessed in 1638, it would appear that he then ranked * The date 1575 usually given is erroneous. 66 THE PASTORAL PAINTERS OF HOLLAND. amongst the more wealthy of the burghers of Dordrecht. In 1642, he, in conjunction with the three now little-known artists — the landscape painters, Izack van Hasselt and Cornelis Tegelberg, and the still-life painter Jacob Grief (called Klaau)* —founded the Guild of St. Luke of Dordrecht, as an in- dependent body for artists — a " simpele confrerie." Formerly the old Guild of St. Luke— or as it was called, the Guild of the Five Trades — opened its doors to all conceivable workers in art, as well as to painters, as was the custom in those days. In 1644, at the sale of his father's house, Jacob appears as the head of the family ; a younger brother, by a second mar- riage, Benjamin, was also present. This is the last record that has been found of him. He died in 165 1 or 1652, for in the former year he is known to have painted a portrait of a Woman, now in the Amsterdam Gallery, and in the tax papers of the latter year appears the name of the Widow of Jacob Gerritsz Cuijp. Aertken herself died in 1654. As a portrait painter Jacob Cuijp deserves to take a higher rank than is usually accorded to him. Heer Veth, writing after much research, says, " It would seem more and more that Jacob Gerritsz Cuijp was an artist of great merit ; and that many of his portraits especially must be placed very near to those of his most celebrated cotemporaries." One of the best examples of his art is a Portrait of an Old Woman, dated 1624, in the Berlin Museum. Of a much later period are the portrait of an O/d Man, dated 1643, m tne Cologne Museum, which M. Michel t praises highly; portraits of a Man and a Woman, both of the year 1 644, in the Rotterdam Gallery ; an Old Woman,% with a "mill-stone" collar, dated 1647, in the * A son-in-law of Van Goijen and consequently brother-in-law to Steen. t Musee de Cologne. Paris, 1884. % The coat of arms depicted in this) portrait is that of the Van Driels, a family of Dordrecht. JACOB GERRITSZ CUIJP. 67 Vienna Gallery — k:nown by reason of Baldinger's fine etching — a marvellously goo>d piece of work, not unworthy of Hals, and a Female portrait im the Amsterdam Gallery, dated 1651, which must have been onie of his latest works. In the Hermitage is a life-size picture b)y him of Two Soldiers Dining, recalling the influence of his maister Bloemart. Considerable doubt appears to exist as to whetlner Jacob Cuijp really painted landscapes, as asserted by Immierzeel and Houbraken. As a landscape painter, he was, Siir J. A. Crowe tells us, " a man of originality and power, to whtom we owe . . . the transformation of the minute and dry rmefhods of the Brils and Brueghels into a broader, warmer, amd more natural imitation of nature." And he mentions as a ttypical work a Landscape in the Pinakothek at Munich, the authenticity of which is, however, doubted by Dr. Bredius and D)r. Bode, the latter of whom considers it to be rather by A. K;abel. It represents a town on the farther side of a broad quiiet river, on which are fishing boats ; in the foreground are catrtle grazing ; a large waggon is being ferried over. To prove, Ihowever, that he really did paint landscapes, Woltmann and Woermann record a grey-toned North Dutch landscape, hard in tone, bearing the master's signature, in the possession of Herrr Rudolf Stiive of Berlin, and this would seem to dispose \ The Nieuwe Bierkade, in the Hague. Showing Potter's House, No. 9 ; Balckeneijnde's, No. 8; and Van Goijen's, No. 10. {Part of a Topographical Chart, a.d. 1681.) purchased land in 1640. He was a man of some impor- tance, second only perhaps as an architect in the Hague to Pieter Post, who erected, after the design of Van Kampen, the Mauritshuis, in which are housed to-day the Royal Collection of Dutch paintings, including Potter's Young Bull. He himself had beautified the chateau of Prince Frederick Henry of Honsholredijk and the old Palace of Noordeinde ; and in 1636 he was commissioned by the magistrates of the Hague to construct a new building for the use of the Arque- * New Beer quay : it was also called the Korte (short) or Kleine (small) or Delftsche Bierkade, probably because there were found the warehouses of the Delft breweries. PAULUS POTTER. 115 busiers; they conferred on him the title of master builder of the town, and his portrait was included in Van Ravestein's picture of the magistrates deliberating upon this projected building. The accompanying copy of a part of a topo- graphical chart of the Hague, drawn by C. Elandts, in 1681, shows, in Nos. 8 and 9, the houses inhabited by the two friends — the former by Balckeneijnde, the latter by Potter — and which preserved until recently through many surrounding alterations the same facade which they presented in 1681. The modern house, standing on the site of the one inhabited by Potter is now known as No. 1 7 Dunne Bierkade ; it bears a stone tablet notifying the fact that Potter lived there from 1649 to 1652. Curiously enough, the house belonged in Potter's time to Jan van Goijen, who lived in the house on the other side of his from Balckeneijnde ; it follows that it was to this illustrious landscape painter that Paulus Potter had to pay rent for his residence at the Hague. Van Goijen, no doubt, as kind neighbour and sympathetic friend, frequented the studio of the young man, and could not have failed, as an experi- enced artist, to have recognized his precocious and superior talent ; and Potter probably followed his good counsel, and received hints as to the arrangement of his backgrounds or technique of his brushwork, of which Van Goijen was a master. It is said that Balckeneijnde opposed the union of his daughter with " a painter of animals," remarking that had he been a painter of men it would have been another matter ; but in spite of parental objections the marriage took place on the 3rd of July, 1650.* In the August of the following year, a son was born to them, * In the register of marriages at the town-hall of the Hague, we read : 3 July, 1650, Pauwelus Potter, jonghman van Enckhuijsen met Adriana Balcken Eijnde, jonged r , Beijde wonende alhier in 's Gravenhage. I 2 n6 THE PASTORAL PAINTERS OF HOLLAND. who was christened Pieter, after his paternal grandfather, and who had for godparents his grandmother Aecht Potter, and his grandfather Balckeneijnde, from which we may assume that the worthy architect was reconciled to having a " painter of animals" for a son-in-law. Unfortunately, this child only survived his birth a few weeks, for in September he was buried in the church of St. James. Potter was a most assiduous worker. His widow's stepson, writing to Houbraken in later years, told him that he had often heard his mother say that when with difficulty she persuaded her husband to leave his work for an hour's walk in the country, he was wont to utilize the time in making sketches for his pictures. His success at the Hague appears to have raised the jealousy of other painters, and it is supposed that these petty annoyances caused him to leave that town in 1652 for Amsterdam. At all events there seems to be no evidence in favour of Argenville's statement that he was driven from the city through doubts of his young wife's fidelity. According to Houbraken he was persuaded to change his residence by one of his most important patrons, Dr. Nicolas Tulp, a magistrate of Amsterdam, who in the quality of deputy had paid frequent visits to the Hague. The fame of this Dr. Tulp, who was a great patron of the Fine Arts, has been handed down to us by Rembrandt's portrait of him. But little is known of the two short years during which Potter resided in the wealthy city of Amsterdam : the dates on his works, however, prove that they were years of ceaseless activity, in spite of the dire complaint, consumption, which then threatened his life. Amongst other pictures then executed was an equestrian Portrait of ' Diderik Ttilp, the son of his patron and the brother-in-law of that Jan Six, seigneur of Vromade, with whose features Rembrandt has also made us familiar. This PAULUS POTTER. 117 portrait of their kinsman has remained in the possession of the Six family till to-day. That Potter's fame was then spreading beyond the confines of his own country is evident. In 1652 a French chevalier, who was seeking pictures for the art-loving queen Christine of Sweden, wrote to her : " J'ay veu et considere trois ou quatre fois un paysage de cabinet sur toille de 4 pieds de long, et 3I de haut., fait par un peintre nomme Potter, qui m'a jure avoir employe sans intervalles 5 mois a le perfectionner : aussi est-il admire de tous les peintres, et a vray dire rien ne se peut voir plus curieusement fait, car il n'y a ni vaches, ni chevaux, ni boucqs, ni moutons, ni arbres, ni herbes qui ne vous apporte de l'admiration. J'en ay ose presenter trois cens francs ; il m'a dit qu'il le donnera pour 400, a fin seulement que son nom soit cognu en Suede. J 'ose bien assurer, que je n'ay veu encore une piece plus curieuse : j'ay prie le susdit peintre d'en differer la vente." In the very early days of 1653, on January 2, Potter and his wife thought it prudent to make a mutual will, from the terms of which it may be gathered that they were in good circumstances. A few days later they were consoled for the loss of their first child by the birth of a daughter, who was baptized in the old church on the 23rd January, and received the name of her maternal grandmother Dingenom.* But their happiness was of short duration, for in less than a twelve- month from the baptism of his child, Paulus Potter had fallen a victim to consumption, and was buried on the 17th January, 1654. He was then residing in the Schapenmarkt, or sheep market, near the Regulierstoren, an old edifice with a tower which is to-day an hotel {De Munf) well known to French travellers. * The following is the entry : " Op Donderdach den 23sten Janewanrij 1653 heeft den Heijligen Doop ontfangen Dingenom, ouders Pouwelis Pieters de Potter ende Adriaentje Claes van Ballieckenende, getuijge Claes Dircx van Balckenende." Il8 THE PASTORAL PAINTERS OF HOLLAND. We possess a melancholy souvenir of Potter, in the portrait, now in the Museum of the Hague, which, was painted of him in his last days (for it is dated 1654) by Bartholemeus van der Heist, and a reproduction of which serves as the frontis- piece to this volume. It has been engraved by B. P. Gibbon. Of it Burger says : — ■ "He is seated at his easel, in a wooden-backed chair before a clean canvas which he will never have time to cover. His left hand, resting on his knee, holds a palette, with a little paint on it, and brushes ; his right hand is resting palm upward on his hip. He has scarcely strength to work, and his young and suffering head, turned three quarters, is shaded by the long auburn hair falling in curls on his neck and playing in bright waves on a strongly developed forehead and arched eyebrows. A deep furrow is over the prominent brows— quite an artist's head, according to phrenology, with the perceptive faculty dominating over the reflective ; generous and kind, but firm, melancholy and with a certain sharpness ; eyes blue, of the colour of a shallow stream reflecting the sky ; mouth sufficiently strong, slightly open, with a small fair moustache ; square chin and nose flatly modelled, yellowish in tint with bluish veins showing here and there — temperament phlegmatic. It is the prominent brow and chin which explain the power of work and production in this rather easy nature, dreamy, placid and nervous as that of a woman — a nature which one would scarcely expect judging from his works. But such as it was one can scarcely help loving him, and even more than the Paul Potter one would have imagined. His dress is a simple coat of black velvet ; a puffed white cuff separates the velvet from the left hand, of which the inside is seen ; his white collar is fastened by two long cords with hanging tassels. The background is an harmonious grey. The canvas is about three feet high ; the figure, seen to the knees, is life-size. This superbly executed portrait was painted by Van der Heist, no doubt in one sitting, from a powerful sketch, as was the custom among painters of that time. One cannot but admire the decision and simplicity of the design, the freedom of touch, the balance of tone, and in the general expression a sort of eloquent simplicity which shows the spectator how thoroughly the artist has understood the innermost feeling of the sitter. It follows that Van der Heist, who, as a rule, was far from emotional, must have been deeply moved whilst contemplating the young and glorious artist who was without doubt dying." PAULUS POTTER. 119 It is to be regretted that we have no portrait of Potter painted by himself.* In the Gallery of the Hague is a picture by Tilborch, representing a group of artists feasting in the house of Adrian van Ostade : and two persons in this group are said to have been Potter and his wife Adriana. But Westrheene points out the improbability of this, as the man's face does not at all resemble the authentic portrait of Potter, and moreover they are represented with a child of three or four years old, while Potter's first child died, as we have seen, when it was a month old, and his second child was not a year old when he himself died. Potter's widow did not reside at Amsterdam long after her loss. In 1656 she was back at the Hague amongst her own friends, when in February of the following year her little daughter, who had inherited the seeds of her father's fatal complaint, succumbed, and was buried in the same grave as her brother in the Church of St. James (Groote Kerk) ; and thus Adriana lost her only link with her late husband. After seven years of widowhood she married again. Her second husband was Dirck van Reenen, a widower with children, and a man of some importance in the town, a wine merchant and owner of houses, one of the captains of the City Guard and dean of the Corporation of St. Joseph for the Cooper's Branch. The first son of this marriage was — curiously enough — christened Paulus, apparently in remembrance of the mother's first husband. With the three other children which Adriana * In the British Museum is the only impression known to exist of a small etching which is supposed to represent Paulus Potter. It is a bust portrait, and resembles, in reverse, a portion of Van der Heist's portrait : but the treatment of the hair, especially over the forehead, is different, and the face is older in appearance. It is unsigned, and there is no proof that it is by Potter ; in fact, it is generally considered not to be by him, but Duplessis says that it is by a master of no mean ability. It has been re- produced in facsimile by Amand-Durand. 120 THE PASTORAL PAINTERS OF HOLLAND. bore to Van Reenen we need not concern ourselves ; but we may add that to her new home in the Paviljoensgracht she carried all the works and souvenirs of her late husband. There they were preserved in a little top-lighted gallery by the Van Reenens until they were sold by public auction in 1820. Amongst the pictures then disposed of were the Bear Hunt, by Potter himself, the portrait of him by Van der Heist, and the Vanity mentioned above, as well as a large triptych by Antonis van Montfoort, of the Assumption of the Virgin, which passed into the possession of the Grand Duke of Nassau. As Van Montfoort was only twenty-two years old at the time of Potter's death, the triptych probably never belonged to the great animal painter, but was added to the collection by one of the Van Reenens. The life of Potter affords a striking contrast to that of many of his countrymen. Rich, successful, patronized by amateurs and recognised by his brother artists, he had everything that a painter could wish for ; but a too close application to his art told on a weak constitution, and a short but successful career was terminated when little more than twenty-eight years old, at an age when many an artist is but entering on the threshold of fame. In marked contrast to those of most of his cotemporaries, many details of his life, both domestic and professional, have been handed down to us. That he worked hard is evident, for in a period of about ten years (his earliest dated picture belongs to the year 1643) he executed about one hundred paintings known to exist, twenty etchings, and numerous drawings and studies. To these hundred pictures may possibly be added some thirty or forty more of which the traces have been lost, but of which mention is made in various sale catalogues of the eighteenth century. A total of about 130 or 140 paintings for a career of ten years seems high, PAULUS POTTER. 121 especially when one considers that the first four years of his working life were devoted principally to the production of studies, and that the work executed in his later years was of a very highly finished character, albeit it is unnecessary to join with Westrheene in sneering at the modern school of Impressionists. Of about eighty of his pictures which are dated, a large proportion of his entire works, almost seven-eighths of them belong to this period of 1647 to 1654. They are almost invariably signed " Paulus Potter." " Of the masters who have striven pre-eminently after truth he is," says Waagen, writing in 1862, "beyond all question, one of the greatest that ever lived. In order to succeed in this aim, he acquired a correctness of drawing, a kind of modelling which imparts an almost plastic effect to his animals, an extraordinary execution of detail in the most solid impastos, and a truth of colouring which harmonizes astonishingly with the hour of day. In his landscapes, which generally consist of a few willows in the foreground, and of a wide view over meadows, the most delicate gradation of aerial perspective is seen. But there was very little poetry in his soul. He was an excellent craftsman, but cannot be ranked high as an artist. And it cannot be denied that his paintings have frequently realized at sales higher prices than their merit demanded." Potter commenced by painting cattle, and cattle always remained his favourite subjects : he was thoroughly acquainted with their habits and customs, and he well knew how to paint the texture of their hides. After cattle he was perhaps most successful with horses, although in this case, as in that of cattle, he did not succeed so well when painting them life-size as in the Bear-hunt and the Equestrian portrait of Diderik Tulp. He 122 THE PASTORAL PAINTERS OF HOLLAND. frequently depicted sportsmen and fishermen engaged in their pursuits or resting from their labours. He also did not disdain to portray pigs, which afterwards found such a capital exponent in our Morland, nor were domestic poultry thought too in- significant a subject. He occasionally, but without much success, engaged in subjects of a humorous character, as in the picture entitled Milking, in Buckingham Palace. The left- hand of the picture is occupied by a stable in which are two horses ; a boy running out of the stable and carrying a puppy is attacked by its mother which has caught hold of him : in the centre is a peasant woman, with her back to the spectator, milking a cow ; she turns her head round laughing. That the success of his art was in great measure dependent upon assiduous observation and study is evident, when we look at such works as his Orpheus and Bear-hunt, in which he attempts to treat animals with whose forms and characters he could not be familiar. One then sees that he did not possess a powerful imagination, and one feels inclined to say with Burger : " This Orpheus with a menagerie was not at all in Potter's line, who was not in the least wild or mythological. The little flock grazing in its pasture by the side of a canal, the shepherd looking over a fence, the milkmaid leading her fine golden cow into the far distance, where are microscopic sheep, are more within the compass of his power." His Chase, however, which was probably his last work, shows a fuller knowledge of wild animals and a bolder treat- ment : it has been ascribed to the influence of Rubens, but, if that be so, this is the only occasion in which Potter was other than entirely original alike in design and in execution. It is possible that at Amsterdam, the centre of commerce, he really had opportunities of studying the forms of wild beasts which PAULUS POTTER. 123 the Hague did not offer. In his early works, his animals are represented hard and dry under the strong light of a mid-day sun ; afterwards he went to the opposite extreme and painted them under a dull leaden sky, but when he felt his full power the varied effects of cloud and sunshine are well represented ; this is well shown in the Cow reflected in the stream, where the summer sky is radiant and bathes the meadows in warm light. A few of his pictures are rendered in the light of a setting sun, whereas in others the soft clearness of morning shines and gives a silvery light to the objects, showing through the misty distance. At times he chooses a dark and stormy sky, well seen in the Deepdene Meadow and Bull in a Meadow, and in one or two of his etchings, such as the Frisian Horse. As the majority of his paintings are dated, it may be instructive to notice a few of them in chronological order. To the year 1 645 belongs the charming little Shepherds Hut of the Amsterdam Gallery. It is only 22 in. by 29 in. in height. A herdsman tending his cattle and sheep is seated near a hut ; and a warm red light is thrown, in the manner of Cuijp, over the picture by a setting sun. In the year 1646 was painted the Dairy Farm, which recently changed hands at the somewhat exaggerated price of ,£6,090, when the Stover collection was dispersed in June, 1890. It had passed through the Van Slingeland, La Perrier, De la Hante, and Lapeyriere collections ; and is now in the posses- sion of Mr. Cunliffe-Lister of Swinton Park. In size it is not large, 19!- in. by 24!- in. On the left is a farmhouse with adjacent buildings, beneath some spreading trees. In the fore- ground on a rising ground are four cows — one of which a woman in a scarlet jacket is milking — a calf, a goat, a ram, and two sheep ; to the right in the middle distance are a cow and two sheep. The picture is lit by an afternoon sun. It is well 124 THE PASTORAL PAINTERS OF HOLLAND. grouped and solidly and delicately painted ; but it has an unpleasantly hard, almost metallic, appearance. In 1647, when he was twenty-two years old, Potter painted the celebrated but overrated Young Bull at the Hague, a picture measuring 7 ft. 10 in. by n ft. 4111. The principal object in this picture is the young bull, life-size, reddish-brown in colour, with white on the back and forehead, from which the title of the work is taken. This work is usually considered his masterpiece, and it is even said that there are Dutchmen who have maintained that it surpasses anything that Raphael could do ! The great fault of the picture is its very size, which is out of all proportion to the requirements of the object represented : and the treatment ill compares with that of Troyon, or even Ward in his best work. It certainly gains by reduction in scale, as in an engraving or photograph. It is strange if its size should have added to its esteem in Holland, the country par excellence of small pictures. The bull is magni- ficently drawn, and the other animals display great truth to nature ; the plants in the foreground are executed with almost microscopic minuteness. The following is Burger's just criticism of this over-estimated production : — " The principal fault is that the largest animals are executed and in a way modelled in relief by means of impasto, like a model in terra-cotta or cardboard covered with wax, with the tufts of hair and the smallest details of the coat very raised. . . . England possesses very small bulls by Paul Potter, about the size of a rabbit, which are fierce, and defend themselves from lions, like lions. I do not believe that a good picture has ever been done of large animals life-size, unless as accessories to a human subject, — • of hunting scenes like those by Rubens— or of an animated and dramatic scene, — a combat of buffaloes against tigers, a panther seizing a gazelle, &c. Sculpture is another matter, from the fantastic lions of Babylon to those of M. Barye ; a decoration finishing the walls of buildings or placed in the open air of a park. But the portrait of a large bull ruminating hung against the walls of a room is inadmissible as a picture. Who would PAULUS POTTER. 125 have the mad idea of painting the picture of a house the size of nature ? It is unfortunate that the effect, adopted too naively by the artist, has no shadows ; the light is equal throughout, monotonous and without half lights ; as the weather is rather dull, the sky has no cloud, but a sort of opaque veil extended over all intercepts any ray of sunlight. This effect is often seen in Holland, and explains why it is so dull during many months of the year. The air has no transparency, although without any perceptible fog, as in England for example. During a Dutch winter darkness seems to come from above. An Italian could not imagine it, and even a Frenchman would have difficulty in understanding those skies without any depth. The effect in this picture given by Potter is therefore correct, but is not well chosen ; a sky permitting contrasts of light and shade, and throwing into shadow certain parts of such animals, would have been more pleasing. Rembrandt had already discovered and understood how to render the play of light, without losing sight of realistic Holland, by choosing original effects in nature, and interpreting them poetically. Potter certainly had the power of rendering light — it is even one of his merits ; but rather local effects than the general appearance — that is to say, that he could render exactly the local tone produced by any light on any body. No one knew better than he how to, as it were, photograph any bright piece ; but he had a horror of varying shadows. As a rule his scheme of colour belongs to midday, very clear and exact, not waiting for twilight or the burning light of a too bright sun." A landscape with a young bull in the Cassel Gallery strikingly resembles this work in many details. As an experiment, the Young Bull probably had a good effect on the painter by making his manner bolder and his touch more firm ; but he himself may have seen that a canvas such a size was a mistake — for, with a few exceptions, for which special reasons may have existed, he rarely painted such large works afterwards. This and its two companion pictures in the Hague Gallery were taken by right of war to Paris, and were exhibited in the Louvre. It was only with difficulty that they were rescued on the fall of Napoleon, and the subsequent restoration of the spoils of foreign galleries. History does not tell us for whom it was painted, though there would appear to 126 THE PASTORAL PAINTERS OF HOLLAND. be no truth whatever in the assertion of Van Eynden and Van der Willigen that it was done for the Princess Amalia van Solms to replace the Cow of St. Petersburg, which did not please her, for the latter was painted two years or more after the Young Bull. To the same year as the Young Bull belongs the Duke of Westminster's Landscape with a Dairy Farm, seen in the warm light of an afternoon sun : cattle are dispersed in front of a farmhouse, under the lengthening shadows of a row of pollard willows, beneath which a gentleman and a lady are walking ; a girl, who milks one of the cows, is talking to a herdsman. It was painted for the artist's patron, Heer van Slingeland, of Dordrecht. When the famous Slingeland collection was dis- persed in 1785, it was bought for 8010 florins (^"750 *) : at the sale of the Tolozan collection it realized 27,050 francs (^1082^. A Mr. Crawford of Rotterdam became its pos- sessor for ^1350; but the first Marquis of Westminster acquired it for ^"iooo. Judging by the price realized by the Stover picture, it would now fetch at least ^7000 or ^8000. According to Hoet, who noticed the picture when it was in the Slingeland collection in 1752, it represents a view between the Hague and the village of Geestbrug. The chateau in the distance is that of Binkhorst, which is still standing. To 1 647 also belong the Dairymaid washing her milkpails, in the Six collection, which has been called the most beautiful Potter left in Holland ; an upright picture at Bearwood of Two Cows and a Bull ; and three pictures in the Hope collec- tion at Deepdene, two Landscapes and a Stable; the two former came from the Bisschop collection at Amsterdam, * At the same sale, a fine Cuijp, the View of Shipping, now in the Six collection, only realized ^164. PAULUS POTTER. 12/ which in 1771 was purchased en bloc in that town by the Hope family. To 1648 belongs the Cow reflected in the stream (" La vache qui se mire") in the Hague Gallery, which, for its excellent representation of a summer morning, is justly considered one of his best works ; and, with the Cow at St. Petersburg, may fairly be placed above the Young Bull. Burger says it is a " picture of the highest quality, a real masterpiece," and Dr. Waagen highly praises its freshness, clearness, its charm and admirable justness. On the left, bathers, who are swimming or undressing on the bank, by no means improve the picture. The sky is bright, and one can see that the sun is powerful. In 1649 he produced the celebrated Cow * of the Hermitage, which by some is considered his masterpiece, and the Two Cows and a Young Bull, in Buckingham Palace, one of his best works. In his Bear Hunt he has shown a desire to depict more ambitious subjects than the semi-dormant cattle of his native Enkhuizcn. On a canvas measuring 6 ft. 8 in. by 10 ft. 10 in. he has treated his subject in a manner which critics are almost unanimous in condemning, and even his admirer Westrheene has not much to say in its favour. In the foreground a large bear is erect on his hind legs; with one of his paws he suffocates a dog, with the other he tears the back of a dog which is biting his thigh ; at the same time he holds down a third which has been overthrown, and a fourth rolls expiring on the ground. At this moment a huntsman, with head uncovered and dressed in a red doublet, sword in hand, arrives, galloping on a young bay horse. Two other huntsmen, on foot, with lances, advance carefully behind a large tree on * The original drawing for part of the picture is in the Teyler Museum at Haarlem. 128 THE PASTORAL PAINTERS OF HOLLAND. the right, where is seen a grey dog chasing a second bear which is climbing the tree. In the far distance three men on horseback are coming at a gallop. Smith tells us that this picture was almost entirely spoiled when " restored " by J. W. Pineman ; it meets with no great appreciation at the hands of Burger, who quotes with evident sympathy the words that Maxime Decamp * applied to it, " hideous, hard, dry, wooden, without truth, and of ridiculous action." To the same year (1649) belong the Horses in a field, of the Van der Hoop collection in the Amsterdam Gallery, into the background of which he has introduced the towers of Delft ; and the Farmyard, in the Hermitage at St. Petersburg. Of his representations of wild animals, one of his most successful is his Orpheus charming wild animals in the Amsterdam Gallery of 1650, celebrated for the variety of beasts introduced in it. On the left are low hills crowned with trees ; on the right an entrance to a forest and a glimpse of sky. In the foreground in a field are a camel, a boar, a cow, a buffalo, an ass, a ram, a goat, a sheep, and quite to the fore a hare ; in the middle distance, at the foot of a hill, Orpheus, seated, in a blue tunic with a red mantle and yellow boots, strikes his lyre ; near him is a dark-grey greyhound ; before him are lions lying down, an elephant, a horse, a white unicorn, a wolf, and other animals of every kind and size. On the right, at the edge of a forest, is a stag. This picture presents the peculiarity of having the outlines of a cow showing through the green-sward, between the elephant and the unicorn : Potter himself repainted it. One of the best works executed by him in 165 1 is the Shepherds with their Flocks, in the Amsterdam Gallery ; a repetition of this picture is in the possession of the Duke of * Revue de Paris, 1857. 1. * PAULUS POTTER. 129 Bedford. To the same year belong the Landscape with Cattle, in the National Gallery, and the Halt of Sportsmen, in Buckingham Palace. Two mounted sportsmen, one richly clothed, on a grey pony, the other carrying a gun and some game, have stopped in front of a village inn, at the door of which stands a woman ; an old man is seated on a bench outside : a servant is tightening the grey pony's girths, on the right are two dogs ; the sky is blue, with clouds. The year 1652 saw the production of some of his finest works. Amongst these, the Departure for the Hunt in the Wood by the Hague, in the Berlin Museum ; Oxen and Swine, in the Hague Gallery; and Oxen and Sheep, in the Louvre, are specially worthy of mention. Of the Landscape with Cows and Pigs, of the same date, Burger says : " Potter, sometimes rather dry and cold, is as vaporous as Claude Lorrain, free and firm as Cuyp, and harmonious as Adriaan van de Velde." To the year 1653 belong his Eqicestria7i portrait of Diderik Tulp, who is mounted on a fine dapple- grey horse ; he is richly dressed ; over a doublet of serge with yellow lappets he wears a cuirass : the saddle is of red velvet : in the background is the sea, and a castle is seen on the horizon. In the same year he produced the Horses of the Stadtholdcr, which has passed through the Alexander Baring, Buchanan, Vernon, Munro, San Donato, and Secretan collec- tions, and the Hawking Party, Wouwerman-like in subject, in the Duke of Bedford's collection, a brilliant yet delicate work. In the Hermitage at St. Petersburg is a large emblematic picture, one of his last works, representing The Chase, an imaginary retribution practised on huntsmen and dogs by the animals they are in the habit of chasing. A series of scenes, in one frame, ten of which represent various amuse- K 130 THE PASTORAL PAINTERS OF HOLLAND. ments of hunting, and the three remaining the trial and punishment of the hunter. The fourteenth was not painted by Potter, but by Poelenborch, and represents Diana with her Nymphs. It is probable that the artist's death prevented him from finishing this series, and that this is the last work of the master, which, if it be so, explains not only the absence of signa- ture but also the great merit of the execution, which is broader and freer than usual. Waagen declares it to be of a high im- portance as one of the last works of the master, and from the dramatic and humorous element which was not usual with him. It was sold with the collection of Madame Reuver (about 1750) to the Prince Elector of Hesse-Cassel. Taken to France, it formed part of the collection of the Empress Josephine at La Malmaison. When sold in 181 5 to the Emperor Alexander it was taxed at 70,000 francs. Those parts referring to the fate of hunters are : The Conversion of St. Hubert, The Trial of the Hunter, and The Punishment. In the eleventh com- partment, according to the legend, the illustrious hunter is stopped in his course by a stag carrying a cross between his horns. The hunter has dismounted from his black horse, and is on his knees before the miraculous apparition. Near him a greyhound and another dog are lying down. In the twelfth part, in an open plain with a slight elevation on the right, the animals have overcome a huntsman ; his hands are tied and he is guarded by two wolves and a bear, and must perforce submit to the interrogation of the tribunal, composed of a lion and an elephant. Behind the judges, a bear and a boar are leading two couples of dogs as prisoners. Around the judges' seat are the witnesses — a leopard, bull, bear, stag, goat, &c. The huntsman's horse is fastened to a tree on which a monkey is climbing. In the next compartment the huntsman and the dogs, condemned by the court of animals, PAULUS POTTER. 131 suffer the penalty. The former, on the spit, is roasted alive ; a pig and a goat baste him ; two bears turn the spit, an elephant and a monkey add fuel to the fire. A wolf and a fox hang two of the dogs ; a monkey leads away the other two to be executed in their turn. The execution excites general joy amongst the animals, some of which begin to dance. For a century after the death of Potter his works realized very small sums, as did those of his cotemporaries, but for the following fifty years considerable prices were paid, and in later years they have commanded prices almost above their real value. About the commencement of the eighteenth century one reads of such prices as i3f , 6 and 8f-, and later 37, 60, 840 florins. The Young Bull was sold for 630 florins in 1749, proving that by that time Potter's fame had begun to reassert itself. In 1763, the Orpheus fetched 1300 florins, and the Shepherds, also in the Amsterdam Museum, realized 3025 florins, and the Dairy Farm in the Duke of Westminster's collection, as we have seen, no less than 8010 florins. About the close of the century the prices rose very rapidly; thus Two Pigs, which fetched in 1785 only 121 florins, was sold two years later for 2700. The Shepherds reposing, in the Hertford House collection, the price of which in 1768 was 670, changed hands in 1865 for 44,100 francs. As an exception to small prices, the Cow (of St. Petersburg) sold in 1700 for 2000 florins; rather more than 100 years later it realized nearly fifty times that sum, i.e. 190,000 francs (^7,600). Amongst his best pictures, now lost, must be mentioned A White Ox in a Field, which, with several others, unfortunately, perished in the fire at the Museum at Rotterdam in 1864, and the Large Herd of Oxen, which passed for one of the masterpieces of the artist. The latter was purchased at the Braamcamp sale in Amsterdam in 177 1 for 9050 florins for k 2 132 THE PASTORAL PAINTERS OF HOLLAND. the Empress Catherine II. ; but, unfortunately, the vessel in which it was sent to Russia perished in a storm and with it several masterpieces of art. In the foreground on the left was an old shepherd with his dog ; before him was a herd of ten oxen which occupied nearly the whole of the canvas, and were represented in various attitudes with great variety of colour. In the midst of the distant fields full of cattle, passed a carriage drawn by two horses and followed by a horseman ; on the right were two trees, behind which the view was shut in by a hedge, which extended to groups of trees hiding the houses of a village of which the tower was seen. Potter's sketches for the most part were studies and not finished drawings, and even of these there are but few. Six are in the Teyler Museum at Haarlem, four in the Fodor Museum at Amsterdam, seven in the Berlin Museum, three at Dresden and a few in London. Some of them, however, appear to be sketches made as reminiscences of certain paintings, such as a Landscape, dated 1644, m the collection of the Due d'Aumale. " The drawings of this class are nearly all executed by the pen on> coloured paper heightened by white, in bistre heightened by white, in Indian ink on white paper, and lastly in blacklead pencil. Those of the second class, leaves of studies, are drawn with scarcely an exception in blacklead pencil. These are not careless studies where the clever touch of the artist seems to indicate that he works less to augment the treasures of his knowledge or the easiness of his touch than to refresh himself after more serious efforts by allowing his pencil to stray at will. On the contrary, his studies even when unfinished are still scrupulously exact, but often simple. Scarcely anything is left to chance, the outlines are precise and careful, the touch firm and strong. His first care was to seize the character of his model ; not a necessary detail was omitted, so soon as the pose and the movement of the animals was arranged. It follows that these drawings do not possess as a rule those charms of execution which are found in sketches of other great masters. However, one cannot but admire his conscientious observation, his complete knowledge and his PAULUS POTTER. 133 clever and firm hand ; and the advantages which he himself must have drawn from such studies are very evident. In his pictures, many of the animals and many groups follow exactly the pencil studies, and these are sometimes executed so perfectly that he had but to copy them faithfully for his etchings." In the Berlin Cabinet of Engravings are four volumes of studies ascribed to Potter, of which Dr. Waagen, who evidently- thought very highly of them, gave an interesting account. They afford, he says, the only example of such studies by a first- class master of the Dutch School, preserved in their original condition. Unfortunately, however, more recent criticism* pronounces them to be the work of several artists, and later by nearly a century than the time of Potter. The very marks of the paper on which they are drawn belong to a period sub- sequent to Potter. One volume contains a number of land- scapes, drawn with pen and pencil in Indian ink, in a style which recalls Van Goijen, and a number of heads of cattle. A second volume is mainly devoted to studies of trees. The third contains a most varied collection of studies in Indian ink, chalk, and body colour, of animals, and carts, ploughs and Other farm implements. The last volume, which is chiefly devoted to flowers and plants depicted the size of nature, also includes studies of birds and a series of sketches of village churches. The highest price known to have been realized by one of Potter's drawings was the 2220 florins which a Shepherdess fetched in 1833. Many of Potter's sketches, now lost, have been in a manner preserved by the etchings made from them by Marcus de Bije. As an etcher, Potter appears, in some lights, to better advantage than in his paintings. Though immeasurably * Heer J. Philip van der Kellen, a Dutch expert, writing in the ' Journal des Beaux Arts ' (Feb. 1870). 134 THE PASTORAL PAINTERS OF HOLLAND. behind Rembrandt, he must be placed above Ruisdael or Cuijp, and in his portrayal of animals he is only approached by Adriaen van de Velde. His representation of light is par- ticularly good. His earliest etching bears date 1643; but from 1645 to 1650 he appears to have laid aside the needle in favour of the brush. Speaking of his etching, Mr. Hamerton * says : "He had clear sight, a firm hand, a most excellent memory, but no imagination and very little power of composition. No painter whoever lived retained a more vivid image of an animal after having seen it, nor could any painter copy that image better. But his art was never much more than a very brilliant copy ism of facts, though since facts of life-like attitude in animals are of a nature which cannot be recorded without the memory, the art which reproduces them is on that account more wonderful than the patient literalism which copies a helmet or a vase. . . . Heetchtd with spirit, but being deficient in freedom did not sketch, nor did he see things with the comprehensiveness of a great sketcher such as Rembrandt. Now in all Paul Potter's work the objects are really drawn or painted one by one, first one animal and then another animal, first the leaf and then another leaf, and each thing is seen just as clearly as another thing. . . . Potter either gives you a thing clearly or else he omits it." In 1652 he produced a series of horses, which "show us no less the genius of the painter now arrived at his full maturity, but this time under a new phase. There is the same trueness of outline, the same strong touch, but accompanied by a vigour, a softness and transparency in the shadows which can only be appreciated by those who know the first state of this series, before subsequent alterations, as seen in the cabinet of engravings at Amsterdam." The etched works of Potter have suffered much at the hands of those who, in order to supply a demand, did not hesitate to issue impressions from worn-out plates, and also to supplement these by copies made by other etchers. * ' Etching and Etchers.' n6 THE PASTORAL PAINTERS OF HOLLAND. Potter's etchings form rather a series of studies of animals than any attempt at completed pictures. Those specially selected by Mr. Hamerton for notice are The Bull, " one of the most firm and brilliant of Paul Potter's works," The Cow with the near horn crooked; The Herdsman, "a wonderful piece of work for a boy of eighteen, and its faults were the best faults of youth, only too much care and study ; " The Cow with the lifted tail, "as a study of animal form and attitude, one of the very finest things in Dutch art," and three studies of horses, " amongst the strongest things that Paul Potter ever did," the Frisian Horse ; the Neighing Horse, and the Old Horse (La Mazette) which was done in his twenty-eighth year, when Potter himself must have known that he was doomed to an early death. The old horse enjoys the sunshine of his declining days, and regards with philosophic resignation his dead companion. The Neighing Horse is a really powerful piece of work, full of spirit, although, as in other cases, he gives to his animals an almost colossal size. A fine horse has galloped across the flat meadow to the verge of the water, and stand- ing with mane and tail swept by the wind, neighs, possibly in recognition of his master on a passing boat not visible in the picture. His companion to the right looks on in surprise. The Frisian Horse is even larger. A dapple grey stands up against a cloudy sky, rendered heavy in tone in order to heighten the effect of his light coat. In 1649, Potter, either as the result of an accident or because he would gain thereby, cut down the Herdsman to a smaller size, and substituted for the group of cows on the left a farm and a large meadow. A proof of the first state fetched, at the Verstolk sale in 1847, 465 florins. In 1649 ne produced the Zabucaia, a Brazilian monkey, with a face that is a 138 THE PASTORAL PAINTERS OF HOLLAND. caricature of a man's, seated near a shrub * which gives its name to the plate, and taking a fruit from its shell. It was probably engraved for some scientific treatise. The Amsterdam Museum possesses an almost unique proof before letters which, at the Verstolk sale, fetched 250 florins. Potter has not been very fortunate in the engravers of his works. Amongst his cotemporaries Jan (or Hendrik) Danckerts and Wallerant Vaillant were the only artists to reproduce his works ; in the following century Jurriaan Cootwyck was the sole Dutch engraver who interested himself in the great animal painter. Amongst foreigners, Le Bas, Bartolozzi, Vivares, Masquelier, Prestel, Tischbein, and Kuntz engraved pictures by him in the Choiseul and Lebrun galleries, and the Elector of Hesse's and other collections. In later times Alexander Liernur and Cornilliet have engraved his work, and Hanfstangl has lithographed it; but for all that Potter's work has never been fairly reproduced. The only exception being the two portions (the Punishment of the hunter and the Wild boar hunt), of the large picture at St. Petersburg etched by that admirable translator of painters' work, Wilhelm Unger. Of the few English engravings after his work we may mention the " Shooting Ponies " of W. J. Taylor, after The Halt, in the Buckingham Palace collection, and W. Great- batch's " Milkmaid," after the picture in the same collection. There is no evidence to show that Potter ever had any pupils, although several artists have been classed as his direct followers. As we have stated above, Albert Klomp and Dirk Rafaelsz Camphuijsen, although at one time considered to be his pupils, must now be classed as his seniors in point of * The Zabucai'a tree is found in great quantities in the forests in the interior of Brazil. Its fruit is as large as a child's head. GOVAERT CAMPHUIJSEN. 139 years. It is possible that there was a second painter of the name of Klomp who may have been a pupil, but of this little is known. Recent research, however, has been a little more fortunate in the case of the Camphuijsens, about whom hitherto much confusion has existed, and has shown that there were at least four painters of this name, besides the Dirk Rafaelsz, whom we have mentioned before, and by whom no works exist, i.e., his brother Govaert Rafaelsz, and three sons of this Govaert, Rafael, Joachim, and Govaert. Of Joachim, no works are now known, unless a picture in the Copenhagen gallery, with the signature Camphuijsen, is by him.* Much doubt exists as to the authorship of the various pictures bearing the signature of Camphuijsen. The chief of them was Govaert (son of Govaert), who was probably influenced by Paulus Potter, with whom his style has some points in common ; but he cannot be considered a scholar of Potter, who was two years younger, and who came to Amsterdam only * The following table will make the relationship clear : — Rafael Camphuijsen. Govaert Rafaelsz (/>. 1576? ; d. 1626 or 27) Dirk Rafaelsz 1586; d. 1627 (or 26) ) Rafael (l>. l 59 8 ; d. 1657) Joachim (b. 1602) Govaert (/>. 1623 ; d. 1672) Rafael (son of Govaert) who was horn at Gotcum, whence the family came to settle in Amsterdam, was married at Amsterdam in 1626 when his parents were dead, and his brother Joachim was married in the same city in the following year. Govaert, who was born at Gorinchem in 1623 or 1624, and who in 1647 married Petronella Franken of Amsterdam, was then made a citizen of that town, in which he worked till 165 1. From 1653 to 1663 he was Court painter at Stockholm to Charles X., and to the widowed Queen Maria Eleonora, after which he returned to Amsterdam, where he died in 1672. I40 THE PASTORAL PAINTERS OF HOLLAND. in the year 1652, when Camphuijsen was already an accom- plished artist. It is possible that Govaert studied under his elder brother Rafael. He painted at Amsterdam, and at Stockholm from 1653 to 1663, as Court painter. His pictures represent domestic animals, cattle, sheep — in meadow, courtyard or stable. " The peculiar treatment of light," says Dr. Richter, " by which his colour melts into golden hues, his broad execution, brown shadows, and firmly-painted yellow lights, certainly all denote a peculiar style and an original master, whose merits have not yet been enough appreciated." Burger was the first to prove his existence as an artist by his signa- tures ; since when much research has been bestowed upon his career — amongst others by Olof Granberg in his catalogue * raisonn'e of pictures in the private galleries of Sweden. His works are often attributed to Potter and also to his uncle Dirk who, as we have seen, worked only in his youth, or, according to Fetis, not at all. His own Portrait, painted by himself, is in the Amsterdam gallery. It is inscribed " G. Camphuijsen tot Amsterdam." The Dulwich College Gallery possesses a picture of peasants in Westphalian costume before a cottage (No. 120), which bears the forged signature of " Paulus Potter," with whose genuine work Dr. Richter points out it cannot be confounded, but it agrees in every point with the known characteristics of Govaert Camphuijsen. In the Rotterdam Museum are a picture of Peasants before an Inn, signed G. Camphuijsen, and a Portrait ; and in the Brussels Gallery is an Interior of a Farm, signed and dated 1650. The Hermitage at St. Peters- burg also has two Interiors of Cowsheds, both bearing his signature : and in the Hertford House Gallery is a fine Land- scape by him. * Stockholm, 1886. ADRIAEN VAN DE VELDE. 141 In the Dresden Gallery are two Moonlight Scenes, signed R. Camphuijsen, which are probably by Rafael Govaertsz (who was by a few years the forerunner of Van der Neer), as is also a similar picture in the Schleissheim Gallery. Let us now consider for a moment a few painters who were of greater merit than the Klomps or Camphuijsens. When Potter died, Adriaen van de Velde,* whose pictures were destined to rival his, had only just risen into notice. Less a painter of landscapes than Ruisdael or Hobbema, and less a painter of animals than Potter, he stands like Cuijp, half- way between the painters of landscapes and animals — a true pastoral painter. As a rule he places his cattle in a pool or an undulating field, with a distant view. Occasionally he treated hunting subjects, coast scenes, and winter landscapes. He was also very successful as an etcher. Karel du Jardinf has been classed by Dr. Waagen and others amongst the disciples of Potter, whose works had a certain influence on his style, though his pictures show more affinity to that of Berchem, J whose pupil he really was ; and in any case the influence of Potter was only of short duration (1656-1659) although it is to be traced in some of his best * Son of Willem, and younger brother of the more famous Willem van de Velde, the sea painters. He owed his instruction in art to them and to Wijnants. Born at Amsterdam in 1635 or 1636. Died there in 1672. He added figures to the landscapes of Ruisdael, Hobbema, Mucheron, Verboom, Wynants, Van der Heyden, Hackaert, and others. t Born in 1622 at Amsterdam ; studied in Italy, where he enjoyed great popularity, painted in the Hague in 1656-59 and Amsterdam in 1659-1669. Returned to Italy and died at Venice in 1678. His pastoral scenes are much admired. He also painted some good portraits. J Claes Pietersz, called Berchem, born at Haarlem in 1620. Studied under his father and several other painters. Probably visited Italy. Painted at Haarlem, and at Amsterdam, where he died in 1683. His work bears strong traces of Italian influence. 142 THE PASTORAL PAINTERS OF HOLLAND. works. Jan le Ducq,* the painter of Corps de Garde and conversation pieces, has also been claimed as a pupil of Potter, but there is no evidence to show that he ever studied under him ; the influence of Potter's style is, however, evident in the Landscape with a cowherd and several cows, which Le Ducq painted in 1658 on being received into the Corporation of Painters at the Hague, and also in a series of etchings of dogs. Emanuel Murant,t who was more probably a disciple of Wouwerman, and Herman Saftleven,J a pupil of Van Goijen, have been mentioned with more or less reason (they were both his seniors) as followers of Potter, amongst whom however may be classed Marcus de Bije.§ Towards the beginning of the present century, the work of Cuijp and Potter was revived in the efforts of Jacob van Strij || and Johannes Kobell,1T who not unworthily tried to retrace the steps of these two great masters. Later on, in Bel- gium, Ommeganck,** Verboeckhoven,tt and Verlat %% made * Born at the Hague in 1636. In 1672 he abandoned art for a military career; died about 1680-85. t Born at Amsterdam in 1622. Worked some time in Paris. Returned to Holland and died in Leeuwaarden in 1700 (?). % The third painter of this name. Born at Rotterdam about 1610. Died at Utrecht, 1685. lie painted delicate views of the Rhine and Maas crowded with figures. § Born at the Hague in 1612. Died in 1670. Chiefly famous for his etchings of animals after Potter's designs. || Born at Dordrecht, 1756. Based his style on those of Hobbema, Cuijp, and Potter. Died at Dordrecht, 1815. 1 The son of Hendrik Kobell, a marine' and landscape painter. Born at Delfshaven in 1779. Studied under Van der Wall, the animal painter. Died at Amsterdam in 1814. ** Born at Antwerp in 1755. Was a member of the Academies of Amsterdam, Brussels, Ghent, Munich and Vienna. Died at Antwerp in 1826. ft Born at Warneton, in West Flanders, in 1799. Ended a long and successful career at Brussels in 1881. %X Born at Antwerp in 1824. Became director of the Academy there. Died 1890. As well as animals, he painted portraits, genre, and heroic subjects. Excelled in etching cattle. JAN LE DUCQ. 143 themselves famous for a time as painters of cattle and sheep, executed with much minuteness of detail and truth to nature, but without any great feeling for art. In our own time, in Holland, the brothers Jacobus and Willem Maris and Anton Mauve * have succeeded in ridding themselves of the tame convention- alities of the eighteenth century, and have treated animal subjects in a manner more in accord with modern ideas of art than those which prevailed in the seventeenth century. * Born at Zaandam, 1838. Died, 1888. _ 2 3 'A i. On No. 627 in the National Gallery. 6. On his will. 2. On No. 303 in the Amsterdam Gallery. 7. On No. 53 in the National Gallery. 3. On No. 241 in the Dulwich College 8. On No. 114 in the Dulwich^ College Gallery. Gallery. 4. On No. 886 in the Berlin Museum. FACSIMILES OF SIGNATURES. ■ ( 145 ) LISTS OF THE PRINCIPAL WORKS OF RUISDAEL, HOBBEMA, CUIJP AND POTTER. The similarity of many of their subjects, coupled with the uncertain and often varying titles given to pictures by their owners, renders it difficult to trace in private galleries the works of such artists as Ruisdael, Hobbema and Cuijp. Added to this, the private collections in England are, with a few notable exceptions, without any catalogues worthy of their contents. With regard to the public galleries of England and the Continent, the works are given under the names and in the order in which they appear in the latest editions of the official catalogues. Special reference, for their critical value, must be made to those of Amsterdam (Dr. Bredius) ; Berlin (L. Scheibler, Dr. Bode and Dr. Meyer) ; Cassel (Dr. Eisenmann) ; Dresden (Dr. Woer- mann) ; Dulwich (Dr. Richter and J. C. L. Sparkes) ; London, National Gallery (Sir F. W. Burton) ; Munich (Dr. Reber) ; and Vienna, Belvedere (Dr. Engerth). Much useful infor- mation is also contained in Mr. Algernon Graves's Manuscript Analysis of the Loan Exhibitions held in Great Britain from 1813 till the present time. The pictures have been catalogued according to the towns in which they are ; the towns have been placed alphabetically in their respective countries, which are also arranged alphabetically. The names 111 Roman type between square brackets indicate the collections through which the pictures have passed ; those in italic the loan exhibitions to which they have been contributed. Smith — adding addenda and deducting repetitions — catalogues 445 works by "Ruisdael; 146 by Hobbema; 327 by Cuijp; and 126 by Potter. Reference to his Catalogue Raisonne is given wherever it is possible. Many of the works of these masters have been photographed by MM. Braun of Dornach, a series of whose admirable prints may be consulted in the Art Library of the South Kensington Museum. I.— PAINTINGS BY RUISDAEL. AUSTRIA-HUNGARY. Vienna. Belvedere. The Great Forest — In the foreground a ford. 7>. Ruisdael. (Smith, 226.) Etched by Unger. Landscape with, a Waterfall — With figures ; stream in foreground. J. v. R. Woody Landscape. Etched by Unger. Academy. Landscape with a Eiver. A Marsh in a Wood. Czernin Collection. Waterfall, (cf. Smith, 180.) Harrach Collection. Landscape with Eiver.— With a red roof. J. v. Ruisdael, 1649 (the date was formerly read as 1679). L 146 PAINTINGS BY RUISDAEL. Liechtenstein Gallery. Landscape— With high trees, herdsmen and cattle. J. v. R. Hilly Landscape— River in centre ; herds- man and cattle, by Berchem. y. v. R. Woody Landscape— House under the trees ; herdsman and cattle, y. v. R. Lipmann Collection. Moonlight Landscape — Moon rising from behind a wooded hill ; water in foreground. y. v.Ruisdael, 1648. Etched by L. Fischer. BELGIUM. Antwerp. Gallery. Landscape with Village, and a field of corn. v. Ruifdael, 1649. Cascade, v. Ruifdael. Brussels. Museum. Landscape —With figures and animals, v. Ruifdael. Landscape— With a ruined tower. J. V. R. An early work. The Haarlem Lake. v. Ruisdael. Arenberg Gallery. Winter Landscape— Frozen canal (upright.) Waterfall. M. Bischoffsheim. Landscape in the Dunes— With a pool. Comtesse de Chastel. Farm by the side of a Pool. M. Mignot. Landscape with a Torrent. 7- *>■ R- 1661. DENMARK. Copenhagen. Royal Gallery. Waterfall. v. Ruifdael. (Smith, Supp. Eoad in an Oak Copse, v. Ruisdael. Flat Landscape — With a herdsman and cattle. Pool surrounded by Trees. Count Moltke. Country House by the water side. Cascade. ( cf. Smith, Supp. 93 and 94.) FRANCE. Lyons. Museum. Cascade. Mans. Museum. Landscape — An early work. Marseilles. Mme. y. Autran. The Pool (recalls the Chase in the Dresden Gallery.) [Exhibition at Marseilles, 1879.] Montpellier. Museum. Landscape — A willow-tree in the river, y. v. Ruisdael, 1649. Nancy. Museum. Landscape, v. Ruifdael, 1649 [de Choiseul Coll]. Cottages by the Waterside. Paris. Louvre. The Forest — With a river passing through it ; a woman on a donkey conversing with a man with an ox ; cattle in water in the dis- tance ; figures, by Berchem. y. Ruisdael. Engraved in the ' Musee Royal,' in Filhol and in Landon. (Smith, 9.) A Storm on the Dykes of Holland— To the right a cottage and trees, and a dyke near which are boats; in the distance a village. y. Ruisdael. [Louis XVI. and Locquet Colls.] (Smith, 37.) Landscape — '' Le Buisson" — To" the right a peasant with three dogs on a sandy road bordered by a thicket ; to the left fields, and in the distance a village. y. Ruisdael. [Louis XVI. Coll.] Etched by Daubigny. (Smith, 300.) Landscape— " Le Coup de Soleil"— To the left beggars ask alms of a cavalier by the side of a stream spanned by a ruined bridge ; PAINTINGS BY RUISDAEL. 147 to the right a windmill ; figures, by Wouwer- man. J. R. [Louis XVI. Coll.] En- graved in the 'Musee Francais,' and in Filhol and in Landon. Etched by Daubigny. (Smith, 11.) Landscape— To the right a man walking along a winding road ; to the left in t!he distance a village. J. v. Ruijsdael. [Louis XV. Coll.] (Smith, 299.) Landscape — To the left a cottage on a knoll; a carriage and beggars. J. R. [Louis XV. Coll.] (A copy, not now ex- hibited.) M. Ed. Andre. View from the dunes of Overveen. Due cPAumale. Shore at Scheveningen — {Exposition an profit des Alsaciens-Lorrains, 1874.] Baron d? Erlanger. Landscape — {Exposition des Cent Chefs- d'CEuvre, Paris, 1883.] Comtesse Duchdtel. A Cascade — {Exposition att profit des Al- saciens-Lorrains, 1874.] M. Durand-RucL The Waterfall. [Pereire Coll.] Due de Galliera. Landscape — {Exposition an profit des Al- saciens-Lorrains, 1874.] M. Goldschmidt. Seapiece — Evening effect. Comte H. de Greffulhe. Wooded Landscape — With a stream and a village in the distance. {Exposition an profit des Alsaciens-Lorrains, 1874.] M. M. Kami. View Of Haarlem — With a ruin in the fore- ground: with figures by A. van de Velde. View on the Damrak at Amsterdam— With the Oude Kerk. A Windmill — By a canal. v. Ruifdael, 1652. The Forest (same motive as the Louvre picture). M. R. Kami. The dunes of Overveen — With the bleaching fields. Landscape on the dunes, v. Ruifdael, 1647. A Sandy Road. Baron E. de Rothschild. A Waterfall— With figures by Helt-Stokade. Madame Nathaniel de Rothschild, Road in Forest. GERMANY. Berlin. Museum. Agitated Sea in stormy weather— A sterdam in the distance. (Smith, 294.) Hilly Landscape -With figures, by Lingel- bach. (Smith, 293.) The Country house— In a park, with figures dancing, v. Ruifdael. [Suermondt Coll.] Stormy Sea — Boats running before the wind ; coast-line in distance to left. f. v. R. [Suermondt Coll.] Etched by Flameng. Haarlem from the dunes of Overveen. v. Ruifdael. [Mecklenburg and Suermondt Colls.] View of the Dam at Amsterdam— In the middle ground is the Public Weighing House, on the facade of which are the town arms and the year of foundation, 1565. v. Ruif- dael. Figures by Eglon van der Neer or Gerard van Batten. [Suermondt Coll.] View from the dunes of Overveen. v. R uifdael. Landscape with peasants' huts. v. Ruif- dael, 1653. (Smith, 292.) The Waterfall — In the water two tree trunks ; figures on road to left. v. Ruifdael. Cottages under high oak trees, v. Ruif- dael. The Thicket — With water in foreground. Ruifdael. [Suermondt Coll.] Hcrr James Simon. A Cascade. L 2 148 PAINTINGS BY RUISDAEL. Herr 0. Wesendonck. Ruins in a Wood. 7- v. R. Cottages on a Mountain. Brunswick. Gallery. Mountainous Landscape. Waterfall, v. Ruifdael. Wooded Landscape. J- v. R. Herr Wieiueg. View in the Dunes. CASSEL. Gallery. Woody Landscape.— With a red roof. v. Rut/idael, 1647. The Waterfall. v. Ruifdael. [Reuver Coll.] Etched by Unger. (Smith, 295.) Darmstadt. Gallery. The Edge of a Forest. J- v. R. Dresden. Gallery. The Chase — Huntsmen in a forest ; figures, by A. van de Velde. v. Ruisdael. En- graved by C. A. Gunther and by C. Kriiger. Lithographed by Deroy. (Smith, 230.) The Ford in the Forest— With a cart and two horses and some oxen. Ruifdael. The Monastery — In a wooded valley, f. v. R. Engraved by Kriiger. Lithographed by Villeneuve. The Waterfall by the Castle, v. Ruif- dael. The Castle of Bentheim. v. Ruifdael. The Waterfall with the wooden Bridge. v. Ruifdael. The Waterfall with the wooded Slope. v. Ruifdael. Etched by Krostewitz. (Com- panion picture to the foregoing.) The Oak Hill. J. -v. R. The Forest way. v. Ruifdael. The Waterfall with the Fir Tree. Ruif- dael. (Companion picture to the fore- going.) (Smith, 231.) The Convent Cemetery (" The Jewish Cemetery"), v. Ruifdael. Engraved by J. G. Primavesi and by L. Friedrich. Lithographed by Villeneuve. (cf. Smith, 60). A Village in a Forest. Canal by a Village. Dr. Schubart- Czermak. Woody Landscape — With a stretch of water and fishermen. J. v. Ruisdael, 1647. Frankfort-on-Main. Stddel Institute. Storm passing over a Wood. 7. v. R. Etched by Eissenhardt. • (Smith, 166.) Forest Scene — In the foreground a fallen tree trunk, v. Ruisdael. (Smith, 167.) Winter Landscape. 7- v. Ruisdael. Winter Landscape— Town in distance. Cascade. GoTHA. Gallery. Hut by the water side— With a fisherman. Hamburg. Kunsthalle. The Shepherd's Hut. 7- v. Ruisdael, 1646. An early work. Hanover. Gallery. Landscape — An oak tree on a height above the water, y. v. Ruisdael, 1648. Karlsruhe. Gallery. Pool in a Forest— With ducks and herons, by Wijntranck. y. v. Ruifsdael. Munich. Pinakothek. A Steep Road over a Sandy Hill— In th e foreground a brook with pollard willows. v. Ruifdael, ?i647 (usually read as 1667). Etched by J. L. Raab. A Wooded Landscape— With a storm rising ; shepherd driving sheep through water. y. v. R. A Forest Landscape — Two hunters and three dogs chasing a deer. y. v. R. Litho- graphed by K. Auer. [Zweibriicken Gall.] A Northern Mountain Landscape — A cataract with three falls ; on the left a castle on wooded heights, v. Ruifdael. Litho- graphed by J. A. Sedlmayr. [Zweibriicken Gall.] (Smith, 335.) A Forest Landscape — Oaks and beeche near swampy water, and ducks. J. v. R. Lithographed by J. A. Sedlmayr. [Zwei- briicken Gall.] (Smith, 334.) PAINTINGS BY RUISDAEL. 149 View Of a Cottage— A peasantt dragging a piece of wood. v. Ruifdael. ILithographed by J. A. Sedlmayr. [Zweibnucken Gall.] (Smith, 338.) Landscape with a Waterfalll — A farm to the right; shepherd and floc;k. V. Ruif- dael. Lithographed by J. Hcohe. [Zwei- briicken Gall.] A group Of Oaks— With a small I waterfall in the foreground ; on the right a 1 church tower and a windmill. Lithographedl by J. Stein- griibe, and by J. Wolffle. Schwerin. Musemnt, Waterfall— With figures representing a stag- hunt, by Lingelbach. v. Rnifaiael. GREAT BRITAIN AND IRELAND. Bearwood. J. Waltetr, Esq. View of the Castle of Benthieim. {.Man- chester Art Treas., 1857.] Landscape with Waterfall— < On the left a river with rocky banks ; fir-ttrees in the centre and to the left; in the (centre, above the bank, a watermill. J. v>. Ruijsdael. {Leeds 1868 ; Old Masters, 18822] Belvoir Castle. Duke ojf Rutland. Sea piece — Rough sea ; coast in distance. (Smith, 285.) Sea piece — Coast in foreground. (Smith, 286.) Bowood. Marquis of Lcansdowne. Town and Harbour of Amsterdam — Bird's-eye view of the town aind harbour, with flat country beyond. J. *v. Ruijsdael. rGwdyrColl.,AV//. Inst., 1832. iOld Masters, 1884.] (Smith, 278.) A Storm at Sea— Rough sea with several boats ; two piers in foreground. [Sydervelt, Braamcamp, Paillet, Marquis Merialva and Karl of Liverpool Colls. Brit. Iinst., 1829 and 1864. Old Masters, 1884]. (Smiith, 2.) Landscape — With haymakers, a loaded wag- gon, barge, &c.i Cambridge. Fitzwilliam Museum. Landscape — With a river flowiing from the right and falling in a cascade in the fore- ground ; castle on hill to left. [tOld .Masters, 1879.] Castle Howard. Earl of Carlisle. Sea Coast at Scheveningen— A rough sea and a cloudy sky ; figures on high ground ; children playing in foreground. [Brit. Inst., 1819, '36, and '50.] (Smith, Supp. 28.) Clumber. Duke of Newcastle. A Storm at Sea — Sea-shore on the right ; six vessels on sea. J. v. Ruijsdael. [Old Masters, 1879.] (Smith 320.) A Cornfield — The slope of a hill covered with trees and sheaves lit up by rays of sun ; on the top a house ; two figures ; cloudy sky. J. v. R. [Old Masters, 1879.] (Smith, 321.) Dalkeith Palace. Duke of Buccleuch. Wooded Landscape — With herdsman and cattle. (Smith, 283.) DEErDENE. Hope Collection {Lord Henry Pelham Clinton). Storm on a Sea Coast. 7- v. Ruisdaei. [South Kensington Mus., 1868-69.] A Stream rushing between two Hills— With figures, sheep and cows, by Van de Velde. [Brit. Inst., 1850.] (Smith, 12.) DUBLIN. National Gallery. Windmill. 7- v. R., 1663. A Woody Landscape. [Beckford Coll.] 7- v. Ruisdaei. Dulwich. College Gallery. Two Windmills near a Pathway— The ' Groote Kerk ' of Haarlem in the distance ; in the foreground a pool. 7- v- R. En- graved by R. Cockburn. (Smith, 315.) A Waterfall — The waterfall occupies the entire width of the foreground, v. Ruifdael. Engraved by R. Cockburn. (Smith, 314.) The Edge Of a Wood— Two roads lead to middle ground ; in the distance a chateau and a church ; in the foreground a horseman and a sportsman. 7- ''■ R. Figures by Adriaen van de Velde. Painted in or before 1672. (Smith, 168.) i5o PAINTINGS BY RUISDAEL. Edinburgh. National Gallery. Wood on the Banks of a River. [Torrie Coll.] Landscape— View over distant country ; with figures by Wouwerman. [Torrie Coll.] GlSBURNE PARK. Lord Ribblesdale. Landscape— With a cottage on a height to- wards which a road winds. Glasgow. Gallery. View Of Katwijk — Near Scheveningen. J. v. R. [M'Lellan Coll.] (Smith, Supp., 117.) Landscape with Figures. 7- v. R. [Gra- ham Gilbert Coll.] The Ford — With sheep and figures. [Graham Gilbert Coll.] Landscape, with Ruins and Figures. J. v. R. [Graham Gilbert Coll.] Seapiece. 7- V. R- [Graham Gilbert Coll.] Landscape. [Graham Gilbert Coll.] Gosford House. Earl of Wemyss. View of the Plain and Town of Haarlem — With House in foreground. View of the Plain and Town of Haarlem — With water in foreground. {Companion pictures.') Winter Landscape. View on a Canal — Ruins with arches on left ; on right willows and boats. (Smith, 343) Holker Hall. Duke of Devonshire. Landscape— With road leading to a church ; two figures in foreground ; sheaves of corn in field. [Brit. Inst., 1866.] Landscape — With buildings to left by a stream. [Brit. Inst., 1866.] Woodland Scene. Lockinge House. Lord Wantage. Woody Landscape— Rising ground on left, with road overgrown with trees ; river on right. 7. v. R. [Edward Gray and Over- stone Colls.] Landscape with Waterfall— Middle dis- tance a house ; on the right a wood. [Duke of Brunswick's Coll.] The Waterfall— A torrent rushing beitween rocks to right ; above it cottages and figures on a hilL-top ; on the slope of the h.il.l two figures, one sketching ; in the dista.mce to right is a village. J. v. Ruisdael. [V e:rstolk and Overstone Colls., Manchester, 185 7 . Old Masters, 1871 and 1888.] Landscape — River to left, with road leading through a wood ; men, sheep and right. J. v. Ruijsdael. [Wynn Ellis Coll. Old Masters, 1871.] Rocky Landscape with Torrent — A fir tree risinj above the torrent. Ruifs.dael. [Wynn Ellis Coll.] An Old Oak — On the skirt of a wood ; ai road- way leading to a cottage; three figures. y. R. [Wynn Ellis Coll.] Watermills — In the foreground bleache:rs at work. y. R. [Wynn Ellis Coll.] PAINTINGS BY RUISDAEL. I-51 Landscape, an extensive flat wooded Country — A windmill and spires of several village churches ; heavy clouds, with shep- herds, sheep, and swans. y. Ruijsdael. [Wynn Ellis Coll.] The Broken Tree — A tower to the left. [Wynn Ellis Coll.] Messrs. T. Agneiu &* Sons. A Forest Scene — The skirts of a wood with a wide expanse of water ; barren hills in the distance. [Manchester, 1857. Wells Coll.] (Smith, 313.) Bath House (Lord Ashburton). Landscape — View across a pond to a wood on the left. [Old Masters, 1890.] Landscape. Duke of Bedford.* A square brick Ruin in a Landscape. y. v. R. (Smith, 218.) Landscape — -With a remarkably low horizon ; cottage, pool in foreground, y. v. Ruifdael, 1648. Landscape — With a bridge of red brick. y. v. Ruisdael. [Calonne Coll. Brit. Inst., 1835-] (Smith, 219.) Rt. Hon. G. Cavendish Bentinck, ALP. Wooded Landscape — In the foreground a road branches at foot of a large tree ; distant landscape to left ; cattle and figures by Berchem. y. v. Ruisdael, 1652. [Old Masters, 1876 and 1890.] Bridgwater House {Earl of Ellesmere). View in the neighbourhood of Haarlem. Engraved in the " Stafford Gallery." (Smith, 202.) Landscape (the "Charcoal Burners") — A rapid stream in foreground ; figures on skirts of a forest. [De Vandreuil, La Perrier, and Watson-Taylor Colls.] (Smith, 194.) Landscape — On the right a peasant driving a flock of sheep over a rustic bridge. [Due d'Alber< and Sir C. Bagot Colls.] (Smith, 172, and Supp. 74.) Landscape — A hill covered with trees ; two men fishing ; and a shepherd driving sheep to the left. Engraved in the "Stafford Gallery." (Smith, 203.) View of the Old Gate of Amsterdam— In foreground a man and dog crossing a bridge. Engraved in the " Stafford Gallery." (Smith, I35-) View of a flat wooded country— River in foreground ; town in distance. (Smith, 317.) Earl Brownlow. Flat Landscape— With cattle and sheep, by Van de Velde. [Brit. Inst., 1829.] Buckingham Palace (H. M. the Queen). The Windmill— With bleaching grounds and a cottage, water in the foreground, y. v. Ruisdael. [Earl of Halifax and Walsh Por- ter Colls. Brit. Inst., 1821, '26, '27. Old Masters, 1876.] Engraved by T. A. Prior. (Smith, 102.) Marquis of Bute. f Landscape With River— Church and vil- lage in distance. J. v. R. [Old Masters, 1871.] (Smith, 199.) Interior of the New Church at Amster- dam — Figures by Wouwerman. [Braamcamp Coll. Brit. Inst., 1822 and '47.] (Smith, 24.) View Of Haarlem— Town in middle distance. y. v. Ruisdael. View of Norwegian Scenery — In fore- ground on left water with rocks; on right two houses and a castle, y. v. Ruisdael. [Brit. Inst., 1829, '47 and '54.] (Smith, 198. » Dorchester House (R. S. Holford, Esq.). Landscape ("Coup de Soleil") — Extensive view near Haarlem over a flat wooded country ; houses in foreground, and man and dog ; towers of castle to left. y. v. Ruijsdael. [Brit. Inst., 1845 and '51. Man- chester Art Treas, 1857, Old Masters, 1887.] * A catalogue of this collection has been made by Mr. G. Scharf, F.S.A. f The Marquis of Bute's Collection has been exhibited publicly at Bethnal Green in 1883 ; at Glasgow in 1884 ; and in Manchester in 1885. A catalogue by Dr. Richter was published by the Science and Art Department. - - 152 PAINTINGS BY RUISDAEL. Hertford House {Lady Wallace.*) Landscape. 7- v. Ruisdael. Landscape with Waterfall. 7- v. Ruis- dael. [Denon and Marquis of Hertford Colls., Manchester Art. Treas., 1857.] Wild Duck Shooting. 7- v. Rnisdaet. Landscape. 7- »• Rnisdaet. H. Bingham Mildmay, Esq. Scheveningen Sands. 7- Rnisdaet. {.Old Masters, 1876.] The Sea Shore. {Old Masters, 1876.] A. J. Robarts, Esq. A Waterfall — Divided by rocks in the fore- ground ; on right a shepherd and his flock. Signed. [Prince Galitskin Coll. Brit. Inst., 1828 and '52. Old Masters, 1877.] (Smith, 209.) Lord Rothschild. A Forest. A Wood with Water— Figures by Van de Velde. {Brit. Inst., 1844 and '62. J Alfred de Rothschild, Esq. Landscape — With cascade in foreground ; castle in distance. G. Salting, Esq, Seapiece— Stormy sky. A Ford. A Forest Scene. Stafford House {Duke of Sutherland). A Flat Landscape — With a herdsman, three cattle and a goat ; cattle by Van de Velde. 7. v. R. {Old Masters, 1876.] Lowther Castle. Earl of Lonsdale. A Waterfall — With pine-clad banks. A Farm, with Trees. Nostell Priory. Lord St. Oswald. Landscape — With figures and carts near a river. Landscape — With stream ; road on left. Oxford. Worcester College. Wooded Landscape — With water ; a corn- field to the right. {Manchester Art. Treas.,, 1857-] Richmond. Sir Erancis Cook, Bart. Landscape — With a town in distance (pro- bably Haarlem). {Old Masters, 1871.] Stratton. t Earl of Northbrook. The Castle of Brederode. 7- ■"■ R- [Due: de Berri Coll. Old Masters, 1872.] (Smith,, 25S-) Windmill. 7-v.R. {Old Masters, 1870.] i (Smith, 3.) The Cornfields — A sandy road in fore- ground ; cornfields in middle distance ; trees and cottages in background. 7- v - Rnis- daet. [Brit. Inst., 1850. Old Masters, 1871 and 1889.] Waterfall, v- Ruifdael. [King of Holland Coll. Old Masters, 1872.] Bleaching Ground — View on the plains be- fore Haarlem, v. Ruisdael. {Old Masters,, 1872.] (Smith, 7.) A Fresh Breeze— View on the Y off Amster- dam ; boats running before the wind ; a flat coast stretching across the background. 7. v. Ruisdael. [Beverley Coll. Brit. Inst., 1867. Old Masters, 1871. Guildhall, 1890.] (Smith, Supp. 2.) Thonock Hall. Sir Hickman Bacon, Bart. View of the Castle of Bentheim— The cast e in middle distance ; in the foreground a meadow and shrubs. {Guildhall, London, 1890.] Sea-piece — To the left a fishing boat with a brown sail ; strip of land running into sea from the right. {Guildhall, London, 1890.] Welbeck Abbey. Duke of Portlatul. Landscape — With oaks and a piece of water. * The late Sir Richard Wallace's collection was exhibited at Bethnal Green Museum in 1874. A catalogue was published by the Science and Art Department, f A catalogue of this collection has been made by Dr. Richter and Mr. Weale. PAINTINGS BY RUISDALL. 153 HOLLAND. Amsterdam. Rijks- Museum. The Waterfall— With a castle on each side ; on the hills shepherds and sheep, v. RuiJ- dael. Etched by J. A. Boland. (Smith, 13.) The Castle of Bentheim— Water in fore- t ground. J. v. Rui/dael. [Smeth Coll.] (Smith, 16.) "Winter Landscape— Some cottages by a frozen river in a snowy landscape ; to the left a farm-house and a boat. v. Rui/dael, 1653. [Rombouts and Dupper Colls.] "Wooded Landscape— Oak trees on a hilly sand bank ; in the foreground a road. v. Rui/dael. [Schimmelpenninck, Rom- bouts and Dupper Colls.] Etched by J. A. Boland. View Of Haarlem— With the bleaching fields in the middle distance ; hilly foreground. v. Rui/dael. [Nagel van Ampsen and Dupper Colls.] (Smith, 220.) Landscape, v, Rui/dael. [Sir Charles Blount and Van der Hoop Colls.] (Smith, Supp., 1.) River Scene — Near Wijk-bij-Duurstede. J. v. Rui/dael. [Van der Hoop Coll.] Northern Landscape. 7. v. R. [De Vries and Van der Hoop Colls.] "Woody Landscape— With a watermill. t/. Rui/dael, 1661. [De Vries and Van der Hoop Colls.] (Smith, 48, and Supp. 34.) Mme. Messchert van l^ollenhoven. A' Road through a Wood— With water in the foreground. Six van Hillegom Collection. A Cascade. (Smith, 236.) Borders Of a River— With a church and a wooden bridge. ( Smith, 344, and Supp. 101.) Forest Scene — With figures by Wouwerman. (Smith, 217.) Snow Scene. Hague. Museum. A Cascade, v. Ruisdael. (Smith, 162.) A Sea Coast. [Van ;der Pot Coll.] (Smith, 287.) The Bleaching Fields of Haarlem— From the Dunes of Overveen. : Steengracht Collection, A Cascade. (Smith, 288.) Rotterdam. Boy/nans Museum. The Cornfield — By the Zuiderzee. The Sandy Road— Crossed by a stream. View of the Old Fish Market at Amster- dam — Winter scene ; with figures by Gerard van Battem. [Ploos van Amstel, Kat and Leembrugge Colls.] v. Rui/dael. ITALY. Florence. Uffizi. A Storm — A view of a flat country. (Smith, 265.) Turin. Gallery. A Pool. RUSSIA. •St. Petersburg. Hermitage. Marsh in an Oak Forest — Ducks in the water ; one flies off at the approach of a man. A Wood — With a road, a huntsman and two dogs ; a beggar seated. [Count de Baudouin Coll.] A Wood — Near a pond, a large oak, killed by lightning. Engraved by P. E. Morelli and by P. Moitte. [Briihl Coll.] (Smith, 304.) Landscape traversed by a Road— Leading to a village. Rui/dael, 1647. Landscape — In the foreground an old willow. y. Rui/dael. Landscape — With three beeches. /. v. R. Landscape with Figures, y. v. It, Landscape — With group of three peasants to left. v. Rui/dael, 1646. A Farm — Beneath trees near a lake in which a woman is washing linen. (Smith, 201.) 154 PAINTINGS BY HOBBEMA. Landscape with a Rocky Stream— Shep- herd with sheep and a goat to right. v. Ruifiiael. (Smith, 305.) A Forest traversed by a River— Hunts- man and dog to right, v. Ruifddel. Mountainous Landscape— A windmill to right ; a raft on the water. Engraved by Moitte. (Smith, 307.) View in the neighbourhood of Groningen — Village in the distance. Ruisdael, 1647. Landscape - 1 n foreground trunk of dead tree ; shepherd and sheep ; cornfield in distance. J. v. R. Due de Leuchtenberg. Environs of Haarlem. ComU P. Stroganoff. View of a Village — With a mill by the river side. SWEDEN. Stockholm. Royal Gallery. A Road through a Forest— Animals water- ing in pool in foreground. View of a Town. 7-v. R. II.— ETCHINGS BY RUISDAEL."" 1. The Little Bridge. Ruisdael /. (Bartsch, 1.) 2. Two Peasants and their Dog. Ruis- dael/. (Bartsch, 2.) 3. Cottage on a steep bank. Ruisdael. (Bartsch, 3.) 4. The Travellers. Ruisdael. (Bartsch, 4.) s- The Field bordered by Trees. Ruisdael fe. (Bartsch, 5.) 6. The Three Oaks. Ruisdael in. f, 1649. (Bartsch, 6.) 7- Stream traversing a Village. Ruisdael /, 1646. (Bartsch, 7.) 8. Landscape with a Marsh. 7- Ruijsdael f. 1647. (Duplessis, 7.) 9 Landscape with a Cottage and Piggery. 7. Ruijsdael in. 6, 1646. The only known proof is in the Amsterdam Museum. (Du- plessis, 9.) 10. Landscape with Water. Ruijsdael f. Oval, oblong. (Duplessis, 10.) 11. Landscape with a Stream. 7- v. R. Oval, oblong. (Duplessis, 11.) 12. The Little Landscape in an Oval— Up- right, v. Ruijsdael. The only known proof is in the British Museum. (Duplessis, 12.) III.— PAINTINGS BY HOBBEMA. AUSTRIA-HUNGARY. Vienna. Academy. Cottage in a Wood. Belvedere, Landscape — In the foreground cattle crossing a ford. (Smith, no.) Czerniti Collection. Landscape — With figures by Ostade. Liechtenstein Gallery. Landscape— Cottages under trees. Ilobbema. BELGIUM. Antwerp. Gallery. Watermill. Brussels. Gallery. Haarlem Wood. M. Hobbcma, 1663. M. * These have been reproduced in facsimile by Amand-Durand. Text by Duplessis. PAINTINGS BY HOBBEMA. 155 Palace of Kin^ Leopold. Frisian Landscape (pendant to that sold for 72,ooofr. at the sale of Baron de Mecklen- burg at Paris). Arenberg Gallery. Charcoal-burners. (Smith, 72.) DENMARK. Copenhagen. Count Moltke. A Forest Scene— With a river and figures. (Smith, Supp., 5.) Landscape with. Cottages. (Smith, Supp., 10.) FRANCE. Bordeaux. Museum. Landscape. Grenoble. Museum. Landscape — With a cottage under some oaks. M. Hobbema, 1659. [de La Hante Coll.] Paris. Louvre. Landscape — Interior of a wood ; to the left a group of large trees : to the right a winding road with figures ; pool in foreground. The Watermill — To the right two large trees by the side of a stream : a second mill in the distance. M. Hobbema. Figures by Storck. [Coders, Buchanan, Watson- Taylor, Mecklemburg and Napoleon III. Colls.] Etched by Milius and by Delauney. Marquis (TAbsac. Landscape. [Exposition art pro/it des Alsa- ciens-Lorrains, 1874.] M. R. Kami. Cottages beneath high trees. Baron Alphonse de Rothschild. The Watermills — With figures by Wouwer- i man. [The Baronne James Coll.] Baroness Natha7iiel de Rothschild. Landscape in Guelderland. {Exposition an pro/it des Inondes, 1887.] Princesse de Sagan. . A Forest— A cottage half-hidden in the trees. Figures by Lingelbach. [Exposition au pro_fit des Alsaciens-Lorrahis, 1874. Expo- sition des Cent Chefs-d'Uiuvre, Paris, 1883.] GERMANY. Berlin. Museum. Wooded Landscape — Pool and figures in foreground ; . man sketching ; church and windmill in distance. 31. Hobbema. Etched by W. Krauskopf. (Smith, 118. J Herr von Carstanjen. Landscape. Darmstadt. Gallery. Landscape — With a peasant's hut, 1649. Dresden. Gallery. Wooded Landscape— B-oad between cot- tages with figures. M. Hobbema. Dr. Schubart-Czermak. Landscape. M. Hobbema. Frankfort-on-Main. Stddel Institute, Entrance to a Wood— Village in distance. ' M. Hobbema. Etched by Eissenhardt. Gotha. Gallery. Landscape— With shepherd and sheep. Hamburg. Consul Weber. Watermill. M. Hobbema, 1670. Munich. Pinakothek. Landscape— Two huts under some old oaks. A/. Hobbema. 156 PAINTINGS BY HOBBEMA. GREAT BRITAIN AND IRELAND. Basildon Park. Charles Morrison, Esq. A Cottage under Trees — On road a woman and two men talking ; in centre of foreground a small pond. Bearwood, y Walter, Esq. Landscape and Figures— In the foreground a piece of water into which a woman is dragging a cow ; in the middle distance a watermill. Figures by Adriaen van de Velde. M. Hobbema, /. 1667. Engraved by R. Earlom. [Lord Trevor and Lady Hamp- den Colls. Old Masters, 1882.] (Smith, 92.) Blenheim Palace. Duke of Marlborough. Landscape — With a watermill in the centre ; greater part of foreground occupied by a stream ; a bridge to the right, with figures by Hobbema. [Hamilton Palace Coll. Exposition des Cent Chefs-d'Qiuvre, Paris, 1883, Secretan Coll.] (Smith, 117.) Cambridge. Fitzwilliam Museum. A Wooded Landscape— With cottages and a branching road ; in the foreground a hunting party. M. Hobbema f. 1667. [Otd Masters, 1879.] Castle Howard. Earl of Carlisle. Landscape — Trees near a cottage in a fiat plain. Chipstead. George Perkins, Esq. A view of the Castle of Kostverloren on the Amstel — The building has a lofty square tower, and is surrounded by a moat. (Smith, 116.) Deepdene. Hope Collection {Lord Henry Pclham Clinton). Cottages surrounded by Trees— Figures on road. (Smith, 98.) Dulwich. College Gallery. Woody Landscape— With a large watermill. Hobbema. Engraved by R. Cockburn. (Smith, 123.) Duncombe Park. Earl of Feversham. Landscape — Gentleman and servant with dog in centre ; peasants to left ; cottage to right. M. Hobbema. Edinburgh. National Gallery. Woody Landscape— With water. M. Hob- bema, 1650. [Torrie Coll.] (Smith Supp. 27.) Woodland Scene. [Torrie Coll.] Glasgow. Gallery. Landscape in Storm. M. Hobbema. [Gra- ham-Gilbert Coll.] Ruined Cottage. [M'Lellan Coll.] Wooded Landscape. [M'Lellan Coll.] Group of Trees— On the bank of a river. M. Hobbema. \ M'Lellan Coll.] Wooded Landscape. M. Hobbema. [M'Lellan Coll.] Wooded Landscape. Hobbema. [M'Lellan Coll.] Gosford House. {Earl of Wemyss.) Landscape— With watermill to left, with stream flowing towards spectator ; man and woman with cow and goats. {Old Masters, 1889.] (Smith, 125.) Holker Hall. Duke of Devonshire. A Cottage in a Wood— A road to left. Lockinge House. Lord Wantage. Landscape— Trees on right ; road leading to a village in background. The Watermill — In foreground pool into which water is pouring from an overshot mill ; lady and gentleman on pathway ; to light two men fishing ; on left harvest field ; village and church in distance. M. Hob- bima, 1664. [Verstolk Coll. Old Masters, 1888.] PAINTINGS BY HOBBEMA. 157 London. National Gallery. Landscape, Showery weather— A cluster of large trees in the centre ; on the one side a shaded pool, on the other a cottage. M. Hobbemaft. [Perregaux Coll.] (Smith 73.) The Avenue, Middelharnis, Holland— A long avenue of straight-topped trees leads up the centre of the picture to the village ; on either side of the road a ditch, and beyond plantations. M. Hobbema f. 16X9 (? 1669, usually read 1689). [Van der Pot and Peel Colls., Brit. Inst., 1835.] Etched by Lowen- stam, G. Greux, and Gaucherel. (Smith, 88.) Ruins of Brederode Castle— The castle, standing on high ground in the middle of the picture, surrounded by water ; sportsman and fishermen ; ducks in foreground by Wijntrank ; figures by Lingelbach. M. Hobbema ft. 1667. [Kops and Peel Colls., Brit. Inst. 1840.] (Smith, 59.) A Village, with Watermills — A small river in front with three water-wheels ; ducks in foreground. M. Hobbema. [Peel Coll.] (Smith, 61.) Forest Scene — Outskirts of a wood ; pool of water in foreground. [Barchard and Peel Colls.] (Smith, S 6.) Woody Landscape— Cottages amongst the trees ; three figures in foreground. [Wynn Ellis Coll. Old Masters, 1871.] A Castle — tn a rocky landscape, on the heights to the left ; small cascade in fore- ground on the left. M. Hobbema, 1667 ? [Wynn Ellis Coll.] Messrs. T. Agneiv £r Sons. A Woody Landscape — With a cottage under a group of trees on the left ; village in the background to right ; pool in middle distance. M. Hobbema. [Stover (Duke of Somerset) Coll.] A View in Westphalia— A richly-wooded country with a man angling, another man crossing a bridge, and a man and woman talking ; ruins of a house to left. [Old Masters, 1876. Wells Coll.] (Smith, 18.) Balk House. {Lord Ashburton.) Landscape — Outskirts of a wood; ruined cottage on right ; woman and child and dog on road in foreground. M. Hobbema, 1655. [Old Masters, 1890.] Bridgwater House {Earl of Ellesmere). The Watermill — With a man fishing and woman washing linen. M. Hobbema, 1657. [St. Victor Coll.] (Smith, 51.) Landscape — With cottage ("The Wood- cutters"). Engraved in the "Stafford Gallery." (Smith, 2.) Landscape — A road leading to a village ; in the foreground a cart and two riders. En- graved in the "Stafford Gallery" by J. Landseer. Buckingham Palace {H.M. the Queen). Landscape with Figures— A wooded land- scape ; the foreground in shadow ; back- ground in bright sunlight ; seven figures in the foreground. M. Hobbema, 1668. [Old Masters, 1883.] (Smith, 114.) A Watermill — On the right a cottage on a winding road, along which a man advances ; on the left a watermill ; cottages in the distance. M. Hobbima, 1661. [Brit. Inst., 1826 and '27 ; Old Masters, 1886.] Engraved by J. Cousen. (Smith, 113.) Marquis of Bute. Landscape — With watermill. [Brit. Inst., 1821 and '47; Old Masters, 1870.] (Smith, 102.) Landscape — A village with a road through it. With figures ascribed to Storck. M. Hobbema. [Brit. Inst., 1819 and '47.] (Smith, 103.) Dorchester House {R. S. Holford, Esq.). A Forest Scene — The outskirts of a wood ; in the foreground two figures on a road skirting two pools, in one of which a man is fishing ; on the right a raised pathway. Mijndert Hobbema 1663. [Cobbe Coll. Brit. Inst. 1840, '51 and '62 ; Manchester Art Treas., 1857; Old Masters, 1887.] (Smith, Supp. 18.) Dudley House {Countess of Dudley.) Landscape — Travellers passing through a wood. [Old Masters, 1871.] 158 PAINTINGS BY HOBBEMA. Landscape — With cattle by Adriaan van de Velde. [Old Masters, 1871.] Grosvenor House {Duke of West- minster). A Forest Scene with Cottages— Figures by Lingelbach, 16*5. A Forest Scene with Cottages— Figures by Lingelbach. These two pictures represent the same cot- tage seen from opposite sides. Engraved by Mason. [Fizian and Agar Colls. Brit. Inst., 1834 and '43; Old Masters, 1871.] (Smith, 64 and 65.) Lord Hatherton. Landscape, with a Farmhouse, and with figures and animals by Adrian van de Velde. M. Hobbema, 1663. Hertford House {Lady Wallace). Landscape. [The King of Holland and Marquis of Hertford Colls.] Watermill— Mill to right ; bridge in centre ; road with figures to left. [Demoiselle Hoff- mann, King of Holland, Marquis of Hert- ford's Colls.] Outskirts of a Wood. [Fesch. Coll.] Landscape — A road winding through centre ; two figures advance towards spectator through a stream ; other figures on road, near a cottage and on a bridge. M. Hob- bema. [Old Masters, 1889.] Woody Lane. F. Heusch, Esq. Landscape — A wood, with a house in sun- light, 1665. [Vivian Coll.] (Smith, 101.) Landscape— With a cottage beneath trees to the right. Henry Oppenheim, Esq. Landscape — A tall oak in centre, sluice to the left, figures on the road. M. Hobbema , 1664. [Perkins Coll.] A.J. Robarts, Esq. Landscape— View of a village ; top of steeple through trees on left ; in centre peasants with a cart and two horses. Figures by Lingelbach. [Radstock Coll. Brit. Inst. 1829 and '52 ; Old Masters, 1877.] (Smith 78.) Lord Rothschild. Landscape — Cottages in a wood ; figures on a road in foreground. [Old Masters, 1878.] Alfred de Rothschild, Esq. Landscape — With river, farmhouses in dis- tance — spires of a church to left. Stratton. Earl of Northbrook. Landscape — Divided by a river flowing across it. M. Hobbema. (Smith, 40.) Swinton Park. Samuel Cunliffe- Lister, Esq. Landscape with Figures and Animals- Water in the foreground ; meadows and cottages to right in distance. Figures by Adriaen van de Velde. [Holderness Coll. ; Brit. Inst. 1821 and 1832; Hanbury Tracy, San Donato, and Secretan Colls.] (Smith, 10.) Petworth. Lord Leconfield. A Watermill. (Smith, Supp. 20.) Landscape — Three figures in foreground. (Smith, Supp, 19.) A Wood — With a field in sunlight. M. Hobbema. HOLLAND. Amsterdam. Rijks- Museum. Watermill — The water falls into a pool which occupies the foreground. M. Hobbema. Apparently the representation of a paper mill in Overijsel. Etched by W.'Unger and by J. A. Boland. [Rombouts and Dupper Colls.] Watermill. M. Hobbema. [Van der Hoop Coll.] The same mill as the above but seen from another side. Landscape. M. Hobbema. [Van Fran- kenstein and van der Hoop Colls.] (Smith, in.) PAINTINGS BY CUIJP. 159 Baron van Brienen Collection. Landscape. [De Vos Coll.] (Smith, 66.) Six van Hillegom Collection. Landscape — With village beneath oak trees ; a sportsman and dog on the road. (Smith, 89.) Hodgson Collection. Landscape. [Gildermeester Coll.] (Smith, "•) Dordrecht. Dupper Collection. Watermill. Kat Collection. Entrance to a Forest. Hague. Steengracht Collection. The Watermills. Engraved by Vinkeles. (Smith, 87.) Rotterdam. Boy mans J\ In sewn. Landscape. Woody Landscape. ITALY. Florence. Dr. J. P. Richter. A MeadOW — Crossed by a road, and bordered by trees ; to the left, a brook and a water- mill. A man fishing, and another on the road. M. Hobbema. (On the back of the canvas is a note in apparently cotemporary writing, Harlem, 1660.) RUSSIA. St. Petersburg. Hermitage. A Wood traversed by a Road, on which a gentleman and lady ride ; to left a chateau ; to right a cavalier asks the way of a boy. M. Hobbema, 1663. Count Konchcleff Collection. Landscape. [Leuchtenberg Coll.] SWEDEN. Stockholm. Museum. Cottages. (Dr. Bode thinks it is by Izack van Ruijsdael.) IV.—PAINTINGS BY CUIJP. AUSTRIA-HUNGARY. Pesth. Gallery. Landscape with Cattle. , Vienna. Academy. Horsemen Halting. Liechtenstein Gallery. Landscape With Castle — Water in fore- ground. A. Cuijp. BELGIUM. Antwerp. Gallery. The Two Cavaliers. Brussels. Museum. Interior of a Stable, with an Ox and Fowls. DENxMARK. Copenhagen. Royal Gallery. Landscape with horsemen. A. c. FRANCE Montpelliek. Museum. View on the Maas. Paris. Louvre. Landscape — With shepherd and six cows. A. Cuijp. Engraved in "Filhol." [Louis XVI. Coll.] (Smith, 2 59 .> i6o PAINTINGS BY CUIJP. Starting for a Bide. Engraved by Lavale in the "Musee Francais," and in "Filhol." [Slingeland and Louis XVI. Colls ] (Smith, 67.) The Bide. Engraved by Lavale in the " Musee Frangais," and in " Filhol." [Slin- geland, Clermont d'Amboise and Louis XVI. Colls.] (Smith, 18.) Portraits Of Children. (Also ascribed to Jacob Gerritsz Cuyp). Portrait of a Man— With a gun and a , partridge. [Louis XVIII. Coll.] (Smith, ' 68.) Seapiece (" L'Orage ").— Three vessels strug- gling in a storm. Baron Bartholdi. COWS in a Landscape. {.Exposition an profit des Alsaciens-Lorrains, 1874.] Comte N. de Camondo. Cattle in a MeadOW. {.Exposition an profit des Alsaciens-Lorrains, 1874.] GERMANY AlX-LA-C HAPELLE. Still Life— Crabs. Gallery. Berlin. Museum. Sandy Landscape— A farm to right ; a well and figures to left. A. Ctiijp. [Reimer Coll.] Sunny View of the Dunes— Cottage, well, a man and four cows. A. Cnijp. [Suer- mondt Coll.] Biver Scene — Two herdsmen watering cattle ; boats on river ; town in distance to left. [Suermondt Coll.] Similar to picture at Rotterdam. Cows in a Landscape— Herdsman, boy and five cows. A. Cnijp. Spring Landscape — Two shepherds on a hillock and two cows in water. Signed twice. A. Cuijp. ■Breslau. Gallery. Sunny Landscape. [Mestem Coll.] Darmstadt. Museum. Herdsmen and Cattle. A. c. Dresden. Gallery. Boy with a Greyhound. A. c. Frankfort-ON-Main. Stddel Gallery. Evening Landscape — Herdsmen and sheep ; man on donkey talking to a boy. A. Cuijp. [Erard, Beckford and de la Hante Colls., and Brit. Inst., 1823.] Etched by J. Eissen- hardt. (Smith, 141.) Portrait Of a Boy — Bust, with red coat and straw hat. Mainz. Herr Max Oppenhelm. Landscape — With cattle and horses. Munich. Pinakothek. An Officer holding a white Horse. Litho- graphed by C. van Heideck. [Zweibrticken Gall.] (Smith, 267.) Landscape — With hilly foreground and view of a broad plain ; cloudy sky. GREAT BRITAIN AND IRELAND. Althorp. Earl Spencer. Portrait Of a Man — (Mis-called a portrait of the artist). {South Kensington Museum, 1876-79.] Arundel. Duke of Norfolk. Portrait Of a Boy — Full length, life size, with a hobby-horse. {Old Masters, 1880.] ASHBURNHAM PLACE. Earl of Ashburnham. Landscape With Water— Near the gateway of the ruined castle of Nymegen, a horse- man, and near him a countryman and other persons. {Brit. Inst., 1815.] (Smith, 260.) Belvoir Castle. Duke of Rutland. Landscape — With four cows reposing in the foreground. PAINTINGS BY CUIJP. 161 Blenheim Palace. Duke of Marlborough. Traveller halting at an Inn— With sign of the White Swan. A. Cuijp. Bowood. Marquis of Lansdowne. Fishing Boats — On a calm sea. Companion pictures. [Old Masters, 1884.] Portrait of a Child— With a bird. (In Lansdowne House, London.) Brocklesby Park. Earl of Yarborough. Scene on the Ice — Figures skating : on right high ruined tower. A. Cuijp. [Slinge- land Coll. Brit. Inst., 1832. Old Masters, 1875 and 1890.] (Smith, 19.) Buckland Abbey. Sir Francis Eliott-Drake, Bart. The Cavalier — A man in a red coat on a grey horse ; a retainer adjusts his stirrup ; a mounted attendant and dogs ; distance to right. A. Cuijp. [Old Masters, 1882.] Carton. Duke of ' Leinster. Herdsman and Cattle. (Similar to the Deepdcne picture.) Castle Howard. Earl of Carlisle. XandSCape With Cattle — Nymegen in the distance ; a traveller asking his way of some herdsmen ; five cows. A Calm — Craft sailing near the shore ; the nearest a treckschuijt, loaded with passen- gers ; beacon on point of land to left. A. Cuijp. Engraved by T. Lupton. [Old Masters, 1890.] A Traveller — On a white horse, by a ford in a hilly country where are herdsmen and cattle. [Brit. Inst., 18 15.] Engraved by Lupton. (Smith, 259.) Landscape — An early work. Cows and Horsemen— In a plain. A Herdsman and two Cows— With a man on a grey horse. Chipstead. George Perkins, Esq. A Herd of Seven Cows grouped together On a Bank — Six are lying down ; a herds- man sitting with his back to the spectator. [Bernal and Zachary Colls.] (Smith, 149.) A Woman and Child — In a misty landscape ; the lady wears a black dress with white collar and coif; the child a pink dress. Deepdene. Hope Collection {Lord Henry Pelham- C lint on). Herdsman and Cattle— Herdsman to right seated, with five cows, four of which are seated ; river to left with two boats. A . Cuijp. [Old Masters, 1881.] (Similar to the Carton picture.) (Smith, 180.) Dogmersfield Park. Sir H. St. John Mildmay, Bart. Cattle and Figures— In the foreground a shepherd conversing with a shepherdess ; cows in centre foreground ; distant hills. A. Cuijp. [Old Masters, 1883.] Dublin. National Gallery of Ireland. Milking COWS. [Gillott and Heugh Colls.] Sir Edward Guinness, Bart. View on the banks of the Maas, with the town of Dordrecht ; boats on the river. [Gray and Lansdowne Colls.] (Smith, 193.) Sir Edward Sullivan, Bart. Landscape with Cows — Seven cows on the banks of a river, on which are boats ; on the right, men, women and horses. [Old Masters, 1885.] Dulwich. College Gallery* Landscape with Cattle and Figures. A. cuijp. Landscape with Cattle. A. cmjp. En- graved by R. Cockburn. View on'a Plain. A. cuijp. Engraved by R. Cockburn and by J. Cousen. (Smith, 73.) hese pictures, except the two last, are arranged chronologically. 1 62 PAINTINGS BY CUIJP. The White Horse in a Riding Stable. A. C. Engraved by R. Cockburn. Two Horses. Engraved by R. Cockburn. Fishing on the Ice. Cattle near a River. A. cuijp. [Hulse Coll.] (Smith, 103.) Evening ride near a River. Engraved by R. Cockburn and by T. Mayor. A Road near a River— in the centre two high trees, {cf. Smith, 72.) Cattle and figures — Near a river with mountains. A. cuijp. Cattle near a River. A. cuijp. Engraved by R. Cockburn. Cattle near the Maas (Merwede), with Dort in the distance. A. cuijp. Cows and Sheep. A. C. A View on the Maas— With Don in the distance. A. cuijp. Gisburne Park. Lord Ribblesdale. River Scene — A fortified bridge over a river ; a man fishing in the foreground ; town on left. Glasgow. Gallery. Christ's entry into Jerusalem. A. c. [McLellan Coll.] ; doubtful. Head of an Ox. [Euing Coll.] A Pastoral Landscape. [Graham Gilbert Coll.] A Pastoral Landscape. [Graham Gilbert Coll.] Gosford House. Earl of Wemyss. River Scene — The Maas ; on the left a jetty in front of an inn, with men about to em- bark in some boats ; in the immediate fore- ground a man in a boat mending his nets ; on the right, ships. [Old Masters, 1889.] Kedleston Hall. Lord Scarsdale. Landscape — On the right a gentleman on horseback, followed by a peasant on a mule ; near them a shepherd and dog, and peasants and cows ; steep mountains and town in distance. A. Cuijp. [Old Masters, 1884.] Lockinge House. Lord Wantage. Landscape with Milkmaid— Milkmaid in a red petticoat; sheep and a goat. A. Cuijp. London. National Gallery. Landscape with Cattle and Figures- Evening. A. cuijp. Engraved by J. C. Bently for Jones's " National Gallery," by P. Mazell, and by E. Goodall. [Dundas and Angerstein Colls.] (Smith, 52.) A man's Portrait — Bust ; lifesize, with skull- cap. A.etatis, 56 ; 1649. A. cuijp, fecit. [Bryan and Bulkeley Owen Colls.] Horseman and Cows in a Meadow — Evening. A. Cuijp. [Peel Coll.] River Scene with Cattle. A. Cuijp. [Barchard and Peel Colls.] Ruined Castle in a Lake. Etched in the "Portfolio," 1874, by A. Brunet-Debaines. [De Preuil, La Perrier and Peel Colls., Brit. Inst., 1821.] (Smith, 118.) The Windmills. A. Cuijp. [Wynn Ellis Coll.] Cattle and Figures (the "Large Dort"). A. Cuijp, Etched by C. O. Murray. [Bristol, Coventry and Wynn Ellis Colls. Old Masters, 1871.] Cattle and Figures (the "Small Dort"). A. Cuijp. [Wynn Ellis Coll.] Cattle and Figures— By bank of a river; castle in distance to left. [Staniforth Bec- kett Coll.] A. Cuijp. Landscape with Figures and Cattle: Evening. A. Cuijp. A.V.D.N.f. The landscape by Van der Neer, and the figures and cattle by Cuijp. [Erard, Lucien Buona- parte and Farnborough Colls.] Engraved in the "Galerie de Lucien Buonaparte." W. C. Alexander, Esq. A Storm off Dordrecht — View of the Maas ; Dordrecht to the right ; in the foreground a Dutch coaster, with mainsail set ; stormy sky with lightning flashes. A. Cuijp. Aftley House {Duke of Wellington). A man holding a grey Horse— Tents and figures on the left ; village in the distance. [Brit. Inst., 1818. Old Masters, 1890.] PAINTINGS BY CUIJP. 163 Bath House {Lord Ashburton). Portrait Of a Man — Miscalled the artist. Half figure in black to right, looking towards the spectator, a locket in right hand : archi- tectural background. Oval. [Sir C. P. Turner Coll. Old Masters, 1890.] (Smith, 268.) Landscape with River— In foreground two cavaliers conversing with peasants ; sheep and a cow. E.OCky Landscape. [Prince Talleyrand Coll.] Landscape with two Boys and three COWS. [Lapeyriere Coll.] Rt. Hon. G. Cavendish Bentinch, ALP. Landscape with Cattle. [Old Masters, 1872.] Earl Broivnlow. View On the Maas— With Dordrecht. [Sir Abraham Hume's Coll. Brit. Inst., 1815 and '67.] Landscape — With castle in the middleground ; in the foreground a horseman with two boys begging. Bridgiuater House {Earl oj Ellesmere). The Landing of Prince John Maurice at Dordrecht — On the right a large boat, thronged with passengers ; on the opposite side a ten-oared boat, in which are the Prince and other persons of distinction ; numerous other vessels. [Van Slingeland Coll.] En- graved in the "Stafford Gallery" by J. Fittler, and aquatinted by Medland and Bailey. (Smith, 12.) Landscape with ruins— Of the castle of Konigsvelt ; on the left travellers halting at an inn. Engraved in the " Stafford Gal- lery." (Smith, 62.) Landscape witha grove of Trees. [Calonne Coll.] (Smith, 227.) Landscape with Ruins— Of the castle of Konigsvelt ; in the foreground a gentleman on a grey horse ; a herdsman and cows. LCalonne Coll.] (Smith, 41.) Engraved in the " Stafford Gallery." Landscape — With a woman milking a cow ; and horses, ducks and geese. (Smith, 225.) Engraved in the "Stafford Gallery." Landscape with two Cows— Near an overhanging rock : herdsman playing a pipe. Engraved in the " Stafford Gallery." (Smith 226.) Buckingham Palace {H.M. the Queen). The Negro Boy — Holding a grey and a brown horse, whose riders, dismounted, are conversing ; near them two dogs ; a river, said to be the Rhine, in distance to left ; buildings on right bank. [Lord Rendles- ham'sColl. Old Masters, 1877.] Engraved by J. Godfrey. (Smith, 112.) Cavalier and grey Horse— The man is fast- ening a blue ribbon to his horse's head ; in the middle distance an encampment. A. Cuijp. [Brit. Inst., 1822, '26, '27, '35 ; Manchester Art. Treas., 1857 ; Old Masters, 1882.] Mezzotinted by S.W. Reynolds. (Smith, 241.) Landscape — Evening — Near a clump of trees at the foot of a steep hill on the right are some figures and sheep ; in the middle distance a river, with buildings and hills beyond. A Cuijp. [Slingeland, Gelder meester and Baring Colls. Brit. Inst., 1826 and '27. Old Masters, 1885.] (Smith, 22.) Landscape with three Cows— in a meadow, with Dordrecht in the distance. (Smith, 243. ) Landscape with four Cows— Two standing and two lying down, by the side of a river; herdsman and wife. [Baring Coll.] (Smith, 242.) A Gentleman and Lady — Riding in a forest. [Philip Hill Coll.] (Smith, 244.) Two Cavalry Soldiers — One dismounted talking to a peasant ; church in middle dis- tance. Engraved by E. Hacker. (Smith, 244.) Ducks on a River. [Marquis of Hertford's Coll. Brit. Inst., 1826 and '27]. (Smith, 246.) View on the Maas, near Dordrecht.— A transport, with many persons on board, on the point of lying to. [Brit. Inst., 1819 '26, and '27. Baring Coll.] (Smith, 247.) Marquis of Bute. Landscape With Cattle— In the foreground to the right five cows. A. Cuijp. (Com- panion picture to the following.) (Smith, I97-) Landscape with Cattle— To the right a group of four cows, three lying down. A. cuijp. (Smith, 198.) M 2 164 PAINTINGS BY CUIJP. andscape with River, Figures and Cattle — In the foreground to the right a road with high trees on either side ; a peasant addressing a horseman ; on the left a river scene. A. cuijp. Engraved by W. Elliot. [Old Masters, 1870, as 'a Vieiv of Viset on the Maas, near Maestrickt.'] (Smith, 264.) Orpheus charming the Beasts. A. Cuijp. (Smith, 196.) Charles Butler, Esq. Poultry — A cock in the centre ; two hens to the left ; landscape in the distance. [Old Masters, 1880.] Chelsea House {Earl Cadogan). Landscape — Mountainous shore with cattle and figures. A. Cuijp. [Old Masters, 1879.] Landscape with Horses and Figures- road in foreground with four mounted figures and two led horses ; hilly back- ground. A. C. Dorchester House (A\ S. Holford, Esq.). View Of Dordrecht — The town on the left ; moored to a quay are several fishing vessels. [Brit. Inst., 1843, '52 and '62. Old Masters, 1887.] (Smith, 187, 188, and Supp., 52.) Dudley House (Countess of Dudley). River Scene — Vessels, morning. [Old Mas- ters, 1 87 1.] River Scene — Moonlight. Companion pic- tures; oval. [Old Masters, 1871.] Landscape — Distant town, with cattle in the foreground. [Brit. Inst., 1828. Old Mas- ters, 1871.] (Smith, 91.) Grosvenor House {Duke of West- minster). Moonlight Scene — Figures and cattle on the margin of a r.ver with two boats. [Brit. Inst., 1834.] (Smith, 172.) Landscape with Cattle and Figures- Peasants with their flocks coming from a wood ; moor and mountains in distance. [Agar Coll.] (Smith, 90.) Four Sheep — Three in a pen, one lying down. (Smith, 173.] Cavaliers at an Inn. The Spotted Horse. [Old Masters, r8 7 i.] View of Dordrecht — In the foreground a boat, in which are seven people. [Brit. Inst., 1834. Old Masters, 1871.] Engraved by J. P. Quilley. (Smith, 171.) Earl of Harrowby. River Scene — With cattle in the foreground. [Old Masters, 1873.] Hertford House {Lady Wallace). River Scene, Dordrecht. Dordrecht. River Scene with Shipping. [Old Mas- ters, 1872.] Avenue near Dordrecht. Watering Horses. Group of Horses. Cattle. Landscape with Sheep. Showing the Way. Horsemen at a Tavern. About to Mount. y. P. Heseltine, Esq. Cattle on the hanks of a River— Winding away to the left; two men fishing. A. Cuijp. [Old Masters, 1878.] Earl of Kilmorcy. Cattle-piece — Three cows in a meado w, one being milked ; town in distance. A. Cuijp- [Old Masters, 1882.] Cavaliers with Horses— Halting by a,n Inn ; with a sign of a cock, "Zun den haen " ; on the right some hills. A. Cuijp. [Old Masters, 1882.] Sir Coutts Lindsay, Bart. Portraits in a Landscape. [Brit. Inst. 1866.] Montagu House {Duke of Buccleuch). An Embarkation. [Old Masters, 187.2.] A. J. Robarts, Esq. Cattle on the Maas — Five cows in the water close to river bank ; shipping in distance. Signed. [Old Masters, 1877.] (Smithi, 222.) PAINTINGS BY CUIJP. I6 5 Cattle Oil the MaaS— Five cows and a bull, four standing two lying down. A. Cuijp. [Lord Radstock Coll., Old Masters, 1877.] Companion picture to above. (Smith, 223.) View Of Dordrecht — In the centre the town with tower and six windmills ; in foreground, three cows, two horsemen, woman and boy ; a shepherd and sheep. {Old Masters, 1877.] (Smith, 120.) View on the Maas, Evening— On the left, a large barge manned with soldiers, into which an officer is stepping from a boat. Signed. {Old Masters, 1877. ] (Smith, 224.) Alfred de Rothschild, Esq. View on a Frozen River. On the right eighteen fishermen with poles and nets. Dordrecht in the distance. A. Cnijp. [Marin, Gwydyr and Neeld Colls. ; Old Masters, 1886.] (Smith, 42.) View on the banks of the Maas— Four cows to right. A herdsman playing the bagpipe, a boy listening. [Tolozan Coll. ; Brit. Inst., 1822 and '32 ; Hanbury-Tracey Coll.] (Smith, 69.) Halt of Cavaliers at an inn — Three cavaliers, of whom two have dismounted. (Oblong picture.) A. Cuijp. [Tolozan, de Berri and Bevan Colls.; Old Masters, 1886. J (Smith, 66, and Supp., 13.) Landscape with a woman milking a cow. [Zachary Coll.] (Smith, 179.) Lowther Castle. Earl of Lonsdale. Landscape — With figures ; in the foreground two cows and a horse ; a dog jumping into a woman's lap; shepherd and sheep. A. Cuijp. (Smith, Supp., 21.) Nostell Priory. Lord St. Oswald. A. grey Horse and a Goat. A. grey Horse and a Dog. Companion pic- tures. Pans hanger. Earl Cowper. Head of a Man— Full face, black cap and dress. {Old Masters, 1881.] Petworth. Lord Leconfield. j View of a hilly Country near Nimeguen — In the foreground a shepherd boy, three sheep and a goat ; a herdsman drinking from a stream. [Lord Ranelagh Coll. Brit. Inst., 1819.] (Smith, 113.) ! Two Horsemen. Two Horses and two Men. j View Of a River — Village on further bank ; figures in ferry-boat. (Smith, 228.) Cows grazing near Water. Powerscourt Castle. Viscount Potversconrt. Boy holding a grey Horse. [Old Masters, 1878.] Stackpole Court. Earl Cawdor. Poultry in a Landscape— Two cocks and two hens to the right ; cows, sheep, and ducks on the left. A. Cuijp. {Old Mas- ters, 1880.] Stratton . Earl of Northbrook. View near Dordrecht — On the right several fishing vessels, with sails up, and low shore fringed with bushes ; on left, a boat crowded with people. [Verstolk Coll. ; Old Masters, 1889.] Prince Henry Frederick at the Siege of Breda — View of the surrounding country of Breda, with the buildings of the town in the distance ; on the right is the Prince on a bay horse, followed by two officers mounted ; on the left men and tents. [Old Masters, 1872 and 1889.] (Smith, 145, and Supp., 24) Portrait of a Girl. Swinton Park. ■5". Cunlijfe- Lister, Esq. A calm on the Coast of Holland— A cot- tage on the edge of the sea. [Danby- Harcourt Coll.] Thonock Hall. Sir Hickman Bacon, Bart. Horsemen halting at a Country Inn— The two horsemen have dismounted ; two grey- hounds to the right ; hills in background. A. Cuijp. [Guildhall, London, 1890.] 1 66 PAINTINGS BY CUIJP. WlMPOLE. Earl of Harthvicke. View Oil the Maas — Six cows in foreground, two standing ; Dordrecht seen across the river. Woburn Abbey. Duke of Bedford. Portrait Of a Youth (thought formerly to represent the artist.) — To the waist, life size ; wearing a cloak and a high-crowned broad -brimmed hat. (Smith, 182.) View of Ny'megen, on the Khine— a fortress with towers and city walls to right ; in foreground two cavaliers ; a shepherd boy and girl with cattle to right. A. Cuijp. [Brit. Inst. 1818. Manchester Art Treas., 1857.] (Smith, 181.) [The following are hung in the Duke of Bedford's house in Eaton Square, London] : — Landscape with an artist sketching. A. Cuijp. [Rt. Hon. R. Rigby, Brit. Inst., 1818 and '32.] (Smith, 151.) Fishermen on the Ice. A. Cuijp f. En- graved by Fittler in Forster's " British Gallery " [said to have been in the Slinge- land Coll. Brit. hist. 1815 and '43.] (Smith, 161.) Brown Horse in a Stable. (Smith, 153.) Prize Ox in Procession. " Le Mardi gras." A. C. (Smith, 154.) A Traveller departing— From an inn door. A. C. Interior of a Riding School— With four sheep and a goat. A. C. (Smith, 152.) HOLLAND. Amsterdam. Rijks- Museum. Hilly Landscape. A. Cuijp. [Rombouts and Dupper Colls.] Shepherds with their Flocks. A. Cuijp [Van der Pot Coll.] (Smith, 106.) Cock and Turkey fighting. [Van der Hoop Coll.] Bust portrait 1 of a Young Man. [Van der Hoop Coll.] Cattle-piece. A. C. [Van der Hoop Coll.] View of Dordrecht. [Van der Hoop Coll.] Six van Hillegom Collection. View Of Dordrecht— With vessels and boats. [Van Slingeland Coll.] (Smith, 13.) Moonlight Scene— On a river. [Van Slinge- land Coll.] (Smith, 15.) Dordrecht. Museum. Landscape with Cattle and Figures. A. c.,f. Hague. Gallery. A Member of the De Roovere Family directing Salmon-fishing— In the envi- rons of Dordrecht. Steengracht Collection. A Horse. Rotterdam. Boymans Museum. River Scene— Morning light. Interior, with a Forge. Two grey Horses. The Mussel-eater. Dead Game. A Cock and Hen. Head of an Ox. Fruit — (Now ascribed to Alexander Cose- mans). RUSSIA. St. Petersburg. Hermitage. COWS in a Landscape — With herdsman by banks of the Maas ; town in distance to right. A. Cuijp. The Meuse— With boats. A. Cuijp. (Smith, Supp., 2.) The Scheldt— With boats. (Smith, Supp., 5 .) Five Cows in a Landscape— by banks of a river. Horses on the hank of a River— with a boy. A. C. (Smith, Supp., 1.) Moonlight at Sea. A. Cuijp. Landscape — With woman and cows. A. Cuijp. (Smith, Supp., 3.) UNITED STATES. New York. Museum. An Artist Sketching from Nature. [Cope Coll]. Replica of the picture formerly in the Secretan Coll. PAINTINGS BY TOTTER. 167 V.— ETCHINGS BY CUIJP. 1. TWO COWS — One standing, seen in profile, the other lying down, three-quarter face ; both looking to the right. A. C. 2. TWO COWS — Looking to the left, one standing, one sitting, both in profile. 3. Three COWS — Two seen in profile, looking to the left, one standing and one sitting ; the third standing full face. A . C. ■ TWO COWS — Looking to the left, one standing, one sitting ; in the distance a river and two boats. • TWO COWS — One in profile looking to the right, the other standing full face. A. C. • TWO COWS — One in profile looking to the left, the other lying, with its head full face ; two herdsmen, one sleeping. [ The above six form a series. ] . The Five Cows lying down— The front one is seen full face, the others in profile. VI.— PAINTINGS BY POTTER. AUSTRIA-HUNGARY. Vienna. Belvedere. Landscape — With a cow, two goats, and a sheep, watched by a man playing with his dog. (Smith, 89.) The Flock — Six animals with a shepherd. Paulus Potter, 1644. Engraved by J. Bassini in the " Kaiserliche Bildergalerie " (1823). (Smith, 98.) Czernin Collection. The Flock. Paulus 'Potter, 1647. [Van Pompe, ■ Van Leyden, and due d'Alberg Colls.] (Smith, 26.) Harrach Collection. Cattlepiece. Paulus Potter, 1649. BELGIUM. Brussels. Gallery. TWO PigS by a Sty. Paulus Potter, 1647. [Hodshon, Oppenheim, Allard, and Crabbe Colls.] (Smith, 69.) Arenberg Collection. The Kepose by the Grange. Paulus Potter, 1653. [Fabricius, Randon de Boisset and Destouches Colls.] (Smith, 22.) DENMARK. Copenhagen. Royal Gallery. COWS On the top Of a Hill. Paulus Potter, 1648. Cows in a Meadow. Count Moltke. Landscape with Cows and Pigs. Paulus rotter, 1652. Engraved by Herterinh, (Almost identical with the picture in the Hague Gallery.) FRANCE. Montpelliek. Museum. Cattle in a Meadow. Paulus Potter, 1648. Paris. Louvre. Horses fastened to the door of a Cottage. Paulus Potter, 1647. Engraved by Le Bas and Couche, in " Filhol " and in " Landon." (Smith, 94.) The MeadOW — With three oxen. Paulus Potter /., 1652. Engraved in " Filhol," [Julienne, de Choiseul, de Conti, Boileau, de Pange, de Vaudreuil, d'Angeviller, and Louis XVI. Colls.] (Smith, 17.) 168 PAINTINGS BY POTTER. The White Horse — With a stag and two does. Paulus Potter f., 1653. [W. Hope and Napoleon III. Colls.] The Wood by the Hague. Paulas Potter /., 1650. [Esterhazy and Napoleon III. Colls.] Comte de Greffulhe. Horses in a Meadow. {Exposition an profit des Alsaciens-Lorrains, 1874.] Baron de la Tournelle. Landscape and Animals. {Exposition au profit des A Isaciens-Lorra ins, 1874.] GERMANY. Berlin. Museum. Departure for the Hunt in the Wood by the Hague — In the allee of the wood the carriage of the Prince of Orange drawn by six horses ; huntsmen and hounds. Paulus Potter/., 1652. [Suermondt Coll.] An old copy is in the Dresden Gallery. Cassel. Gallery. On the Pasture land— Two peasants and four cows. Signed twice. Paulus Potter /., a., 1644. (A similar picture is in the Innsbruck Gallery.) (Smith, 82.) Herdsman and Cattle — A red castle behind trees. Paulus Potter /., 1648. Etched by Burnett. (Smith, 81.) Dresden. Gallery. Herdsman with six Oxen. Paulus Potter /., 1652. Lithographed by HanfstangI and by Deroy. (Smith, 90.) Cattle resting. Paulus Potter /., 1652. Lithographed^ by HanfstangI. (Smith, 91.) (Companion pictures.) Gotha.. Gallery. Landscape — With an ox, a goat, and a sheep. Paulus Potter, 1641. Cattle in a Meadow. Paulus Potter, 1645. The Farm. Paulus Potter, 1647. Hamburg. Kunsthalle. Watering Horses. Paulus Potter, 1630. Munich. Pinakothek. Cows, sheep, and goats near a peasant's hut. Pauhts Potter/., 1646. Lithographed by K. Auer and J. Wolffle : Etched by J. L. Raab. [Exchanged in 1803 with the Cassel Gallery authorities for a Mater Dolo- rosa by Ribera.] (Smith, 4.) Schwerin. Museum. Milking. Paulus Potter, 1648. Landscape. Paulus Potter, 1649. Landscape. Paulus Potter, 1649. Halt Of Huntsman— At an inn. Paulus Potter, 1650. GREAT BRITAIN AND IRELAND. Basildon Park. Charles Morrison, Esq. Landscape with Cattle— Before a stone house are three large trees ; two cows, one standing ; three sheep to right ; behind the trees a coach and two horses. (Upright picture). P. Potter, 1652. [Poullain and Harman Colls.] Engraved in the Poullain Collection. (Smith, 28.) Bearwood. J. Walter, Esq. TWO COWS and a Bull. Paulus Potter /., 1647. [Braamcamp, Smeth van Alphen, Hogguer and Taylor Colls. ; Manchester Art Treas., 1857; Brit. hist. 1860; Old Masters, 1882.] (Smith, 29.) Deepdene. Hope Collection {Lord Henry Pelham- Clinton). The Stable Door— To the right a stable, with a grey horse and a man ; a woman and child is talking to a man ; a dog, three hens, and a cock. Paulus Potter/., 1647. [Count de PlettenbergetWitten and Lormier Colls. ; British Inst., 1815 ; Manchester Art Treas., 1857 ; Old Masters, 1881.] (Smith, 87.) PAINTINGS BY POTTER. 169 Landscape with a Bull, two Cows and two Sheep. Paulus Potter /., 1647. [Bisschop iColl. ; Brit. Inst., 1843; Old Masters, 1881.] (Smith, 86.) Landscape with four Cows— Three stand- ing, one lying down. /'. Potter, 1648. [Bisschop Coll. ; Brit. hist.. 1843 ; Old Masters, 1881.] (Smith, 88.) Dublin. Gallery. Head of a young white Bull— With a wreath of flowers round his neck. [Peacock and Moorland Colls.] Heytesbury. Colonel Everett. Landscape with Cattle — Three cows, two lying down and one standing, on a mound near two pollard trees ; a cow and sheep further off to right. Paulus Potter f., 1650. [Old Masters, 1886.] London. National Gallery. Landscape with Cattle — A man, four cows, a horse, and some sheep in a meadow ; in the background a cornfield. Paulus Potter ft., 1651. [Van Locquet, Gwydir .and Peel Colls.] (Smith, 66.) The old grey Hunter — A huntsman, holding the bridle, and his greyhound are asleep. Paulus PotterJ". [Clare and Wynn Ellis Colls.] Apsley House {Duke of Wellington.) Deer in a Wood. Bath House {Lord Ashburton). TWO Oxen hutting. [Old Masters, 1871.] COWS and Bull — -Under a row of willow- trees. [Old Masters, 1871.] Ditke of Bedford. Cattle in a Landscape— Oxen, sheep, goats, and a donkey in a meadow at foot of a sandy hill ; to left, ram, sheep and goats, woman and child and shepherd. Paulus Potter/., 1651. Replica of the picture in the Amster- dam Gall. [Valkenier Coll. ; Brit. lust. 1 815, '24, '43 and '52.] (Smith, 51.) A Hawking Party. Paulus Potter/., 1653. Brit. hist. 1856. (Smith, 80.) Bridgwater House {Earl of Ellesmere). Cattle in a Meadow — Three oxen, one of which is lying down near an old willow tree. 1650. Engraved in the " Stafford Gallery." (Smith, 23.) Buckingham Palace {H. M. the Queen). Meadow with a young Bull and two COWS. Paulus Potter, 1649. Engraved by J. Ph. Ie Bas in the " Galerie Lebrun." [Van der Marck Coll. ; Brit. Inst., 1826 ; Old Masters, 1876.] (Smith, 70.) The Halt — Two mounted sportsmen with dogs, halting at a village inn ; at door a woman. Paulus Potter/. 1651. Engraved by W. J. Taylor as the "Shooting Ponies. ' [Randon de Boisset and Rendlesham Colls. ; Brit. Inst., 1819, '26, and '27. Old Masters, 1885, as "Sportsmen".} (Smith, 25.) Milking — On the left a stable ; a boy carry- ing off a puppy is attacked by its mother ; a woman milking a cow laughs at him. Paulus Potttr /., 1642. Engraved by W. Greatbatch as " The Milkmaid," and by J. Godfrey. [Lormier, Braamcamp, Van der Marck, Randon de Boisset, and Gildcr- meester Colls.; Brit. Inst., 1815, '26, and '27 ; Manchester Art Treas., 1857 ; Old Masters, 1883.] (Smith, 19.) Three Cows in a Field. Paulus Potter, 1651. [Beaujon and Erard Colls. ; Brit. Inst. 1826.] TWO Pigs — Lying down with their hind legs tied. [Slingelandt, and Lambert, and Du Porail Colls. ; Brit. Inst., 1826 and '27. J (Smith, 39.) Dorchester House {R. S. Holford, Esq.). The Babbit Warren— A sandy hill, with scattered trees ; in the foreground two donkeys, with a she-goat and two kids ; beyond, a rabbit ; on the right, a woman and goats. Paulus Potter /., 1647. [Eynard and Zachary Colls. ; Manchester Art Treas., 1857 ; Old Masters, 1887.] (Smith, 65, and Suppl. 25.) 170 PAINTINGS BY POTTER. Grosvenor House {Duke of West- minster). landscape with a Dairy Farm— View near the Hague. PauCus Potter, 1647. [Slinge- land, Tolozan, and Taylor Colls. ; Brit. Inst. 1834; Old Masters, 1870.] Engraved by F. Scott. (Smith, 37.) Landscape — Animals by a stable door. Pauius Potter. [Slingeland and De Ca- lonne Colls.] (Smith, 38.) Hertford House {Lady Wallace). Landscape — With cow drinking. [Lormier Nyman, Lord Radstock, Patureau Colls.] (Smith, 64.) Repose of the Shepherds. Pauius Potter, 1648. [Brienen van de Grootelindt Coll.] (Smith, 9.) Pasturage. [Caraman and Kalkbrenner Colls.] Earl of Kilmorey. Cavaliers and Cattle— Riders halting by a house on the left ; two cows on the right. Pauius Potter /., 1650. [Old Masters, 1882.] Alfred de Rothschild, Esq. The Water-Mill, with cows, goats, sheep, and an ass ; tower of a chateau in distance. Pauius Potter, 1653. [Reuver, Hesse Cassel, Empress Josephine, Eynard, and Lucy Colls.] (Smith, 7.) Somerley. Earl of Normanton. Tnree COWS — One lying down. [Old Mas- ters, 1884.] Stratton. Earl of Northbrook. The Young Bull. Pauius Potter, /., 1647. [Sir Thomas Baring Coll. ; Old Masters, 1871.] (Smith, 36.) Swinton Park. S. Cunliffe-Listcr, Esq. The Dairy Farm — A farm-house to right, with rive cows, a calf, a goat, a ram, and four sheep. Pauius Potter/., 16^6. [Van Slingeland, La Perrier, De la Hante, Lapeyriere and Stover Colls. ; Brit. Just., 1828 and '35.] (Smith, 59.) HOLLAND. Amsterdam. Rijks-Museum. The Bear Hunt. Pauius Potter f., 1649. Repainted by J. W. Pieneman. [Van Reenen Coll. ; Royal Collection at the Hague.] (Smith, 2.) Orpheus charming the Animals. Pauius Potter/., 1650. [Lormier, Van der Wouw and Van Heteren Colls.] (Smith, 27.) Eight Shepherds and their Flocks. Pauius Potter/., 1651. Etched by J. A. Boland. [Van der Pot, Coll.] (Smith, 51.) The Shepherd's Hut. Pauius Potter/., 1645. [Van Heteren Coll.] Landscape with Cattle. Pauius Potter/., 1653. [Van de Poll Coll.] The little Dog. Pauius Potter/., 1653. [Van der Hoop. Coll.] Horses in a Field. Pauius Potter/., 1649. (Etched by Potter in reverse and with modi- fications, and engraved by Aubertin.) [Van Franckenstein and Van der Hoop Coll.] (Smith, 84.) Four COWS in a Field. Pauius Potter/., 1651. [Van der Hoop Coll.] (Smith, 53.) Six van Hillegom Collection. Dairy Maid washing her Milk-pails. Pauius Potter, 1647. Engraved by Couche. [Choiseul and de Conti Colls.] (Smith, 30.) Equestrian Portrait of Diderik Tulp. Pauius Potter, 1653. (Smith, 85.) Hague. Gallery. The Young Bull. Pauius Potter, 1647. (Engraved by Louche, Baltard, F. A. David, Facius, Liemir, Cornilliet. Etched byDenon.) [Fabricius Coll.] (Smith, 1.) The Cow reflected in the Stream. (" La vache qui se mire.") Pauius Potter, 1648. Etched by Pauquet and Fortier. [Van Slingeland and de Wolf Colls.] (Smith, 92.) Meadow with Cows and Pigs. Pauius Potter, 1652. Engraved by Couche, Guyot, Garreau, and by Laurent in the "Musee Francois." [Van Slingeland Coll.] (Smith, 93-) PAINTINGS BY TOTTER. 171 Steengracht Collection. Three Cows in a Meadow. Paulus Potter, 1652. (Smith, 47, and Suppl. 20.) [De la Hante and Zachary Colls.] ITALY. Rome. Borghese Palace. landscape and Cattle. Turin. Pinacoteca. Four Oxen in a Landscape. Paulus Potter, 1649. Engraved by Laurent in the " Musce Francais," by Panquet and Dupare in the " Musee Napoleon," and by Couche, and by Cesare Ferreri. (Smith, 95.) RUSSIA. St. Petersburg. Hermitage. The COW — A representation of a dairy farm with figures and cattle. Paulus Potter/., 1649. Engraved by Reveil, by Tischbein, C. Kuntz, &c. Lithographed by Tollinger. [Van Hoeck, De Reuver, Prince Elector of Hesse Cassel, and Malmaison Colls.] (Smith, 15, and Suppl. 4.) The Life Of a Huntsman— In fourteen com- partments, of which the last is by Poelen- borch. (i.) Wild boar hunt ; (ii.) Lion hunt ; (iii.) Bull hunt ; (iv.) Monkey hunt ; (v.) Bear hunt; (vi.) Wild goat hunt; (vii.) Wolf hunt; (viii.) Leopard hunt; (ix.) Rabbit hunting; (x.) Coursin? ; (xi.) Conversion of St. Hubert; (xii.) The Trial of the Hunts- men ; (xiii.) Punishment of the Huntsmen. Etched by Tischbein, and by Unger. [De Reuver, Prince Elector of Hesse Cassel, Malmaison Colls.] (Smith, 6, and Suppl. 5-i8.) The Halt of the Huntsmen. Paulus Potter fecit, 1650. Cows in a Landscape— A woman milking. Paulus Potter f, 1651. (Smith, Supp. 1.) A Wolf-Hound. Paulus Potter fecit, 1650. [Van der Marck, Nogaret, de Menars, Smeth van Alphen and Malmaison Colls.] (Smith, 34, and Suppl. 22.) Landscape. Paulus Potterfecit, 1650. Ox in a Meadow. Paulus Potter, 164S. The Stable Boy. VII.— ETCHINGS BY POTTER.* 1-8. A Series of Eight Oxen and Cows. (Bullenboekje. ) 1. The Bull. (In five states ; the first, before numbers, very rare, signed, Paulus Potter, f. et e.xcud; the second with the date 1650.) (Bartsch, 1.) 2. A COW Standing — near which is one lying down. (3 states.) (Bartsch, 2.) 3- A Cow lying down near a fence. (3 states.) (Bartsch, 3.) 4- A COW grazing. (3 states.) (Bartsch, 4.) 5 The Cow with the crooked horn. (3 states.) (Bartsch, 5.) 6. The COW — With two sheep: a village in the distance to the left. (3 states.) (Bartsch, 6.) 7- Two Oxen righting. (3 states.) (Bartsch, 7.) 8. Two Cows seen from behind — One standing one lying. (3 states-) (Bartsch, 8.) 9-13. A Series of Five Horses. 9 The Frisian Horse. Paulus Potter f, 1652. (Two states ; the first proof " a la courtc queue" is very rare.) (Bartsch, 9.) 10. The neighing Horse. Paulus PMterf, 1652. (A reproduction of the painting in the Van der Hoop Collection in the Amsterdam Gallery, dated 1649.) (2 states.) (Bartsch, 10.) n. The docked Horse. Paulus Potter f, 1652. (2 states.) (Bartsch, 11.) 12. Carthorses. Paulus Potter f, 1652. (2 states.) (Bartsch, 12.) 13. The Old Horse — (La Mazette). Paulus Potter f, 1652. (2 states.) (Bartsch, 13.) ^ 14. The Herdsman — A herd of cows coming over some rising ground to right followed by a cowherd ; others standing and lying in the foreground. Pauwclus Potter in. ct fecit A°. 1643. (The artist himself cut this plate down : in the earlier states a group of three cows occur to the left. Eight states, three before the plate was reduced These have been reproduced in facsimile by Amand-Durand. Text by Duplessis. 172 ETCHINGS BY POTTER. and five later. The only proof known of the first undated state is in the British Museum. The fourth state dated 1649.) (Bartsch, 14.) 15. The Shepherd — Piping ; sheep lying about. (5 states.) Signed, Pauivclus Potter inv etf. A . 1644. (Bartsch, 15.) 16. Head of a Cow. Potter fe. Very rare. Several copies have been made by Bemme, Schouman, Bartsch, Claussin, and others.) (Bartsch, 16.) 17. Cow lying hy a Tree. O states.) (Bartsch, 17.) 18. Zabucaia — A Brazilian monkey with a branch of the Zabucaia tree. Paulus Potter fecit, 1650. (2 states.) (Bartsch, 18.) 19. Head Of an Ox. Not mentioned by Bartsch. Very rare. Proofs m the Biblio- theque National de Paris and the Amsterdam Museum. (Duplessis, 19.) 20. Head Of a COW. Mentioned by Weigel, not mentioned by Bartsch. Only known proofs in the Amsterdam Museum and the collection of Baron Edmond de Rothschild. (Duplessis, 20) 21. Horse by a Tree. (This plate has been finished with the dry point. Its genuineness is doubted by Weigel, and after him by Van Westrheene.) (Nagler, 19.) 22. An Ox Standing. (Doubtful.) (Men- tioned by Weigel.) 23. Portrait of the Artist. (Doubtful, see p. 119.) Bartsch also mentions a series of eight oxen and cows falsely ascribed to Potter. INDEX. (The names of paintings are printed in italic.) — Balckeneijnde, Claez, 114 ■ Batten, Gerard van, 17 Bentheim, 22 • Berchem, Nicolaas, 30, 141 Bergen, Dirk van, 50 Bertius, Paulus, 109 Beveren, Cornelis van, 76 . Bloemart, Abraham, 65 Borssum, Abraham van, 102 — Bosman, Cornelia, 73 -Both, Jan, 62 Bredcrode, 33, 50, 52 — Camerarius, A., 86 Camphuijsen, Dirk Rafaelsz, 106, 138 ,, Govaert Govaertsz, 103, 139 ,, Govaert Rafaelz, 139 ,, Joachim, 139 ,, Rafael, 139 — Cornelisz, Barent, 41 ■* Cosemans, Alexander, 86, 87 — Cuijp, Abram, 68 - Cuijp, Aelisert 1620 Birth, 69 Early studies, 72 1651-52 Death of his father, 73 1654 Death of his mother, 73 165s Marriage, 73 Cuijp, Aelbert — continued. 1659 Birth of a daughter, 74 The " Samson Huis," 74 Moved to the Wijnstraat, 74 House at Dordwijk, 74 Coat of arms, 77 Deacon of Reformed Church, 78 1672 Elder of Church of St. Augus- tine, 78 1675 Heiligengeest Meester, 78 1677 Will, 79 1680 Member of High Court of Jus- tice, 79 1689 Death of his Wife, 79 1691 Death, 79 Brouwerij van Lelien, 79 No portrait, 84 Artist painting from Nature, 86, 101 Cavalier holding his Horse, 99 Departure for the Ride, 90 Evening Ride near a River, 94 Fighting Birds, 88 Fishing on the Ice (Dulwich), 96 Fishermen on the Ice (Bedford Coll.), Five Corns lying down, 101 Herdsman and Cattle (Deepdene), 99 Horsemen halting, 99 Large Dort, 9 1 Mussel Eater, 85 Negro Boy, 99 Orpheus charming tlie Beasts, 83 Portrait of a Man (Althorp), 85 .. „ (Bath House), 85 ,, ,, (Dresden), 85 „ (National Gallery), „ 85 )> „ (Woburn Abbey), 8s Portrait of a Young Man (Amster- dam), 88 174 INDEX. CuiJP, Aelbert — continued. Portrait of a Sr. de Roovere, 89 Return, the, 90 Shipping, 88 Ships on a Moonlit Sea, 89 Siege of Breda, 83 Sleeping Man, 85 Small Dart, 91 Stormy Sea, 90 View of Dordrecht, 97 View on the Maas (Bridgwater House), 96 ,, ,, >» (Lord Brown- low), 96 White Horse, the, 9s Cuijp, Benjamin, 66, 68 ,, Gerrit Gerritsz, 65 ,, Gerrit Gerritsz II., 68 ,, Jacob Gerritsz, 65 Dam, Wouter, 84- De Bije, Marcus, 142 — De Heem, Jan, 79 — D'Hondecoeter, Melchior, 79 "" Dekker, Cornelis, 62- De Molijn, Pieter, 6, 7— De Roovere, 76 — De Weth, Jacob, 112- Dordrecht, 64 ' Douw, Simon van, 88-- Du Bois, Guillam, 62 " Du Jardin, Karel, 141 - Enkhuizen, 107 Everdingen, Allart van, 6, S, 14, 41 Gael, Barent, 50 Goijen, Jan van, 6, 7, 73, 115 -Grief, Jacob, 66 . Guild of St. Luke at Delft, 113 ,, at Dordrecht, 66 ,, at Haarlem, 9 „ at the Hague, 113 Hackaert, Jan, 62. -Hasselt, Izack van, 66 Helt-Stokade, Nicolaas van, 50 — HOBBEMA, MEINDERT- 1638 Birth, 40, 45 1661 Friendship with Ruisdael, 41 1668 Married, 40 1668 Appointed Wijnroeier, 42 1669 Birth of a son, 43 1670 „ second son, 44 1671 ,, daughter, 44 1672 ,, second daughter, 44 1704 Death of his wife, 44 1709 Death, 45 Price of his works, 47 Dates on his pictures, 48 Avenue of Middelharnis, 49, 50, 54 Castle of Kostverloren, 58 Country House (Pereire Col.), 54 Little Milts, 54 Neiv Haarlem Lock at Amsterdam , 5 2 Road through a 1> dlage, 58 Ruins of Brederodt Castle, 50, 52 Watermill (Buckingham Palace), 56 ,, (Hertford House), 56 „ (Louvre), 54 Hoogstraten, Dirck van, 72 1- Kalff, Willem, 41 - Kessel, Johan van, 44, 62 "~ Klomp, Albert, 103, 106, 138 "* Kobell, Johannes, 142 — Koeverden, 46 Kostverloren, 22, 36, 58 Le Ducq, Jan, 142 Lingelbach, Johannes, 50 Looten, Jan, 61 ~ Maris, Jacobus, 143 ,, Willem, 143 Mauve, Anton, 143 Middelharnis, 49, 50, 54 Montfoort, Anthonis van, 120 — Murant, Emanuel, 142- INDEX. 175 -"Noort, Pieter van, 102 Nymegen, 73 Ommeganck, Balthazar Paul, 142 Onderwater, Pieter, 76 Pauwelsdr., Aagje, 108 -• Pijnacker, Adam, 62 , Porcellis, Jan, 41 JPOTTER, PAULUS 1625 Birth, 112 Early studies, 112 1646 At Delft, 113 1649 At The Hague, 113 Patronage, 114 1650 Marriage, 114 1651 Birth of a son, 115 1652 To Amsterdam, 116 1653 Will, 117 Birth of a daughter, 117 1654 Death, 117 Portrait, 118 1657 Death of his daughter, 119 1661 Marriage of his widow, 119 Bear Hunt, 121, 122, 127 Bull, the, 136 Chase, the, 122, 129 Cow, the, 127 Cow reflected in the Stream, 127 Departure for the Hunt, 129 Frisian Horse, 136 Hawking Party, 129 Herdsman, 113 Landscape with a Dairy Farm, 126 Large Herd of Oxen, 131 Milking, 122 Neighing Horse, 136 Orpheus, 122, 128 Oxen and Sheep, 129 Portrait of Diderik Tulp, 116, 121, 129 Shepherds with their flocks, 128 White Ox in a Field, 131 Young Bull, 1 24 Zabuca'ia, 136 Potter, Pieter Pietersz, no, 113 ,, Pieter Siraonsz, 107, 113 Reenen, Dirck van, 119 Reijnst, Burgomaster, 42 Rombouts, Salomon, 62 Ruijsdael, Jacob (Salomonsz) van, 12 Ruijsdael, Salomon, 6, 10, 1 1 Ruisdael, Izack, 10, n Ruisdael, Jacob van 1628-29 Baptised a Mennonite, 13 1648 Entered guild of St. Luke at Haarlem, 14 Influence of Everdingen, 14 1659 Removed to Amsterdam, 15 1667 Made his will, 15 1668 Supported his father, 15 1681 Entered almshouse at Haarlem, 16 1682 Death, 16 Buisson, Le, 3t Castle of Brederode (Northbrook Gal- lery), 33 Castle of Kostverloren, 36 Cemetery, the, 25, 28 Chase, the, 26 Coup de Soleil, 35 Damrak, view of the, 22 Field bordered by Trees, 38 Fish-market of Amsterdam, 31 Forest, the (Belvedere), 24 Forest Scene (Nat. Gal.), 33 Forest, the (,Louvre), 30 Haarlem from the Duties of Over- veen, 28 Interior of a Gothic Church, 23 " Jewish " Cemetery, 25, 2.8 Landscape with a Cottage, 36 Little Bridge, 38 Marsh in an Oak Forest, 24 Monastery, the, 26 Storm on a Sea Coast, 33 Weir, the, 19 View of Scheveningen, 35 Waterfalls (Nat. Gal.), 32 Waterfall (Wantage Coll.), 35 Wooded Landscape (Worcester Col- lege, Oxford), 32 Saftleven, Herman, 62, 142 Semeijns, 109 Storck, Abraham, 50 Strij, Abraham van, 103 ,, Jacob van, 102, 142 Tegelberg, Cornells, 66 Tilborch, Egidius, 119 Tulp, Dr., 116 176 INDEX. Valentijn, Saertgen, 42 Van der Hagen, Joris, 62 Van dei- Meer, Jan, 6 Van der Neer, A art, 10 1 Van de Velde, Adriaen, 50 ,, Esaias, 6, 8 Venlo, 73 Verboeckhoven, Eugene Joseph, 142 Verboom, Adriaen, 62 Verlat, Charles, 142 Victor, Jacomo, 30 Vinck, Eeltje, 40 Weenix, Jan, 79 Wijnants, Jan, 6, 8, 62 Wijk-bij-Duurstede, 31 Wijntranck, D., 50 Wolfart, Jan B., 102 Wouwerman, Philips, 50 LONDON : PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD STREET AND CHARING CROSS. 3llustratefc $io0rapbies of tbe (Steat artiste- Each volume contains many illustrations, including, when possible, a Portrait of tlie Master, and is strongly bound in decorated cloth. Crown &vo, 3.?. (id. J>er volume, unless marked otherwise. ENGLISH PAINTERS. William Hogarth. By Austin Dobson. From Recent Researches. 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