i ILLVSTRATED CATALOGVE PAINTINGS, IN -THE METROPOLITAN • MV5EVM • OF ART- • NEW-YORK- Hvn/Jv . t . — \ V V \ 1 3 1 cflludtmted &atatogaey 6 auitmcj in the STBetzopolitaiv^ cJliDadeain of G^TtJD %eu> RJozk Qeoxge BQ. Story Guxatoi paxtment of 3jainting6 ^iiWiAhed bif the c^Jljudeum THE METROPOLITAN MUSEUM OF ART SECOND FLOOR ^^otice The galleries are open every day in the week until one-half hour before Bunset. On Sundays the Museum is opened at one o'clock, p.m., on all other days at 10 o'clock, a.m. Mondays and Fridays are set apart for artists and others copy- ing pictures; on these days an entrance fee of 25 cents is charged. The Museum is open to the public on Monday and Friday evenings only, from 8 to 10 o'clock; admission free. In the descriptions of the paintings the words "right" and ''left" always mean right and left of the spectator, except where they obviously apply (as his or her right or left hand) to a figure in a picture. An Index by numbers, consecutive, commences with the No. 1, on the east side, Fifth Avenue entrance, in Gallery No. 11. Every work in the galleries is distinctly labelled with the name of the artist and the number of the picture. The size given is of the sight measure or visible painted sur- face; and in every instance the first number indicates the height. The measurements are given in inches. The Artists' names att^ached to donations and loans are, as a rule, those given by the donors or lenders. As a rule pictures which are lent, are not described. iii Digitized by the Internet Archive in 2015 https://archive.org/details/illustratedcatalOOmetr zclace. The Metropolitan Museum of Art is a private corporation, managed and controlled bj a Board of Trustees, chosen from its members. At a public meeting, held on the 23rd day of November, 1869, a Provisional Committee of Fifty cultured and public-spirited citizens were appointed to organize the Association. On the 31st day of January, 1870, at a meeting of this Com- mittee, the Officers and Trustees were elected, consisting of a President (John Taylor Johnston), two Vice-Presidents, a Treas- urer, Secretary and twenty-one Trustees. On the 13th day of April, 1870, a Charter was granted by the Legislature of the State of New York, and at a meeting of tlie Trustees, held on April 27th, 1870, a Constitution was adopted. Soon after, negotiations were entered into which consummated in the purchase of a collection of pictures, consisting chiefly of specimens of the Dutch and Flemish Schools, but containing also important works of Italian, French, Spanish and English masters. It became necessary to make immediate preparation for the custody and exhibition of these paintings. The Trustees took accordingly a lease for two years from May, 1871, of the building known as No. G81 Fifth Avenue, which, although too small for their purpose, was the most available habitation they could lind. In 1872, The Metropolitan Museum of Art was removed from its temporary quarters at 081 Fifth Avenue to 128 West Fourteenth Street. This large, double house, known as the Cruger Mansion, was leased for a number of years by the Trustees. The greenhouses and conservatories were fitted up for the exhibition of sculptures, and in one of its courtyards the Trustees built a picture-gallery. This gallery, lighted from the roof, had five times as much wall space as the old quarters on Fifth Avenue, and enabled the Trus- tees to extend the interest of the Museum by loan exhibitions of paintings, and the display of the Cesnola Collection of antiquities from Cyprus, a portion of which had already arrived in this coun- try. The Museum remained in this building until the last days of 1879, and was daily open to the public from 10 o'clock a.m. until 6 o'clock p.m. On the 5th of Ai)ril, 1871, the State Legislature, at tlie request of the Municipal Authorities of this City, passed an act appropriat ing the sum of $500,000, with which to erect a building in the Cen- V tral Park, for the purpose of eetablishing and maintaining therein a Museum and Gallery of Art.'^ On April 22d, 1876, the Legislature authorized and directed the Department of Public Parks to make and enter into a contract with The Metropolitan Museum of Art, for the occupation by it of the building which was then being erected, and such other additions as may be made to it from time to time. On the 24th day of December, 1878, the Park Department exe- cuted a written agreement with The Metropolitan Museum of Art, by virtue of which the Trustees took possession of the building in Central Park, which was then finished; and during the year 1879 all the collections of the Museum were removed from the building on Fourteenth Street and transferred to their new home in Cen- tral Park. Up to this date the Museum was managed, and its work done, by different Committees of Trustees; but it now became evi- dent that the daily work had grown far beyond the possibility of being managed through the personal supervision of committees, and in 1879, General Louis Palma di Cesnola, who was then Secretary of the Board, was chosen Director and placed in charge of the Mu- seum, in which capacity he remained until his death (November 20th, 1904). The new building in Central Park was formally inaugurated by President Hayes, on March 30th, 1880. The first exhibition of the Catharine Lorillard Wolfe Collection took place in one of the old Eastern galleries. Soon after it was found necessary to add two wings: the South and the North. The first was inaugurated December 18th, 1888; the second, November 4th, 1894; in both cases with appropriate ceremonies. Plans were then formed by President Henry G. Marquand, General di Cesnola, and the Board of Trustees, and designs made by the architect, Richard M. Hunt, for the creation of a new building which would more appropriately house the art treasures confided to their care, and the City promptly made the necessary appropria- tion of one million two hundred thousand dollars for immediate use in the furtherance of the project. On December 22d, 1902, the center portion of the east front of this new building was completed and formally placed in the hands of the Trustees by the Mayor, the Hon. Seth Low, and the doors were then opened to the public. In 1904 the City made another appropriation of one million two hun- dred and fifty thousand dollars for extending the new building down Fifth Avenue about three hundred and fifty feet, the working plans vi for which are now being perfected by the architects, McKim, Mead & White, and the construction will be commenced at as early a date as is practicable. The building is of light gray stone, classical in design, and will, when completed, form a hollow square with the old structures enclosed in a grand court. The estimate of the total cost is twenty- two million dollars. The chair of the President, made vacant by the death of Mr. Henry G. Marquand on February 26th, 1902, was filled by Mr. F. W. Rhinelander, who died September 24th, 1904. On November 2l8t, 1904, Mr. J. Pierpont Morgan was unanimously elected Presi- dent, and on January 2l8t, 1905, Sir Caspar Purdon Clarke was elected Director, of the Museum. The Board of Trustees have absolute control of all the funda donated and bequeathed to the Institution for its enrichment, and such other funds as are or may be appropriated by the City for its maintenance. * This hand-book embraces all the pictures which are contained in the galleries, staircases, and the Grand Hall, except the Vanderbilt Loan. Of the pictures herein catalogued, some are lent, a large number have been purchased by the Trustees, and the others have been acquired either by gift or bequest. The larger portion of them are accompanied by conditions which render impossible a proper classification of the pictures in the galleries of the Museum, and, while the Trustees fully recognize the logical, historical and aisthetic reasons for such a classification of their exhibits, they do not think it of greater moment (at least for the present) than their acquisition. Miss Catharine Lorillard Wolfe bequeathed in 1887 her entire collection of oil paintings and water-color drawings to the Museum, accompanied by an endowment of $200,000. The income of this fund to be used for the preservation and increase of the collection, which by the terms of the will must be kept together or be forfeited to the legal heirs of the donor. Other donations and bequests of great value, both in objects of art and money, have from time to time augmented the wealth and the treasures of the Museum: the first being the munificent gift of Mr. Henry G. Marquand, embracing 53 oil paintings by Old Masters, and pictures of the English School; the last, in impor- tance, that of Mr. Jacob S. Rogers, who at his death (July, 1901) bequeathed to the Institution his whole fortune, amounting to several millions of dollars. vii The Horse Fair," by Rosa Bonheur, was given by Mr. Cornelius Vanderbilt; then followed the gifts of Judge Henry Hilton, ''Friedland, 1807," by Meissonier, and the ''Defense of Champigny," by Detaille. Mr. George I. Seney also gave twenty oil paintings, containing valuable examples of the Mod- ern Dutch and American schools. The Museum contains examples of nearly all the leading and world-famed schools of paintings, from Jan Van Eyck (1390-1440) to the latest and most interesting of the modern painters. In Gallery No. 11 may be seen the first acquisition of the Museum by purchase, in 1871, a collection of pictures comprised of works by the early Dutch and Flemish painters. In the southeast staircase there is a group of eight pictures of the Eenaissance period, purchased at Florence, and given to the Museum by Mr. Cornelius Vanderbilt in 1880. Gallery No. 15 is occupied with pictures from the collection of Mr. George A. Hearn, twenty-four of which he has given to the the Museum. A remarkable work by Eugene Delacroix, " L'Enl^vement de Eebecca," has been added to the Catharine Lorillard Wolfe Collec- tion, also a landscape by Rousseau and Boats on the Shore," by Daubigny. And *'The Whale Ship," by Joseph Mallord William Turner. *'The Portrait of the Princesse de Conde," by Jean Marc Nattier, Marie Marguerite Lambert de Thorigny," by Nicolas de Largillierre, and **The Emperor Joseph II. of Austria," by Francois Hubert Drouais and **Volupte," by Jean Baptiste Greuze, were purchased by the Museum, and have been placed in Gallery No. 19. Among the most recent acquisitions by gift and bequest are: Washington Crossing the Delaware," by Emanuel Leutze, gift of Mr. John S. Kennedy; " Portrait of George Washington," by Charles Wilson Peale, gift of Mr. C. P. Huntington; Portrait of President Henry G. Marquand, by John S. Sargent, given by the Trustees of the Museum; "The Grand Canal at Venice," by J. M. W. Turner, the bequest of Mr. Cor- nelius Vanderbilt; " Christopher Columbus," by Sebastiano del Piombo, gift of Mr. J. Pierpont Morgan; " The -^gean Sea," by F. E. Church, gift of Mr. Wm. Church Osborn and Prof. Henry F. Osborn; " Cambyses' Punishment of an Unjust Judge," by Peter Paul Rubens, gift of Mr. Wm. E. Dodge, and ''The Holy Family," also by Peter Paul Rubens, gift of Mr. J. Henry viii Smith in 1902. And " The Portrait of Baron Arnold Le Roy," by Van Dyck, the gift of Mr. George A. Hearn, 1905. The most important loan in the year 1902 was that of Mr. George "W. Vanderbilt, who lent for one year one hundred and thirty-five pictures from the collection formed by his father, Mr. William H. Vanderbilt. The term of this loan has now been extended in- definitely. All the paintings in Galleries Nos. 11, 13, 14, 17, 18, 20 and 21, including those in the staircases, are the property of the Museum, as well as a large number of those in Galleries Xos. 12, 15, 19 and 25. ♦ ****** The biographical matter has been obtained throug^h an extensive and exhaustive correspondence with all the living, and with the relatives, intimate friends and pupils of the deceased artists, who are represented in the Museum; and also from the most recent and authoritative encyclopedias, biographies and continental Museums Catalogues. ^TlDamed of the (%ttidtd (okzonoLogicaiiii (%>zzan£ied, and in (^choold AMERICAN SCHOOL PRATT, Matthew 775//, 1805 WEST, Benjamin 1738, 1820 PEALE, Charles Wilson 17^1, 1827 STUART, Gilbert 1755, 1828 TRUMBULL, Colonel John 1756, 18.',S VANDERLYN, John 1776, 1852 PEALE, Rembrandt 1778, 1860 ALLSTON. Washington 777.9, 184!f JOUETT, Matthew Harris 77.S.'?, 1827 WALDO, Samuel L 778,?, 1861 SULLY, Thomas 778.5, 7872 DOUGHTY, Thomas 77.95. 7856' JEWETT, William S 77.95, 7875 INGHAM, Charles Cromtvcll 77.96. 7865 DURAND, Asher Brown 77.96, 7886 COLE. Thomas 7807, 78^8 INMAN. Henry 1801, 18^6 MOUNT, William 8 7806, 7868 HEALY, Ocorqe Peter Alexander 7808, 78.9^ PAGE, William 7877, 7885 CASILEAR, John W 7877, 7895 ELLIOTT, Charles LoHng 1812, 1868 BROWN, George Loring 787^, 7889 LANG, Louis 787^. 78.95 KYLE. Joseph 7875, 7865 HUNTINGTON, Daniel 7876, LEUTZE, Emanuel 7876, 7868 WHITE, Edwin 7877, 7877 KENSETT, John Frederick 7878, 7872 FAGNANI, Giusscppe 7879, 7875 GRAY, Henry Peters 787,9, 7877 BAKER, George A 1821, 1880 FULLER, George 1822, 188^ PEELE. John T 1822, 1897 GIFFORD. S. R 182S, 1880 LAZARUS, Jacob H 7825, 78.97 HART, Williom 782.?, 78.9.^ CROPSEY, Jasper Francis 7825, 1900 WOOD. Thomas W 7825, 7905 MAY, Edward Harrison 182^, 1887 JOHNSON, Eastman 782//, GUY, Seymour Joseph 782^, xi INNESS, George 1825, 1894 CHURCH, Frederic E 1826, 1900 JOHNSON, David 1827, HART, James McDougal 1828, 1901 KRUSEMAN VAN ELTEN, H. D 1829, 1904 JEFFERSON, Joseph 1829, 1905 YE WELL, George H 1830, LOOP, Henry A 1831, 1895 DANA, William P. W 1833, COLMAN, Samuel 1833, RICHARDS, William Trost 1833 STORY, George H 1835^ WYANT, Alexander H 1836, 1892 MARTIN, Homer D 1836, 1897 VEDDER, Elihu 1836, GAY, Edward 1837, MAGRATH, William 1838, WARD, Edgar M 1839, WYLIE, Rolert 1839, 1877 HOVENDEN, Thomas 1840, 1895 THOMPSON, A. Wordsworth 1840, 1896 IRWIN, Benoni 1840, 1896 GIFFORD, R. Swain 1840, 1905 MOSLER, Henry 1841, WEIR, John F 1841, SHURTLEFF, Rosivell Morse 1841, PARTON, Arthur 1842, MAYNARD, George W 1843, EAKINS, Thomas 1844, MILLET, Francis D 1846, BLAKELOCK, Ralph Albert 1847, JONES, H. Bolton 1848, WIGGINS, Carlton 1848, CHASE, William M 1849, TRYON, Dwight W 1849, WEEKS, Edwin Lord 1849, 1903 PEARCB, Charles Sprague 1851, PICKNELL, William Lamb 1852, 1897 WEIR, Julian Alden 1852, LOW, Will H 1853, ROBINSON, Theodore 1854, 1896 COFFIN, William Anderson 1855, FITZ, Rutherford Benjamin 1855, 1891 ALEXANDER, John W 1856, BLUM, Robert F 1857, 1903 ULRICH, Charles F 1858, DAVIS, Charles H 1858, BUNKER, Dennis Miller 1861, 1890 BROWN, William L RICHARDS, Samuel COLLINS, Alfred Quinton 1862, 1903 BELGIAN SCHOOL DEFRANCE, Leonard de 1735, 1805 VERBOECKHOVEN, Eugene Joseph 1799, 1881 HAGUE, Louis 1806, 1885 GALLAIT, Louis 1810, 1887 CLAYS, Paul-Jean 1819, 1900 xii WINNE, Lievin de 1821, 1880 ROBIE, Jean 1821, STEVENS, Edouard Joseph 1822, 1892 COL, David 1822, COCK, Cesar de 1823, WILLEMS, Florent 1828, STEVENS, Alfred 1828, KOLLER, Guillaume 1829, 1885 HAGELSTEIN, Paul GUILLAUME, E VRIENDT, Julien de DUTCH SCHOOL MOSTERT, or MOSTAERT, Jan i/,7//, after 15^9 LEYDEN, Lucas van; real name Lucas HUYGENSZ, or Lucas JACOB SZ im, loss VEEN, Martin van //,58, 151 If HALS, Frans 1580 or 1581, 1666 POELENBURG (POELENBORCH) Cornelius van 15SG, 1667 MYTENS, Daniel 1590, 1656 JANSEN (TANSSENS), real name CORNELIS-JANSON VAN CEULEN 1591 166Hf) GOYEN, Jan (Josephsz) van 1596, 1656 MOLYN, Picter, the Elder 1600, 1661 RUYSDAEL (RUISDAEL), Salomon van about 1600, 1610 VRIES, Adrian (Adriaan) de 1601, after WfS NEER, Aert van der 1603, 1677 REMBRANDT VAN RUN (Rembrandt Harmensz van Rijn) .. .1606, 1669 HEEM, Jan Davidsz de 1606, 16834 BOTPI, Jan, called the Italian 1610, 1652 OSTADE, Adriaen van 1610, 1685 SORG (SORGH), Hcndrick Maertensz 1611, 1669 or 1670 RYCKAERT (RYKART), David 1612, 1661 HELST, Bartholomcus van der 1613, 1670 BORCH, Gerard tcr (TERBURG) 1613-1617, 1681 LELY, Sir Pcfcr; real name Peter van der FAES 1618. 1680 BERCHEM (BERGHEM) Claes Nicolaes 1620, 1683 CUYP, Aelbcrt 1620, 1691 BEYEREN, Abraham Hendricksz van 1620 or 1621, after 167 OSTADE, I sack van 1621, 16^9 WEENIX, Jan Baptista 1621, 1660 EECKHOUT, Gerbrand van den 1621, 1674 KALF (KALFF), Willem 1621 or 1622, 1693 MURANT, Emanuel 1622, 1700 LINGELBACH, Johannes 1623, 167/, ROMEYN, Willem about 162Jf, after 169S STEEN, Jan Havicksz 1626, 1679 HOOGSTRATEN Samuel van 1627, 1678 RUISDAEL (RUYSDAEL), Jacob Isaacksz van 1G28 or 162!), 16'^2 METSU, Gabriel 1630, 1667 HOOCH (ItOOGH), Pieter de 1630, after 1677 STORK (STORCK), Abraham the Elder 1630, about 1710 VERMEER (VAN DER MEER VAN DELFT), Johannes 1632, 1675 MAES, Nicolaes 1632, 1693 HONDIUS, Abraham before 1638, 1695 NETSCHER, Caspar 1639, 1684 LORME, Afiton de flourished 1640, was living in 1660 SLINGELAND, Pieter van 1640, 1691 xiii KBSSEL Jan (Johan) Van I64I or 1642, 1680 GELDER, Arent (Aert) de 1645, 1127 KNELLER, Sir Godfrey, Bart I646, 1723 HUGHTENBURGH (HUGTENBURCH), Jan van 1646, 173S MOOR, Karel van 1656, 1738 RUYSCH, Rachel 1664, 1750 JONGKIND, Johan Barthold 1822, ISRAELS, Jozef 1824, BAKKER-KORFF, Alexander Hugo 1824, 1882 BISSCHOP, Christoffel 1828, 1904 MESDAG, Hendrik Willem 1831, MARIS, Matthys 1835, MAUVE, Anton 1838, 1888 MARIS, Jacob 1838, 1899 NEUHUYS, Albert I844, ENGLISH SCHOOL WALKER, Robert , 1658 THORNHILL, Sir James 1676, 1734 HOGARTH, William 1697, 1764 WILSON, Richard, R.A 1713, 1782 REYNOLDS, Sir Joshua, P. R.A 1723, 1792 GAINSBOROUGH, Thomas, R.A 1727, 1788 ZOFFANY, Johann, R.A 1733, 1810 PINE, Rob^.rt Edge 1742, 1790 RUSSELL, John, R.A 1745, 1806 WHEATLEY, Francis 1747, 1801 STARK, James 1749, 1859 BEECHEY, Sir William, R.A 1753, 1839 RAEBURN, Sir Henry 1756, 1823 HOPPNER, John, R.A 1758, 1810 MORLAND, George 1763, I8O4 CROME, John, called Old Crome 1769, 1821 LAWRENCE, Sir Thomas, P. R.A 1769, 1830 SHEE, Sir Martin Archer 1769, 1850 TURNER, Joseph Mallord William 1775, 1851 CONSTABLE, John, R.A 1776, 1837 CALLCOTT, Sir August Wall, R.A 1779, 1844 COTMAN, John Sell 1782, 1842 HAYDON, Benjamin Robert 1786, 1846 HARLOW, George Henry 1787, 1819 NASMYTH, Peter, called Patrick 1787, 1831 LESLIE, Charles Robert 1794, 1859 NEWTON, Gilbert Stuart 1795, 1835 VINCENT, George {1)1796, 1832 BONINGTON, Richard Parkes 1801, 1828 LINEN, George 1802, 1888 LUCY, Charles I8I4, 1873 PHILLIP, John, R.A 1817, 1867 LEIGHTON, Frederick Lord 1830, 1896 BOUGHTON, George H., R.A 1834, 1905 BROWNING, Robert Barrett about 1848, MACLAREN, Walter 1848, FLEMISH SCHOOL EYCK, Jan van 1380 to 1390, 1440 CRISTUS, Petrus (Pieter CHRISTOPHESEN) about I4OO, 1473 xiv METSYS (or MASSYS or MATSYS), Quentin I466, 1530 BREUGHEL (BRUEGHEL), Jan, the Elder, called Fluweelen (Velvet) Breughel 1568, 1625 WILLAERTS, Adam 1577, 166Jf RUBENS, Peter Paul 1577, I64O SNIJDERS, Frans 1579, 1657 TENIERS, David, the Elder 1582, 1649 GRAYER (CRAEYER). Gaspard de 158J,, 1669 VOS, Cornelis de, the Elder 1585, 1651 JORDAENS, Jacob 1593, 1678 DUCK, Sir Anthony (Antoon) van 1599, 16)1 OOST, Jakob van, the Elder 1600, 1671 TENIERS, David, the Younger 1610, 1690 FYT, Jan 1611, 1661 TILBORGH, Gillis (Aegidius) van 1625, about 1678 MEULEN, Adam Frans van der 1632, 1690 VERENDAEL, ( VEERENDAEL), ^icola8 van 16^0, 1691 HUYSMANS, Cornelis, called Huysmans of Mechlin 161,8, 1727 HOREMANS, Jan Josef, the Younger 17 Iff, after 1790 OMMEGANCK, Balthazar Paulwel 1755, 1826 ASSCHE, Henri van 1774, 181,1 WAPPERS, Gustaaf, Baron 1803, 1874 SCHAEFELS, Hendrik F FRENCH SCHOOL LE NAIN, Antoine 1588, 1648 LE NAIN, Louis 1593, 1648 POUSSIN, Nicolas 1594, 1665 LE NAIN, Mathieu 1600, 1677 LORRAIN, Claude (Lorraine) (Le Lorrain) ; real name Claude GELLEE 1600, 1682 BLANCHARD, Jacques 1600, 1638 POUSSIN, Gaspard; real name, Gaspard DUGIIET 1613, 1675 LARGILLIERRE, Nicolas de 1656, 174^ NATTIER, Jean Marc 1685, 1766 OUDRY, Jean Baptiste 1686, 1755 COYPEL, Noel Nicolas 1692, 1734 PATER, Jean Baptiste Joseph 1696, 1736 BOUCHER, Fran<;oi.H 1704, 1770 DUPLESSIS, Joseph Silfrcde 1725, 1802 GREUZE, Jean-Baptiste 1725, 1805 DROUAIS, FranQois Hubert 1727, 1775 BLARENBERGHE, Henri Joseph van 1741, 1826 MARNE, Jea^i Louis de; called de Marnette 1744, 1829 PRUD'HON, Pierre 1758, 1823 MICHEL, Georges about 1763, 18)3 GRANET, Francois Marius 1775, IS49 VERNET, Emile Jean Horace 1789, 1863 SCHEFFER, Ary 1795, 1858 DELACROIX, Ferdinand Victor Eugene 1798, 1863 BARGUE, Charles 18—, 1883 LAMI. Louis Eugdne 1800, 1890 MARECIIAL, Charles Laurent 1801, 1887 DEX:!AMPS, Alexandre Gabriel 1803, 1860 ISABEY, Eugtne Louis Gabriel I8O4, 1886 WINTERH ALTER, Franz Xavier 1806, 1873 JACQUE, Charles iSmile 1813, 1894 BIDA, Alexandre 1813, 1895 DELORT, Charles tldouard I8I4, 1894 XV FRANCAIS, Franqois Louis 1897 COUTURE, Thomas 1815, 1879 FR^RE, Charles Theodore 1815, 1888 MEISSONIER, Jean Louis Ernest 1815, 1891 MULLER, Charles Louis 1815, 1892 HEBERT, Antoine Auguste Ernest 1817, PLASSAN, Antoine tlmile 1817, COURBET, Gustavo 1819, 1877 FRERE, Pierre Mouard 1819, 1886 HARPIGNIES, Henri 1819, DEVEDEUX, Louis 1820, 1875 FROMENTIN, Eugene 1820, 1876 HAMON, Jean Louis 1821, 1874 LUMINAIS, Evariste Vital 1821, 1896 DUVERGER, Theophile Emmanuel 1821, ZIEM, Felix 1821, BONHEUR, Marie Rosa 1822, 1899 CHAVET, Victor 1822, MERLE, Hugues 1823, 1881 CABANEL, Alexandre , 1823, 1889 COMTE, Pierre Charles 1823, 1895 BRION, Gustave 1824, 1877 BONHEUR, Frangois Auguste 1824, 1884 GER6mE, Jean Leon , 1824, 1904 TRAYER, Jean Baptiste Jules 1824, MARCHAL, Charles Frangois 1825, 1877 CHAPLIN, Charles Joshua 1825, 1891 LAMBERT, Louis Eugene 1825, BOUGUEREAU, William Adolphe 1825, 1905 FICHEL, Benjamin Eugene 1826, 1895 MARGKE, ^Jmile van 1827, 1890 BRETON, Jules Adolphe 1827, SOHENCK, Auguste Frederic Albrecht 1828, CONINCK, Pierre Louis Joseph de 1828, TOULMOUCHE, Auguste 1829, 1890 BROWN, John Lewis 1829, 1890 HENNER, Jean Jacques 1829, 1905 LE ROUX, Hector ...1829, LECLAIRE, Victor 1830, 1885 KAEMMERER, Frederik Hendrik 1830, 1892 DESGOFFE, Blaise Alexandre 1830, MANET, Edouard 1832, 1883 WORMS, Jules 1832, D0R6, Gustave Paul 1833, 1883 VOLLON, Antoine 1833, 1900 BONNAT, Leon Joseph Florentin 1833, LE F^BVRE, Jules 1834, MESGRINY, Frank de 1836, 1884 COT, Pierre Auguste 1837, 1883 GIRARD, Firmin 1838, ROBERT-FLEURY, Tony 1838, BERNE-BELLECOUR, Etienne Prosper 1838, GOUPIL, Jules 1839, 1873 CAZIN, Jean Charles I84O, 1900 VIBERT, Jehan Georges I84O, 1902 ROYBET, Ferdinand Leon Victor I84O, MADRAZO, Raymundo de 1841, GLAIZE, Pierre Paul Leon 1842, LELOIR, Alexandre Louis 1843^ 1884 CLAIRIN, Georges Jules Victor 1843» xvi DUEZ, Ernest Anqe ISJfS, HERRMANx\-L^:ON, Charles 18i*. LHERMITTE, Leon Auguatin MAIGNAN, Alhert 18Jt5, BENJAMIN-CONSTANT, Jean Joseph 78^, 1902 JACQUET, {Jean) Oustave 18^6, BASTIEN-LEPAGE, Jules /8//8, 1885 GROLLERON, Paul Louis Narcisse 1848, 1901 DETAILLE, Jean Baptiste Edouard 18^8, WEEKS, Edwin Lord 18/,9, 1903 FALERO, Luis 1851, 1901 DEMONT, Adrien Louis 1851, DUPRE, e/uHcn 1851, LELOIR, Maurice 185S, DANNAT, William T 185S, JAN-MONCHABLON, Ferdinand 1855, SARGENT, John Singer 1856, GAY, Walter 1856, PELOUSE, Leon Germain , 1890 RENOUF, Simile , 1894 BOILVIN, Simile , 1899 HOFFER, F LEROLLE, Henri WENTWORTII, Cecilia E ESCALLIER, Eldonore DEFAUX, Alexandre NOTER, David de POKITONOW. J BOUTIGNY, Paul fjmile DA WANT, Alhert Pierre BARBIZON SCHOOL COROT, Jean Baptiste Camille 1796, 1875 DIAZ DE LA PE55A, Naroiso VirgUio 1809, 1860 TROYON, Constant 1810, 1865 DUPRE, Jules 1811, 1889 ROUSSEAU, Pierre titicnne Theodore 1812, ]8(n DAUBIGNY, Charles Francois 1817, 1878 GERMAN SCHOOL STRIGEL, Bernhard 1 ',60, before 1528 DtlRER, Albrccht 1471, 1528 HOLBEIN, Uans the Younger Prol)al)ly 1^,97, 154S CRANACII, Lucas, the Younger. Family name SUNDER 1515, 1586 Of'ENS, Jurian H:23, 1678 DIETRICH. Christian Wilhrlm Ernst 1712, 1774 KOEK-KOEK, Barcnd CorneliH 180.i, 1862 MEYER, Johann Oeorg, called Meyer von Bremen 181S, 1886 PECIIT, August Fricdrich 1814, SCIIRADER, Julius 1815, GRAEB, Karl Gcorg Anton 1816, 1884 HILDEBRANDT, Eduard 18J8, 1868 BECKER, Carl 1S20, RICHTER, Gustav Karl Ludwig 182S, 1884 KRAUS, Fricdrich 1826, RIEFSTAHL, Wilhelm Ludwig Fricdrich 1827, 1888 SOHREYER, Adolphe 1828, 1899 xvii KNAUS, Ludwig 1829, SEITZ, Anton 1829, SCHAUSS, Ferdinand 1832, KAULBACH, Friedrich August von 1850, GLISENTI, A VELTEN, W AUSTRIAN SCHOOL RAMBERG, Arthur Georg von. Baron 1819, 1875 DEFREGGER, Franz von 1835, MAX, Gabriel 1840, MAKART, Hans 1840, 1884 JETTEL, Eugene 1845, 1901 BROZIK, Vacslav von 1852, 1901 DDSSELDORF SCHOOL PREYER, Johann Wilhelm 1803, 1889 HUBNER, Karl Wilhelm 1814, 1879 ACHENBACH, Andreas 1815, MULLER, Karl 1818, (?) ACHENBACH, Oswald 1827, 1905 PREYER, Emilie 1849, WEBB, C. M JANSEN, Joseph MUNICH SCHOOL KAULBACH, Wilhelm von 1805, 1874 VOLTZ, Friedrich 1817, 1886 PILOTY, Carl Theodor von 1826, 1886 LINDENSCHMIT, Wilhelm, the Younger 1829, HENNINGS, J. F 1839, GYSIS, l^icolas 1842, 1901 MUNKACSY, Mihdly de; real name Michael LIEB 1844, 1900 GABL, Alois 1845, MARR, Carl 1858, SPRING ITALIAN SCHOOL PASINI, Allerto 1826, 1899 BOLDINI, Giovanni 1844, SIMONETTI, Cwvaliere Attilio BOLOGNESE SCHOOL ALBANI, Francesco 1578, 1660 SASSOFERRATO, II 1605, 1685 FLORENTINE SCHOOL MASACCIO, Tommaso Guidi I4OI, U28 or 1429 POLLAJUOLO, Antonio del m9, 1498 GHIRLANDAJO; real name Domenico di Tommaso Curradi di Doffo Bigordi 1449, W4 VINCI, Leonardo da 1452, 1519 COSIMO, Piero di 1462, 1521 xviii BARTOLOMMEO, Fra, Baccio della Porta 1475, 1517 ALLOKI, Cruitoforo; called II Bronzino 1577, 1621 MANNOZZI, (Hovanni 1590, 1636 FRANCESCHINI, Baldassare; called II Volterrano 1611, 1689 MILANESE SCHOOL BISI, Cavaliere Luigi 18U, 1869 PARMESAN SCHOOL ALLEGRI, Antonio; called IL CORREGGIO 1494, 15S4 ROMAN SCHOOL CERQUOZZI, Michelangelo MARATTA, Carlo PANINI, Giovanni Paolo JORIS, Cavaliere Pio RINALDI, of Rome (Mosaic) VENETIAN SCHOOL PIOMBO, Fra Sehastiano del; real name Sebastiano LUCIANI. .U85, 15^7 MORONI, Giovanni Battista about 1520, 1578 RICCI (or RIZZI) Hehafttiano 1662, 17S4 TIEPOLO, Giovanni Battinta 1696, 1770 GUARDI, Francesco 1712, 179S NORWEGIAN SCHOOL WUST, Alexander 1837, 1876 SPANISH SCHOOL GRECO, II 1548, 1625 ZURBARAN, Francisco de 1598, 1662 VELAZQUEZ, Diego Rodriguez de mva y 1599, 1660 LUCIENTES, Goya y; Francisco Job6 1746, 1828 ESCOSURA, Ldon y I8S4, 1901 FORTUNY Y CARBO, Mariano-,! os6-Maria-Bcrnado I84I, 1874 ZAMACOIS, Eduardo 1842, 1871 DOMINGO, Francois (Don Francisco Domingo y Marques) ... .18^5, VILLEGAS, Jos6 1848, RICO, Martin 1850, BAIXEUAS, Verdagucr Dionisio 1862, SANCllEZ-PERRIER, Emilio SWEDISH SCHOOL WAHLBERG, Alfred 1834, HELLQUIST, C. G 1851, 1890 .1602, 1660 .1625, 17 IS .1695, 1768 1843, xix (oontentd Gallery 11. Pictures by Masters of the Old Dutch and Flemish Schools . . . Nos. 1 to 12, 30 to 60, 70 to 85a Southeast Staircase Nos. 13 to 29 Northeast Staircase Nos. 61 to 69 Gallery 12. Pictures by Early Italian, English and American Schools Nos. 86 to 169a Gallery 13. Paintings by American Artists or Relating to American History .... Nos. 170 to 225e Gallery 14. The Henry G.Marquand Collection of Old Masters and Pictures of the Early English School, Nos. 226 to 279 Gallery 15. Paintings Given or Lent by Mr. Geo. A. Heam Nos. 280 to 330 Gallery 16. The W. H. Vanderbilt Collection of Modem Paint- ings Lent by Mr. George W. Vanderbilt, Pages 195 to 246 Gallery 17. Catharine Lorillard Wolfe Collection . Nos. 331 to 408 Gallery 18. Catharine Lorillard Wolfe Collection . Nos. 409 to 484 Gallery 19. Modem Paintings Nos. 485 to 532 Gallery 20. Modern Paintings Nos. 533 to 592c Gallery 21. Modem Paintings . Nos. 593 to 608, 626 to 641, 650 to 664a Southwest Staircase Nos. 609 to 625 Northwest Staircase Nos. 642 to 649 Grand Hall. Modern Painting No. 665 Gallery 25. Modern Paintings (including the Moran Collec- tion) Nos. 666 to 690 xxi udwtcj, "^he fK^oly U-amily. (cfocpodc in t^^^^t//^/, whose portraits he painted. He was induced to go to England in 1674, and received such a flattering reception from Charles II that lie determined to remain there. After the death of Sir Peter Lely he was made Court painter. He received equal favor from James II, William III, who knighted him (1692), Queen Anne, and George I, who made him a baronet (1715). 293 PORTRAIT OF LADY MARY BERKELEY. " Wife to Thomas Chamber, Esq." Bust, Hfe-size. The figure is turned slightly to the right, the face to the left; she has warm brown hair and dark blue eyes. Her dress is olive gray cut low at the neck and trimmed with white lace. The picture is painted in an oval with a dark warm background. Gift of Mr. George A. Hearn, 1896. Signed and dated. 1700. On canvas, H.; 24 W. KOEK-KOEK, Barend Cornelis. German School. Bom at Middleburg, Zeeland, 1803; died at Clever, 1862. Son and pupil of Johannes Hermanns Koek-Koek, and student of Amsterdam Acad- emy under Schelfhout and Van Oos; traveled in Belgium, in the Ardennes, on the Rhine and Moselle; visited Paris. Afterv\'ards settled at Beck, in Gelderland, and in 1841 founded an Academy of Design at Cleves. Member of Rotterdam and St. Petersburg Academies in 1840. Orders of the Lion (1839), and of Leopold (1842). Legion of Honor. Gold medals in Amster- dam (1840), Paris (1840 and 1843), and The Hague. 367 WINTER LANDSCAPE; HOLLAND. At the right is a frozen canal spanned by a bridge in the middle distance where there are a group of buildings among the tree.s; at the left is a liillsida with a roadway covered with snow leading to a wood from which a man and woman are approaching. Cumulus clouds float in the sky. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1833. On wood. 14 H.; 17 W. 378 SUNSET ON THE RHINE. Painted to the order of Mr. John Wolfe. Purchased at the sale of his collection, in 1863, by Mr. John Tavlor Johnston, and at the sale of his gallery, in 1876, was bought by Miss Wolfe. Prominently in the center of the picture on an elevation is a chSteau, and in the shadow below, and beyond, is a city bordering the Rhine which flows by to the distant hills. In the middle of the immediate foreground a road passes over a rustic bridge where are peasants mounted, and on foot, further on, a group of cattle are coming down the hill. In the foreground at the right are two trees, and at the left there is a group of large trees beneatli whose branches we view the distant valley; the sky is clear, with delicate clouds in an atmosphere of sunshine. Bequeathed by Miaa Catharine Lorillard Wolfe, 1887. Signed and dated, 1853. On canvas. 31 H.; 41 W. 685 WINTER SCENE IN HOLLAND. Lent by Mr. Thom.vs P. Salter. On panel. 15 H.; 20 W. 95 KOLLER, Guillaume. Belgian School. Bom at Vienna, 1829; died in Germany, 1885. Pupil of Vienna and Diisseldorf Academies, 1851-55. Lived in 1856-59 at Antwerp, then settled at Brussels. Afterwards removed to Germany. 578 HUGO VAN DER GOES PAINTING THE PORTRAIT OF MARY OF BURGUNDY, INFANT DAUGHTER OF CHARLES THE BOLD, DUKE OF BURGUNDY, AND ISABELLA OF BOURBON. The painter sits at the right of the picture with his face and figure in profile to the left. A red cap is on his head and a black gown covers the figure. In the right hand he holds a pencil raised as if directing the pose of the sitters. The left rests upon a drawing which lies upon a red sketching stand over which the artist leans. Upon a light wooden settee in the center of the picture is the mother (the first wife of Charles the Bold), robed in a lavender velvet gown trimmed with ermine. Her right arm supports the infant upon her lap who is holding out a dainty bit to a pet hound by their side. A man is leaning over the back of the seat with his face turned to the artist. Behind him is an arched doorway through which the sky is visible. A table at the right is set with refreshments. The interior and furnishings are Flemish of the fourteenth century. Bequeathed by Me. Stephen Whitney Phcenix, 1881. Signed. On wood, 23 H.; 34 W. KRAUS, Friedrich. German School. Bom at Krottingen, East Prussia, 1826. Genre and portrait painter. Pupil of Konigsberg Academy. Studied in Paris, 1852-54. and in Rome, 1855, and settled in Berlin in 1855. 515 PEASANTS GOING TO CHURCH. Lent by Mrs. Israel Corse. On canvas, 20 IT. ; 33 W. KRUSEMAN VAN ELTEN, H. D. American School Bom at Alkmaar, Holland, 1829 ; died at Paris, 1904. Landscape painter, pupil in Haarlem of Lieste, and student of nature in Germany, Switzerland and Tyrol. Continued his studies in Brussels, and settled in Amsterdam, whence he moved to New York in 1865, since which time he was identified with American art. Late in life he returned to Holland. 169 A AUTUMN. In the immediate foreground is a stream of water which reflects some tall dark tree trunks and their scanty foliage among the lily pads which float upon the glassy surface of the water; the border on either side of the stream is heavy with the dull brown grasses which grow rank along the banks, and two figures stroll about over the meadow-lands beyond. Above is a light, cool and cloudy sky. Gift of Mrs. Kruseman van Elten, 1905. Signed. On canvas, 37i H. ; 30 W. 96 KYLE, Joseph. American School. Bom in Ohio, 1815; died at New York, 1863. Spent his childhood in Ohio and Kentucky. At the age of twenty he went to Philadelphia and entered the studio of Thomas Sully, afterward with Bass Otis. Later he established a studio in the Quaker City; afterwards he removed to New York, where he painted portraits and historical pictures, and was soon elected Associate of the National Academy of Design. 101 PORTRAIT OF A LADY. 1861. Bust, cabinet size. In a black dress, with the face three-quarters front. Gift of Mr. William Magrath, 1895. On canvas, 12i H.; lOi W. LAMBERT, Louis Eugene. French School. Bom at Paris, 1825. Pupil of Delacroix. Medals: 1865, 1866, 1870; third class, 1878; Legion of Honor, 1874. 468 CAT AND KITTENS. The old cat lies at full length upon a rich Turkish mg with a white kitten cuddled up against her, another clambers over the mother to meet her sister who is peeping over the top of a ladies' work-basket, the contents of which she has been investigating; heavy red-figured drapery forms the background. Painted to order. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 34 H.; 28 W. LAMI, Louis Eugene. French School Bom at Paris, 1800; died there 1890. Pupil of Gros and Horace Vernet. Medal, second class, 1865; Legion of Honor, 1837; Officer, 1862. 41 1 INTERIOR OF A MUSEUM. A portion of a room in which visitors are examing objects of art. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Dated. 1863. Water Color. 20 H. ; 14 W. LANG, Louis. American School. Bom at Wlirtemberg, 1814; died at New York, 1893. Went to Paris for study in 1834; came to America in 1838; spent some years in Philadelphia; returned to Europe and spent six years in Venice, Rome, Florence, and Paris, returned to New York, and in 1852 was made a Member of the National Academy of Design. 677 A COUNTRY GIRL. Sitting in the shadow of the trees weaving a basket. A child in a blue dress lies at full length on the ground by her side, and in the middle distance at the right is a cottage. Bequeathed by Mrs. Sarah Ann Ludlum, 1877. On canvas, 26i H. ; 33i W. 97 LARGILLIERRE, Nicolas de. French School. Bom at Paris, 1656; died there, 1746. History and portrait painter, pupil of Antoine Goubeau, at Antwerp, and at London of Lely; received into St. Luke's Guild in 1672. Went to England in 1674, where he remained four years. In 1678 he went to Paris and gained great reputation as a portrait painter during the next six years, after which he returned to England, whera he painted James II and his queen. Member of the Academy in 1686, pro- fessor in 1705, rector in 1722, and chancellor in 1743. ' 501 MARIE MARGUERITE LAMBERT DE THORIGNY. N^e Marie Marguerite Bontemps, born 1668, died at Tile Notre-Dame, August 5, 1701, daughter of Alexander Bontemps, intendant and governor of the Chateaux of Versailles. On the 9th of June, 1682, she married in the chapel of Saint Frambourg, Claude Jean Baptiste Lambert de Thorigny, President de la Chambre des Comptes. Her mother was Marguerite Bosc, daughter of Claude Bosc, Counsellor to the King. Saint-Simon, the eminent writer of chronicles, said of Marie Marguerite Lambert de Thorigny: "EUe est belle comme le jour." Life-size, three-quarters length, standing with the face slightly to the right and the figure to the left. Her right hand is extended to a fountain from which the water trickles down over her open palm; the left, daintly holds the skirt of her bright red gown. A brilliant green parrot at her side is cracking a nut and in shadow at the left a negro boy holds a spaniel in hia arms. From the Collection of the Marquis d'Ussel, Chateau d'Oscamp, Belgium. Exhibited at Guildhall, London, 1902. Purchased by the Museum, 1903, from Mr. Ernest Gimpel, from income of the Jacob S. Rogers Fund. Signed and dated, 1696. On canvas, 53 H. ; 40^ W. 98 LAWRENCE, Sir Thomas, P.R.A. English School. Born at Bristol, 1769. Died at London, 1830. He early distinguished himself for his ability in drawing. His father was landlord of the Black Bear Inn, Devizes, and the first efforts of the young painter which attracted notice were some portraits in chalk of his father's customers. At the early age of ten years he set up as a portrait painter in crayons, at Oxford; but he soon afterwards ventured to take a house at Bath, where he immediately met with much employment and extraordinary success. In his seventeenth year he commenced oil painting; in 1787, twelve months afterwards, he settled in London, and entered himself as a student in the Royal Academy. His success in London was as great as it had been in the Provinces. In 1791, though under the age required by the laws (twenty-four), he was elected an associate of the Academy, and after the death of Sir Joshua Reynolds, in the following year, he succeeded him as painter to the King. He painted at this time, in his twenty-third year, the portraits of the King and Queen, which were presented by Lord Macartney to the Emperor of China. In 1794, he was elected a Royal Academician ; he was knighted by the Prince Regent in 1815; and at the death of Benjamin West, in 1820, he was unanimously elected president of the Academy. From the time of his election as a mem- ber of the Academy, to his death, Sir Thomas's career as a portrait painter was unrivaled; he contributed, from 1787 to 1830, inclusive, 311 pictures to the exhibitions of the Royal Academy. He died in London, at his house in Russell Square, January 7, 1830. He was never married. Shortly after his death, a selection of ninety-one of his works was exhibited at the British Institution. He was a member of St. Luke at Rome, and of many other foreign academies; and in 1825 he was created a Chevalier of the Legion of Honor. 322 LADY ELLENBOROUGH. Lent by Mr. George A. Hearn. On canvas, 29 H.; 24i W. LAZARUS, Jacob H. American School. Bom at New York, October 4, 1823; died, New York, January 1, 1891. Son of Zipporah and Eleazar Lazarus. When quite young he manifested a desire to study art, and became a student of the famous artist, Henry Inman, in 1843; was made an Associate of the National Academy of Design, 1849. He had a long and successful career as a portrait painter in h:s native city. 103 PORTRAIT OF HENRY IN MAN. An eminent portrait painter of the last century, who died in 1846. Bust, cabinet size, half length, sitting three-quarters face, looking over his left shoulder, figure to the right. Gift of Mrs. Jacob H. Lazarus, 1893. Signed. On panel. 10 H. ; 8i W. LECLAIRE, Victor. French School. Born at Paris, 1830; died there, 1885. Landscape and flower painter. Pupil of his brother, L6on Louis Leclaire. Medals: third class, 1879; second class, 1881. 99 391 APPLE BLOSSOMS IN A VASE. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1875. On wood, 25 H. ; 15 W. LEFEB VRE, Jules. French School. Born at Touman, Seine, France, 1834. Pupil of Cogniet. Won the Grand Prix de Rome in 1861 for his "Death of Priam." Medals: 1865, '67, 70; Legion of Honor, 1870; Officer, 1878. Medal, first class, 1878 {Ex- position Universelle). Grand Prix, 1889 {Exposition Universelle). Member of the Institute of France, 1891. Member of Royal Academies of Belgium and of Vienna. Officer of the Order of Leopold, 1885. Commander of the Orders of Francis Joseph, and of Isabella the Catholic, etc. 451 ''GRAZIELLA;' A GIRL OF CAPRI. Sitting upon the edge of a cliff overlooking the Bay of Naples, with smoking Vesuvius in the distance, is "A Girl of Capri"; the figure and face are turned to the left nearly in profile and her abundant black hair falls down over her right shoulder; the bare right arm crosses the pearly-blue skirt, the hand resting with the left on the rock and the fish net which she has been knitting. Painted to order, 1878. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1878. On canvas, 78 H. ; 43 W. LEIGHTON, Frederick Lord. English School. Born at Scarborough in 1830; died at London, January 25, 1896. No painter since the days of Sir Joshua Reynolds has more worthily filled the presidential chair of the Royal Academy. He was passionately fond of draw- ing when a child, and in 1842 he was taken to Rome, where he studied drawing under Francesco Meli. He next became a student of the Royal Academy of Berlin, thence to Florence Academy, under E. Steinle; thence to Frank- fort, Brussels, and the Louvre Life School, Paris; then, until 1853, again under Professor Steinle; and, finally, for three years, in Rome. Sent to the Royal Academy in 1855, "The Procession of Cimabue's Madonna carried through Florence," which created a profound sensation in the art world of London, and was purchased by the Queen; now in Buckingham Palace. After this success he resided four years in Paris, studying part of the time under Ary Scheffer, and sending pictures nearly every year to the Royal Academy. He was elected A.R.A. in 1864, R.A. in 1869, and President in 1878, when he was knighted. Created a baron of the United Kingdom in 1885. Medal, second class, Paris, 1859. Officer of the Legion of Honor, 1878. Corre- sponding member of the institute of France; Member of Academies of St. Luke and Florence. Medal of Honor, Antwerp Exposition, 1885. Elevated to the Peerage (Lord Leighton), January 24, 1896. He traveled extensively in Europe, Egypt, and the East. He was a good linguist, a fine sculptor, and musician. 340 LACHRYMAE. A female figure draped in black with her head bowed in grief stands with her right arm over a fluted marble column. A mortuary urn crowned 100 with a laurel wreath rests on the column and another is at the base; behind the figure are the trunk of a tree and a flash of golden light. Ooe of the last pictures painted by this artist. Exhibited at the Royal Academy in 1895. Purchased from the income of the Catharine Lorillard Wolfe Endowment Fund, for her collection, from Arthiir Tooth & Son, April 6. 1896. On canvas, 62 H.; 24i W. 420 HEAD OF A WOMAN, ''LUCIA." Bust, cabinet size. The face is turned to the left in profile. Her dress is pale rose color and of the oriental type. Purchased in London. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. On canvas, 14 H. ; 10 W. LELOIR, Alexandre Louis. French School. Bom at Paris, 1843; died, 1884. Genre painter; son and pupil of J. B. Auguste Leloir. Composition ingenuous, and coloring agreeable. Style decorative. Medals: 1864,1868,1870; second class, 1878; Legion of Honor, 1876. 352 FEMALE FIGURE. Sitting on a bank in the open air surrounded with wild flowers and butter- flies is a deUcate female figure with loose light drapery fallen from her shoul- ders, and red and brown velvet entwined about her figure, her left hand holding a bunch of daisies rests in her lap. Painted to order, 1882. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1882. Water Color. 13 H.; 9 W. 429 WANDERING MINSTREL; OLD NUREMBERG. He is standing before the door of an inn in the old town of Nuremberg, holding his 'cello over his left shoulder. In his right hand are a few coins which he is contemplating. His dress is of the picturesque seventeenth century. Painted to order, 1873. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated. 1873. Water Color. 20 H.; 14 W. 431 CHOOSING THE DINNER. In the courtyard of an old house, a chef quaintly dressed in white, stands leaning against the doorway with both hands thrust into his big apron. He is looking down at a pheasant which the gamekeeper, who sits before him in a great scarlet cloak, holds out for his approval. Scattered about on the stone-paved yard, are ducks, pheasants, a hare, and a heron. Purchased in Paris, 1872. Bequeathed by Miss Catharine Lorillard Wolfe. 1887. Signed and dated. 1872. On canvas. 12 H.; 18 W. 413 IN HIS CUPS. In the courtyard of an inn, a guardsman of the seventeenth century, dressed in red velvet, is seated with one foot on a table, an empty wine glass in one hand, and an empty bottle in the other, which he is in the act of dash- ing in pieces, as he has others which lie on the brick-tiled floor at his feet. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated. 1872. Water Color, 20 H. ; 14 W. 101 LELOIR, Maurice. French School. Bom at Paris, 1853. Genre painter; pupil of his father, J. B. Auguste, and of his brother, Louis Leloir. Medal, third class, 1878. Chevalier, Legion of Honor, 1895. 335 THE DRINK OF MILK. Standing in front of a vine-covered stable is an old man in a dark blue coat and big hat, holding an earthen bowl of milk for a dainty lass to drink. She wears a light thin dress looped up with many folds, and a black silk mantle over her shoulders. On a rustic wooden bench at the left are a blue pitcher and two earthen bowls. Painted to order, 1882. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1882. Water Color, 12 H. ; 18 W. 344 "OPPORTUNITY MAKES THE THIEF." An obliging old gentleman has mounted a ladder by a garden wall at the right to pick a rose for a young lady whom he has left with a young gallant, with the usual result, a stolen kiss. A flight of steps at the left leads to a garden and a fountain in the distance. Painted to order. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1882. Water Color, 12 H. ; 18 W. LELY, Sir Peter (real name, Peter van der Faes). Dutch School. Born at Soest, in Westphalia, 1618; died at London, 1680. Pupil of Pieter de Grebber in Haarlem, but on coming to England with William, Prince of Orange, in 1641, he so closely studied the manner of Van Dyck, who had just died, that his earlier portraits often approach the great master's style. For thirty years he was the most popular portrait painter in England and amassed a large fortune. Nominated court painter and knighted by Charles II. 162 PORTRAIT OF A LADY. Bust, life-size, face three-quarters to the left, d6collet^ gown. Purchased by the Museum, 1871. On canvas, 23i H. ; 18i W. 291 PORTRAIT OF SIR WILLIAM TEMPLE. Half-lengtk, standing, three-quarters to the right of the spectator. His left arm rests on the back of a chair and the right crosses the figure. Long, light brown hair falls in waves about his shoulders and over a broad lace collar; the sleeves of his black gown are white, with cuffs turned back from the wrists. A dark, olive-green curtain forms the background. Gift of Mr. George A. Hearn, 1897. On canvas, 38 H.; 47 W. LE NAIN (the Brothers), Antoine, Louis (called the Ro- man), and Mathieu. French School. Bom at Laon (Aisne) about 1588, 1593, 1600, respectively. They painted domestic and rural scenes. When Antoine became master in St. Germain des Pres, his brothers were his apprentices. In 1633, Mathieu came to Paris, where the three brothers lived together for many years. 102 In 1648, they were all received into the Academy. Antoine and Louis died two months later, May 23d and May 26th. Mathieu, who especially excelled in portraiture, died April 20, 1677. 609 MENDICANTS. At the entrance to an arched court is a man in a black habit from whom on either side mendicants are asking alms. A kneeling priest with a rosary in his hands is at the right. Pxirchased by the Museum, 1871. On canvas, 20 H. ; 23i W. LEROLLE, Henri. French School Bom at Paris. Contemporary. Pupil of Lamothe. Medals: third class, 1879; first class, 1880. Chevalier Legion of Honor, 1889. 633 THE ORGAN REHEARSAL. A young lady in an olive-^reen habit and with a tall hat upon her head stands at the front of the choir holding a sheet of music in both hands and eings a solo. Before her is the spacious church in diffused sunlight, and behind are the organist and five members of the choir. All the figures are life-size and full-length. Gift of Mr. George I. Senet, 1887. Signed. On canvas, 91 H.; 141 W. LE ROUX, Hector. French School. Bom at Verdun (Meuse), France, 1829. Pupil of Picot, and of the ^cole des Beaux-Arts. Won the second Grand Prix de Rome in 1857. Medals: Paris, 1863, 1864, 1874 ; at Exposition Universelle of Paris, 1878 and 1889; of Vienna, 1873; of Amsterdam, 1883; of the Argentine Republic, 1889. Legion of Honor, 1877; Officer of the Academy (France), 1889; Officer of Public Instruction, Paris, 1896; Chevalier of the Order of Isabella the Catholic, 1893. 460 ROMAN LADIES AT THE TOMB OF THEIR ANCES- TORS. A feeble light enters the crypt through the stairway by which the ladies descended to the tomb of their ancestors. One of the ladies is seated in an old Roman chair in the middle of the room, the other, robed in loose white drapery, stands behind her companion; both are regarding fixedly two busts which occupy a niche above a mortuary tablet which is illumined by the flickering light of a lamp which stands by the tomb. Purchased from the Artist. Bequeathed by MiBS Catharine Lorillabd Wolfe, 1887. Signed. On canvas, 10 H.; 35 W. LESLIE, Charles Robert. English School. Bom of American parents, at Clerkenwell, London, October 11, 1794; died, London, May, 1859. His father, a watchmaker of Philadelphia, re- turned to America in 1800, and on his death, 1804, Charles was apprenticed to a bookseller, but in a few years he was enabled to return to London, where he became a student at the Royal Academy (1813). Although his first pictures were meritorious, it was not until his return from the Continent, in 1817, that he displayed his special talent in the picture of "Slender, and Anne Page." 103 Two years later he exhibited his "Sir Roger de Coverley" (Marquis of Lans- downe), which left him without a rival in this class of subjects. He became an A.R.A. in 1821, and R.A. in 1826. In 1833 he accepted the professorship of drawing at West Point, but held the position only a few months. Return- ing to England, he painted two historical pieces for the Queen, "The Coro- nation," 1838, and "The Baptism of the Princess Royal." He was professor of painting at the Royal Academy from 1847 to 1852. 102 PORTRAIT OF DR. JOHN WAKEFIELD FRANCIS. Bom, 1789; died, 1861. His father was a German, who came to this country after the close of the Revolution and settled in New York, where his son was born and died He was apprenticed to a printer, but subsequently entered Columbia in 1807, and was graduated 1809. He soon began the study of medicine in the office of Dr. Hosack, whose partner he was until 1820. He visited Europe in 1816, and during his stay he studied under Abemethy. On his return he devoted himself to the practice of his pro- fession and to literature. He was active in the interests of the New York Historical Society, the Lyceum of Natural History, the Woman's Hospital, the State Inebriate Asylum, the Typographical Society, and other pubUc institutions. His taste in art was fine, and young artists always found in him a friend. He was the first President of the New York Academy of Medicine, the author of many professional works and " Old New York, or Reminiscenses of Sixty Years," and was looked upon as an oracle in matters relating to his native city. Gift of the Hon. John L. Cadwaladek, 1896. Signed. On panel, 15^ H.; 11^ W. LEUTZB, Emanuel. American School. Bom at Gmund, Wiirtemberg, May 24, 1816. Died at Washington, July 18, 1868. History painter. Taken to America as a child, by his parents, who settled in Philadelphia, where he was first instructed by John A, Smith; went in 1841to Diisseldorf, and studied under Lessing; also studied in Munich, Venice, and Rome; visited America in 1851, and settled there permanently in 1859, living alternately in New York and Washington. Elected N.A. in 1860. He was an indefatigable worker. Among the most important of his Works are: "Washington Crossing the Delaware," "Defeat of General Braddock," "John Knox and Mary Stuart" (1845), "Maid of Saragossa," "Venetian Masqueraders " (1860), "Lafayette in Prison at Olmutz visited by his Relatives," "The Iconoclast," "Landing of the Norsemen in America," "The Court of Queen EUzabeth," "The Flight of the Puritans," "Henry VIII and Anne Boleyn." 186 WASHINGTON CROSSING THE DELAWARE. "December 25, 1776, the Commander-in-chief's headquarters were at Newtown, a little village on a small branch of the Neshaming, two miles north- east from Bristol. There were about 1,500 Hessians and a troop of British light horse at Trenton; these Washington determined to surprise. The posts at Mount Holly, Buriington, Black Horse, and Bordentown were to be at- tacked, at the same time, by the Pennsylvania militia under Generals Cad- wallader and Ewing, the former to cross near Bristol, the latter below Trenton Falls; while Washington leading the main body of the Continental troops (in all about 2,400 men, and twenty pieces of artillery) was to march down upon the enemy at Trenton. Christmas night was selected by Washington for the execution of his enterprise. The cold weather of the twenty-four 104 hours preceding put serious obstacles in tlie way. Tlie river was so full of floating ice that at first it was doubtful whether a crossing could be efifected at all. A storm of sleet and snow had just commenced, and the night became excessively dark and dreary. The perilous voyage began early in the evening in boats and bateaux, but it was nearly four in the morning before the little army was mustered on the Jersey shore. The victory of the Americans at Trenton was complete." Gift of Mr. John S. Kennedy, 1897. Signed and dated, 1851. On canvas, 147 H.; 252 W. 190 PORTRAIT OF WORTHINGTON WHITTREDGE. Three-quarters length, standing, in the costume of a Spanish gentleman; face and figure a little to the right. The left-hand is resting upon the hilt of a sword; the right, which holds a black hat with a white plume, is upon the hip; a lace ruff encircles his neck, and a gold chain with a medallion falls on his breast ; the eyes look steadily forward from beneath dropping lids. The dress is black against a warm dark ground. Painted at Dusseldorf, 1856. Gift of Several Gentlemen, 1903. Signed and dated, 1856. On canvas, 57 H. ; 40 W. LEYDEN, Lucas van. (Real name Lucas Huygensz or Lucas Jacobsz.) Dutch School. Born at Leyden in 1494; died there, 1533. Pupil of his father Hugo Jacob, and of Comelis Enghelbrechtsen. He was remarkably precocious, having etched plates from his own designs at the age of 8 or 9 years; at 12 to 14 he produced works that are still highly esteemed. A warm friend- ship existed between him and Albert Dilrer, which was never interrupted by professional jealousy. He painted in oil, distemper, and on glass, suc- ceeding equally well in historical subjects, landscape, and portraits. His en- gravings on copper gave him a rank besides his great contemporaries, Dilrer and Marcantonio. 250 CHRIST PRESENTED TO THE PEOPLE. In a public square of the city of Jerusalem is a raised scaffold or platform, on which the Saviour is seen in a group of six persons, two of whom draw aside the purple robe and show Him to the people. In the foreground, groups of persons in richly colored costumes fill the street below, witnessing and com- menting on the scene. The windows of the houses which surround the square are filled with spectators. It was formerly in the possession of Baron Caron- delet, Spanish Governor of the province of Louisiana, and was purchased from a descendant of the family. It would seem from an ancient document accom- panying the picture that it was from the sale of the Prince de Conti, and that it is the original of the picture in the Belvedere Gallery, Vienna, which in the old catalogues was attributed to this artist, and in the more recent catalogues is called a Copy. There is an old engraving of this picture by Lucas van Leyden himself, dated 1510. Gift of Mr. Henry G. Marquand, 1888. On canvas, lOi H. ; 17f W. 257 JOSEPH'S COAT. This is one of a series of tempera paintings on linen, illustrating the history of Joseph, which was seen by Van Mander in a house at Delft, as is specially recorded by him in his life of the Dutch Master ('Het Leven der 'Schilders, etc.). He there notes the injury to the set of decorative canvases as being 105 caused by the damp atmosphere of Holland. This picture is of peculiar interest, as being one of the very few among his paintings tliat are authenti- cated by documentary evidence. Jacob, the Ruler, and father of Joseph, with a sceptre in his right hand is eeated in an open court beneath a red canopy. Surrounded by soldiers, coun- cilors, and friends, he is receiving the news of Joseph's death. Standing before him is one of the brothers the blood-stained coat of many colors, "And he knew it, and said. It is my son's coat; an evil beast hath devoured him; Joseph is without doubt rent in pieces." The impressive and ornate character of the surrounding architecture conveys the feeling of royal association rather than that of classic accuracy. This picture belonged in 1766 to Lord Methuen, and in 1886 passed from Lord Methuen's collection to Corsham, into that of Mr. Marquand, of New York. Mentioned in Th^ English Connoisseur, London, 1766, II, 36, and formerly catalogued under the title of "Our Saviour carried before Pontius Pilate." Gift of Mr. Henry G. Marquand, 1888. On linen, 67i H. ; 56i W. LHERMITTE, Leon Augustin. French School Bom at Mont-Saint-Pere (Aisne), 1844. Pupil of Lecoq de Boisbaudran. Medals: third class, 1874; second class, 1880; Medal of Honor, Exposition Universelle, 1889. Chevalier, Legion of Honor, 1884; Officer, 1894. Cheva- lier of St. Michael of Bavaria. 666 THE VINTAGE. A young woman in the garb of a peasant stands upright holding a basket of grapes in her right hand, and resting the left upon her hip. She is looking down to a boy who sits at her feet munching grapes. At the left are an old woman standing beneath a tree and a young man who is stooping to clip the ripe fruit from the vines. From the Paris Salon of 1884. Gift of Mr. William Schaus, 1887. Signed and dated, 1884. On canvas. 98 H.; 81 W. LINDENSCHMIT, Wilhelm (the Younger). Munich School. Bom at Munich, 1829. History painter. Pupil of Munich Academy, then of Stadel Institute in Frankfort and of Antwerp Academy. Continued his studies in Paris, 1875. Professor at the Academy, Munich; member Berlin Academy. Gold medal, Beriin, 1870. 681 THE PROTEST OF LUTHER. Gift of Mr. William E. Dodge, 1903, Signed. On canvas, 24 H.; 30i W. LINEN, George. English School. Bom at Greenlaw, Scotland, 1802; died. New York, 1888. Student of the Royal Scottish Academy in Edinburgh. Afterwards he spent some years in the successful practice of his profession in England, coming to America in 1843, settling in New York. He excelled in painting cabinet portraits in oil, and his ability was soon recognized. Added to his facilty in securing a like- ness, he finished his pictures with extreme delicacy, without in the least rob- bing them of their force and character. He painted Henry Clay and Daniel Webster. In 1839 the National Academy of Design awarded him the medal offered for the best specimen of portrait painting exhibited. 106 lOO PORTRAIT OF COLONEL POPHAM. Cabinet size, three-tjuarters length, sitting, figure to the left of the spec- tator, face nearly front with both hands resting on the arms of the chair, and an open book on the table. Major William Popham was bom in Ireland, 1752, and came to America in 1761. He entered the U. S. Army when the revolution broke out, accepted a commission and rendered distinguished services at the battles of Long Island and White Plains, and afterward acted as aid to General Clinton, remaining in the army until the close of the war. At the age of ninety-two he was elected President of the Cincinnati Society in place of the late General Morgan Lewis. At that time he was the only living officer of Washington's army which had been disbanded and dismissed without pay, or emolument of any kind, the army then lying in detachments in the vicinity of Fishkill, Newburgh, New Windsor and West Point, with headquarters at New Windsor. Gift of Mr. S. p. Avert, 1897. On panel, Hi H.; 9i W. LINGELBACH, Johannes. Dutch School. Bom at Frankfort-on-the-Main, 1623; died at Amsterdam, 1674. He went to Italy, but returned, and settled in Amsterdam, painting chiefly fairs, market-scenes, and battle-pieces. 62 SOBIESKI DEFEATING THE TURKS BEFORE VIENNA. Sobieski, John III, King of Poland, on September 21, 1683, brought twenty thousand Poles to the relief of Vienna and gained a celebrated victory over the Turks. In the immediate foreground of the picture there is a furious cavalry charge where the men and horses of the Turkish forces are being over- thrown and driven from the field by the Polish troops, who following up their success have already gained the rear of the Turkish infantry near the crest of a small hill where they are engaged. Upon another hill beyond, the old round fort floats its banner high up amid the smoke of battle drifting to the cumulous clouds above. The arched bridge leading to the city is crowded with the con- tending soldiers, and reserves are seen coming up the hill at the left in support of the successful Polish troops. Purchased by the Museum, 1871. Signed and dated, 167-. On canvas, 44 H. ; C3 W. I 107 74 DANCE OF PEASANTS- Merry-making peasants fill the foreground of the picture. In the middle of the group one man is amusing himself and others by dancing to the music of a bagpipe. An old house with rickety looking stairs is at the left and the trunk of a large tree with sUght foliage against a bright sky is in the center of the canvas. Purchased by the Museum, 1871. Signed and dated, 165-. On canvas, 26 H. ; 28i W. LOOP, Henry A. American School. Born at Hillsdale, N. Y., 1831 ; died at Lake George, 1895. Came to New York in 1850. Studied with Henry Peters Gray one year. In 1856 he went to Paris and entered the atelier of Couture, subsequently visiting Rome, Venice, and Florence. He went abroad again in 1867, visiting the Continental art cities and remaining about eighteen months. He was elected N.A. in 1861. 208 LOVE'S CROWN. Clad in loose, flowing white drapery, with her hands folded about her up-raised knee, and with one foot in a pool of water, a female figure is being crowned with a flowery wreath by a nude child who stands on the bank by her side. Light fleecy clouds, distant hills, and a lake form the background of the picture. Gift of Mrs. Henry A. Loop, 1898. Signed. On canvas, 28 H. ; 18^ W. LORME, Anton de, and ter Borch, Gerard. Dutch School. Anton de Lorme flourished at Rotterdam about 1640. Was living in 1660. A painter of the interior of Dutch churches. His works are rare, and monotonous in tone, but his perspective and his light and shade are excellent. His best works have figures by Terburg (ter Borch) and other artists. 80 INTERIOR OF A PROTESTANT CHURCH. A church with plain Gothic arches, tall columns, and windows which flood the place with a warm silvery light is filled with a large congregation who are listening to a sermon from a preacher whose pulpit stands near the center. Most of them are dressed in warm brown clothing and the men wear their old Dutch broad-brimmed hats. An hour-glass stands on the pulpit in front of the preacher. Purchased by the Museum, 1871. On canvas, 25i H.; 29 W. LOW, Will H. American School. Bom at Albany, N. Y., in 1853. Figure and genre painter. Pupil of G^r6me and Carolus Duran, in Paris, in 1873-77. Member of the National Academy of Design. 108 140 AURORA. Standing in transparent drapery with both hands raised to the right shoulder, a female figure with auburn hair is looking down into the basin of a fountain. Some shrubbery and a bit of sky form the background. Gift of Mr. Wm. T. Evans, 1895. Signed and dated, 1894. On canvas, 51 H. ; 32^ W. LUCY, Charles. English School Bom at Hereford, 1814; died at London, 1873. History painter. He studied at the Beaux-Arts and also under Paul Delaroche; afterwards he became a pupil of the Royal Academy, London. His works are important on account of their subject and the scale on which they are painted, rather than for their originality. Many of his pictures have been engraved. 167 LORD NELSON IN THE CABIN OF THE "VICTORY.'' In the full dress of an English Admiral, he is seated in a chair in front of his desk in an attitude of deep thought, his bowed head resting upon his closed left hand with the empty right sleeve folded across his breast. Before him on the desk are an open book and a letter which he has just written, dated Oct. 21st, 1805; other books, a telescope and his chapeau are there also, and hia unsheathed sword leans against a locker at the left. An oriental rug is upon the floor. The light enters the cabin from a slanting window through which are seen bits of sky. Gift of Mr. J. PiERPONT Morgan, 1900. Signed and dated, 1858. On canvas. 79 H. ; 60 W. LUMINAIS, Evariste Vital. French School Bom at Nantes, 1821; died, Paris, 1896. Pupil of Cogniet and Troyon. Medals: third class, 1852, 1855, 1857, 1861; Legion of Honor, 1869. M ACLAREN, Walter. English School 640 CAPRI LIFE; THE EMBROIDERERS. A group of women embroidering are seated between two large columns; another woman stands at the right holding a nude babe in her arms. The green hiUs and a soft gray sky are beyond. Gift of Mr. George Hayward, 1876. Signed. On canvas, 21 H.; 32 W. MADRAZO, Raymundo de. French School Bom at Rome, 1841. Son and pupil of Federico (who was painter to the Court of Spain), and student in Paris at the £cole des Beaux- Arts, and later of L^on Cogniet. Medals: first class, 1878, 1889, Exposition Universelle. Legion of Honor, 1878; Officer, 1889. Gold Medals, 1889. Visited America in 1896, and is at present in this country. An art collector of rare j udgment. Brother- in-law of Fortuny. 624 THE WRECKERS. Lent by Mr. George H. Story. On canvas. 71iH.: 109i W. 471 GIRLS AT A WINDOW. Purchased in Paris. On canvas. 28 H.; 23 W. MAES, Nicolaes. Dutch School. Born at Dordrecht, 1632; died at Amsterdam, 1693. Pupil of Rem- brandt, and distinguished from most of the Dutch genre painters by his richer coloring. In the latter years of his life he seems to have become chiefly a por- trait painter. The Amsterdam Gallery has twelve, the National Gallery five, and the Berlin Gallery, the Uffizi, and the Van der Hoop Collection have each one of his pictures, but most of them are in private collections. Smith mentions only forty-five of his works in all. 9 PORTRAIT OF THE DUCHESSE DE MAZARIN. Standing, three-quarters length, face and figure three-quarters to the right of the spectator, wearing a white satin decollete gown richly embroidered with gold. A red mantle draped over her raised left arm falls loosely around the figure; the folds of her dress skirt are clasped by the right hand at hsr side. Surmounting her abundant brown hair is a rich turban-shaped head-dress of red and white feathers. The background is sombre with a bit of sky. Piirchased by the Museum. 1871. On canvas. 48 H. ; 34 W. MAGRATH, William. American School. Born in Ireland, 1838. Associate National Academy of Design, 1874. Elected N.A.D. in 1876. Member Society of Painters in Water Colors. 628 ON THE OLD SOD. (IRISH FARMER IN CONTEM- PLATION.) Paddy with both hands folded behind his back and his face turned in pro- file to the left, is standing contentedly on a green hillside. A short clay pipe is in his mouth, a stick under his arm; a high felt hat adorns his head, and heavy brogans his feet, from which blue stockings rise to his short gray breeches which button at the knee. A group of trees are in the middle dis- tance where sheep are grazing and a flock of geese are waddling about on the side of the hill. On the distant fields at the left is a white thatched cabin. The sky is light, luminous, and cloudy. Gift of Mr. Wiluam Carr, 1887. Signed. On canvas. 37 J H. ; 27i W. MAIGNAN, Albert. French School. Bom at Beaumont, France, 1845. Pupil of Luminals. Medal, third class, 1874; second class, 1876; first class, 1879. Legion of Honor, 1883. Gold medal, 1889 {Exposition Universelle). Grand Medal of Honor, 1892. Officer, Legion of Honor, 1895. 545 L' ATTENTAT D'ANAGNI. Boniface VIII, a native of Anagni, was elected Pope in 1294. Philip the Fair, of France, resisted his authority in spiritual matters, and, aided by Italian enemies of the Pope, compelled him to take refuge in his native town. Hither he was pursued by Sciarra Colonna, at that time head of the most cele- brated and powerful of the Roman aristocratic families. The picture repre- sents the moment when Boniface says to his assailants, Here is my neck ; here is my head; strike! but I will die Pope." Boniface was thrown into prison, and though liberated by the people of Anagni, died within a month. Gift of Messrs. Wallis & Son, London. 1883. Signed and dated. 1877. On canvas, 114 H.; 783 W. 110 STBanet, Sdouat?. cJ^oy with a Swoid. MAKART, Hans. Austrian School. Bom at Salzburg, 1840; died at Vienna, 1884. Pupil in 1858, of Vienna Academy, under Ruben, and in 1861-65 at the Academy in Munich, under Piloty. Visited London and Paris in 1863, Italy in 1866, 1868, 1869, Vienna, 1868, 1869; in 1869 settled in Vienna at the invitation of Emperor Francis Joseph, who in 1876 conferred on him the title of professor. The winter of 1875-76 he spent in Egypt, then visited Antwerp, and in 1877, Spain. Pro- fessor at Vienna Academy from 1879; Honorary Member of Vienna, Berlin, and Munich Academies. Gold Medals in Vienna, 1857, 1882; Medal of Honor, Paris, and Legion of Honor, 1878; Officer, 1884. In August, 1884, he became insane. 473 THE DREAM AFTER THE BALL. After anight at the ball a young girl in deshabille sits with bowed head and folded hands, dreaming of her future. By her side among the rich dra- peries are two loves playing with hearts. Painted to order, 1882. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 60 H. r37|W. 663 DIANA'S HUNTING PARTY. Diana with her hunting party has just emerged from a dense primeval forest bordering a lake. She stands in flowing crimson drapery with a dart poised in her right hand ready to hurl at a fleeing stag who has plunged into the water. By her side is a nymph in the act of drawing a bow, and at her right crowding the bank are five others in hot pursuit of the game, one of whom is holding by a leash two straining hounds. In the immediate fore- ground are a group of bathers who have been surprised and startled by the incident; one has caught the stag by its horns, another with uplifted hands pleads for its life, and a swan at the left with outspread wings and violent action resents the intrusion of the hounds. Gift of Mrs. Ellen Josephine Banker, 1888. Signed. On canvas, 168 H. ; 372 W. MANET, Edouard. French School. Born at Paris, 1832; died there, April 30, 1883. Genre painter. Pupil of Couture, with whom he studied six years. He was the founder of the school of Impressionistes." His pictures were several times rejected at the Salon. But later he was better understood and received. Medals, second class, 1881. Legion of Honor, 1882. 663 BOY WITH A SWORD. A boy habited in a dull black suit wearing a broad white linen collar and |. blue stockings stands at full length life-size in the center of the picture and ^ holds with both hands a heavy sword whose broad leather strap depends below the knees. His dull, heavy eyes look directly at the spectator. The background is dark gray, and warm in tone. Gift of Mr. Erwin Davis, 1889. Signed and dated, 1860. On canvaa. 50 H. ; 35 W. 661 GIRL WITH A PARROT. Full-length, standing, life-size, with the face turned slightly to the left of t-/^ the spectator and the figure to the right. The eyes are looking directly for- ward ; she holds a bunch of violets in her raised right hand, and the left toys lU with the string attached to a monocle. Her loose fitting gown in light and creamy-gray in color shades to violet in the shado\\s. A large parrot is on a stand by her side and below is a clever piece of still-life in a cut lemon. The background is cool gray shading to light at the bottom of the canvas. Gift of Mr. Erwin Davis, 1889. Signed. On canvas, 83 H. ; 61 W. MANNOZZI(?), Giovanni. Florentine School Bom at San Giovanni in 1590; died at Florence, 1636. Sometimes called Giovanni da San Giovanni. Pupil of Matteo Rosselli, whose finished style was not suited to the capricious imagination and facile execution of his pupil. Though he often fell into extravagance, Mannozzi was capable of serious work. Works: "Portrait of a Cook," ''Reunion of Huntsmen," ''Madonna," Pitti, Florence; "Venus and Cupid," "Marriage of St. Cath- erine," "Jesus Served by Angels," "Madonna," Uffizi, Florence. 19 VENUS AND CUPID. Venus slightly draped is seated with Cupid standing before her with out- stretched arms; a dull reddish gray drapery and bit of sky form the back- ground. Gift of Mr. Cornelius Vanderbilt, 1880. On plaster, 13 H. ; 25^ W. 23 MARY MAGDALEN. The nude figure with light drapery across the loins is seated in an open landscape at the entrance to a cave with both hands folded across her breast, the head is turned over her right shoulder to a crucifix and on the ground at her side is a skull. Gift of Mr. CoRNELitrs Vanderbilt, 1880. On plaster, 14 H. ; 19 W. MAR ATT A, Carlo. Roman School. Born at Camerano, 1625; died at Rome, 1713. (Called also Carluccio dalle Madonne, from the large number of Madonna pictures that he painted.) Was an imitator of Raphael, and for nearly half a century the most eminent painter in Rome. The portrait of a Pope or Cardinal should have come kindly to him, for he was in the service of several Popes, and was appointed Superin- tendent of the Vatican Chambers by Innocent XI. Clement XI entrusted to him the complete restoration of the frescos of Raphael, and gave him the insignia of the " Order of Christ" for his labor upon them. He was President of the Academy of St. Luke at the time of his death. 90 PORTRAIT OF CLEMENT IX. Seated with face and figure three quarters to the left of the spectator, clad in pontifical robes and cap. His right hand is raised and rests firmly upon a closed book; he has iron gray hair, slight mustache and a goatee. Gift of Mr. Archer M. Huntington. 1894. On canvas, 36i H. ; 29i W. MARCHAL, Charles Francois. French School. Born at Paris, 1825; died there, 1877. Genre painter, pupil of Drolling and Dubois. Improved and prospered until 1876, when he lost his eyesight, and in despair committed suicide. Medals: 1864, 1866, and 1873. 112 365 EVENING IN ALSACE. A tired old man is sitting on a machine drawn by a yoke of oxen over a ploughed field. The group is relieved against a bright evening sky in whicli the new moon and the evening star appear. Purchased from the Artist. Salon, 1873. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1873. On canvas, 36 H. ; 57 W. 457 MORNING IN ALSACE. A man and a heavy yoke of oxen with which he is ploughing a field are relieved against a bright morning sky. Black birds hover about the newly turned furrow. Purchased from the Artist. Salon, 1873. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed, 1873. On canvas. 36 H.; 57 W. MARCKE, Emile van, French School. Bom at Sevres, 1827; died suddenly at Hyeres, 1890. The most dis- tinguished pupil of Troyon, whose attention he attracted while employed in the porcelain works as a decorator, and through whose influence he began the study of nature, and subsequently abandoned the pottery at Sevres for a studio in Paris. The influence of Troyon is evident in all of Van Marcke's earlier works. But he was a consummate draughtsman, and soon developed a style of his own, displaying marked ability and freedom in composition, individuality of touch, and a quality of color differing from that of his mas- ter. His works sparkle with sunlight, and beneath the showery skies there is a freshness of verdure replete with the charm of midsummer days. Medals : 1867, 1869, 1870. Legion of Honor, 1872. First class medal, 1878. 435 THE MILL. A broad breezy landscape with an old mill at the left and a group of trees at the right. A white cow stands prominently in the foreground and two otiier cows lie on the luxuriant green meadow-grass by her side; a bull is at the left, and a dun-colored cow is drinking from a brook at the right. Painted to order, 1875. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1875. On canvas, 59 H. ; 78 W. 592 A FARM SCENE, WITH CATTLE. Lent by Mrs. L. V. Bright. On canvas, 35i H. ; 51f W. M ARECHAL, Charles Laurent. French School Bom at Metz, 1801. Died, 1887. Pupil of Regnault. Usually painted in water color or on porcelain and glass. Medals: Third Class, 1840; Sec- ond Class, 1841; First Class, 1826, 1842, and 1855; Legion of Honor, 1846. Officer, 1855. 614 GALILEO IN VELLETRI. Lent by Mrs. J. W. Botle. Signed and dated, 1853. Pastel. 50 H.; 80 W. lis MARIS, Jacob. Dutch School Bom at The Hague, August 25, 1838; died, 1899. Pupil of Van Hove Strobel and of the Antwerp Academy. Medals at Amsterdam, Paris, and Munich. Knight of the Orders of the Dutch Lion and St. Michael of Bavaria. 346 CANAL IN HOLLAND. A canal in the center of the picture is spanned by a rustic bridge beneath which a boat is passing. An old woman carrying pails of milk is walking on the footpath to the village where cottages are clustered on either side of the canal. Light luminous clouds fill the sky. Purchased from the income of the Catharine LorUlard Wolfe Endowment Fund for her collection, 1895. Signed. Water Color, 18 H.; 14J W. MARIS, Matthys. Dutch School yBom at The Hague in 1835. Genre painter, pupil of The Hague and Antwerp Academies, where he was specially attracted by Leys; returned to The Hague, went to Paris in 1869, and, influenced by Hamon, completely changed his style, which found favor in England, in the private galleries of which most of his pictures, bought at high prices, are to be found. 527 REVERIE. In a low-toned, olive-colored dress, a young girl with abundant blonde hair streaming down over her shoulders, is seated with a distaff on her lap. Her figure and face are turned towards a cat on the floor at her right. Bequeathed by Mr8. Elizabeth U. Cole8, 1892. On canvas, 12 H.; 9i W. MARNE, Jean Louis de (called De Marnette). French School Born at Brussels, 1744; died, Batignolles, Paris, 1829. Pupil of Gabriel Briard. His love for the old Dutch masters is made evident in his own works, where may be seen reflected many of their fine qualities of color and exquisite technique. Works: "Road with Diligence," "Fair at the Door of an Inn," " Starting for a Wedding in a Village," Louvre; " Halt of Travelers," Bordeaux Museum. His pictures are seen in all of the larger Galleries. 42 A GUST OF WIND. On the border of a brook which winds down through the center of the picture stands a large tree with its branches waving in the wind, and at its base is a small field of golden grain. Close by, the white cover of a wagon is flap- ping in the breeze and around a small chapel in the winding roadway sheep and cattle wend their homeward way. The sky is blue with gathering storm- clouds rising over the hills. Purchased by the Museum, 1871. On canvas, 14i H.; 17^ W. MARR, Carl. Munich School Born at Milwaukee, 1858. Now at Munich. Pupil of Dietz. 135 THE MYSTERY OF LIFE. An old man tired of life, having courted death in every form without avail, discovers the lifeless form of a beautiful young girl on the shore, and cries in the agony and pity of his heart to his Maker to know why one so ^oung and beautiful should be lost, and he, worn, weary, and bad, allowed to live. Gift of Mr. Gaoaas I. SsNBr, 1887. Signed. On canvas, H. ; 94J W. lU 533 GOSSIP. In a room with a long low window curtained with gauzy white are two peasant girls spinning. They wear white aprons, shoulder capes and white caps. The one at the right has on a black dress; the other, a blue one. A kitten is playing upon the floor and potted plants are on the window sill be- neath which is a table spread with a white cloth and set for lunch. The picture is silvery gray in tone. Gift of Mr. George I. Seney, 1887. Signed and dated, 1884. On canvas. 41 H. ; 65i W. MARTIN, Homer D. American School Bom at Albany, N. Y., 1836 ; died, 1897. Pupil of William Hart. Land- scape painter. Elected A.N.A., 1868, and N.A., 1875. Member of the Society of American Artists. 143 VIEW ON THE SEINE. The limpid water of the Seine reflects a group of tall slim trees which are on its right bank; and at the left is a rocky embankment and sandy shore which lead off to a distant town. The sky is blue, streaked with light clouds. Gift of Several Gentlemen, 1897. Signed and dated, 1895. On canvas, 28i H. ; 40 W. 549 MADISON AND JEFFERSON. Two snow-capped mountains rising into a cold cloudy sky. From Ran- dolph Hill, White Mountains. Gift of Mr. William T. Evans, 1891. On canvaa. 30 H.; 40 W. 327 SAND DUNES {Lake Ontario). Lent by Mr. Georoe A. Hearn. On canvas, 36 H.; 59 W. MASACCIO, Tommaso Guidi. (School of.) Florentine School. Born at Castel San Giovanni, 1401 ; died at Rome about 1428 or '29. He is supposed to have been the pupil of Masolino da Panicale, at Flor- ence, and to have assisted that master in his works. He went to Rome, where he died in about his 27th year. 256 A MAN AND A WOMAN AT A CASEMENT. The woman is in the corner of a room before a window, at which the face of a man is seen looking in ; her dress consists of a crimson velvet bodice with brown sleeves, and a quaint headdress of crimson stuffs; her hands are clasped before her body; both faces are in profile. The coat-of-arms is that of Porti- nari, founder of the Hospital at Florence. Purchased in Florence about 1829 by Thomas J. Sanford, who bequeathed his fine collection of Italian pictures to Lord Methuen. Purchased in 1883 from Lord Methuen. Gift of Mr. Henry G. Marquand, 1888. On panel. 24f H. ; 16^ W. MAUVE, Anton. Dutch School Bom at Zaandam, Holland, 1838; died at Amhem, 1888. Pupil of Pieter Frederick Van Os. Was a member of the Dutch Society of Arts and Sciences and the Socicte des Aquarellisies Beiges, and a Knight of the Order of Leopold. He received medals at Philadelphia, Amsterdam, Vienna, Ant- werp, and Paris. His works are in the Museum at Amsterdam and The Hague, and in many of the leading private collections of modem pictures. 115 588 SPRING. A shepherd and his dog stand in the foreground facing a flock of sheep who are feeding down the meadow. There are some small trees at the right which extend down the field to a distant grove which breaks the horizon line. The sky is filled with gray clouds charged with rain. Gift of Mb. George I. Senet, 1887. Signed. On canvas, 22 H. ; 35 W. 543 AUTUMN. A large flock of sheep moving slowly over a heavy road on their way to the fold are followed by a faithful dog and a good shepherd who is carrying a lamb under his arm. The tints of autumn are on every side, and a cool gray cloudy evening sky is above. Giftjof Mr. George I. Seney, 1887. Signed. On canvas, 25^ H.; 37 W. k ^ 669 DRIVING COWS TO PASTURE. Lent by the Misses Stokes. Water color, 6 H. ; 12 W. MAX, Gabriel. Austrian School Bom at Prague, 1840. Pupil of his father, the sculptor Joseph Max, and of Piloty. First exhibited in 1867. Gold Medals at Berlin, Vienna, Munich, Sydney, etc. Honorary Member of the Munich, Prague, Amsterdam, and other academies. Chevalier of the Bavarian Order of St. Michael, of Maxi- milian's Order for Arts and Sciences, and of the Spanish Order of Carlos III. 394 THE LAST TOKEN— A CHRISTIAN MARTYR. Clad in a white dress with a black mantle wrapt about her head and shoulders, the Christian martyr stands in the arena with one hand raised, touching the high wall which makes secure the throng above. Her colorless face gives no sign of fear as it looks up in recognition of "The Last Token," a rose dropped from the hand of a faithful friend. A fierce leopard creeps through the wall beneath the raised iron grating at her left, and a hyena and leopard tumble about on the ground at the right of the victim. Purchased at Munich. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas. 66 H. ; 46 W. MAY, Edward Harrison. American School. Bom in England, 1824; died at Paris, 1887. Taken to America when a child; pupil of Daniel Huntington in New York, and of Couture in Paris in 1851. Elected A.N. A. in 1876, but rarely exhibited in New York. His pro- fessional life was spent chiefly in Europe. Medal, third class, Paris, 1855. 102 MARY MAGDALEN. Lying at full length upon the ground, with her right arm outstretched over a rough stone, Magdalen pillows her head upon the mass of golden hair which falls loosely over her bare shoulders to the ground. The left arm lies nervelessly with upturned palm before her, and the agony of despair is in her face. Three crosses relieved against a blood-stained sky at the distant horizon tell the sad story. Gift of the artist's sister, Miss Caroline May, 1884. Signed. On canvas, 46 H.; 76 W. 116 564 THE BRIGAND. An Italian brigand, life-size, three-quarters length, stands with his left hand raised to his ear as if listening for a signal. With his right hand he grasps a rifle. A pistol is thrust in his belt and a haversack hangs at his side. He wears a blue coat, scarlet waistcoat, and buff trousers. Gift of Several Gentlemen, 1887. Signed. On canvas, 51 H. ; 38 W. MAYNARD, George W. American School. Bom at Washington, D. C, 1843. Pupil of Royal Academy, Antwerp, painted on the Continent in 1874, and again in 1877-1878. Elected A.N.A., 1882; N.A., 1885. Studio in New York. 161 IN STRANGE SEAS. A broad, open, sunny sea with curling waves where sporting mermaids are at play, one of whom on the crest of a wave is pointing to a distant ship. Gift of Mr. Wm. F. Havemeyer, 1901. Signed and dated. 1889. On canvas. 36 H.; 50 W. MEISSONIER, Jean Louis Ernest. French School. Bom at Lyons, France, February 21, 1815; died at Paris, 1891. He went to Paris when quite young, and was, for a time, a pupil of L6on Cogniet. First exhibited at the Salon in 1836. His picture, "La Rixe" (1855), was purchased by Napoleon III, and presented to the late Prince Albert, of Eng- land. 1846, Chevalier Legion of Honor; 1855, Officer; 1867, Commander; 1880, Grand Officer; 1889, "Grand-Croix"; 1861, Member of the Institute of France; 1876 and 1891, President of the Institute; 1878, Vice-President Intemational Jury, Exposition Universelle; 1883, President Section of Paint- ings, National Exposition, Beaux- Arts; 1889, President International Jury of the Fine Arts, Exposition Universelle; Member of the Academy of Lyons. Medals, 1840, third class; 1841, second class; 1843, first class; 1848, first class; 1855, Grand Medal of Honor, Exposition Universelle; 1867, Grand Medal of Honor, voted by the International jury. Exposition Universelle; 1878, "Rappel" of Medal of Honor, Exposition Universelle; 1883, "Rappei" of Medal of Honor, National Exposition; 1889, " Rappei " of Grand Medal of Honor, Exposition Universelle; 1848, Captain of Artillery, National Guard; 1870-71 (Siege of Paris), Lieutenant-Colonel of Infantry, National Guard, Staff. Grand Officer, Order of Leopold of Belgium; Commander of the Orders of: Saints Maurice and Lazare, of Italy; Francis Joseph, of Austria; North Star, of Sweden; Medjidieh, of Turkey; Order of the Golden Lion (Nassau). Member of the Royal Academies of: Beaux-Arts, Munich, 1867; Beaux-Arts^ Brussels, 1869; London, 1869; Beaux-Arts, San Fernando, Madrid, 1872; Accademia di San Luca, Rome, 1875; Beaux-Arts, Venice, 1879, "Membre d'Honneur'^ ; of the French University, Boston, 1886; of the Royal Academy, Accademia Albertina of Turin, and "President d'Honneur" of the Kunst- club of Rotterdam, 1888; Vice-President of the International Jury, Exposition Universelle, Vienna, Austria, 1873; President of the Intemational Jury, Exposition Universelle, Antwerp, 1885; Expositions Universelles, Austria, "Rappei" of Medal of Honor, 1873, and Belgium, 1885. 117 360 THE SIGN PAINTER. In the court-yard of an inn, the painter and his patron stand side by side before an easel upon which is the portrait of a man holding a glass of wine. Purchased in Paris, 1872. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1872. Water Color, 9 H.; 7 W. 638 "FRIEDLAND, 1807." Extract from the Artist's Letter to Mr. A. T. Stewart. " I did not intend to paint a battle — I wanted to paint Napoleon at the zenith of his glory; I wanted to paint the love, the adoration of the soldiers for the great Captain in whom they had faith, and for whom they were ready to die. " I previously had represented, in the picture ' 1814,' the heartrending end of the Imperial Dream — those men only recently intoxicated with glory, now shown exhausted, and no longer believing in their invincible chief. My palette then did not have colors sad enough for the purpose; but to-day, in 'Friedland, 1807,' wishing everything to appear brilliant at this triumphant moment, it seemed to me I was vmable to find colors sufficiently dazzling. No shade should be upon the Imperial face, to take from him the epic character I wished to give him. The battle, already commenced, was necessary to add to the enthusiasm of the soldiers, and make the subject stand forth, but not to diminish it by saddening details. All such shadows I avoided, and presented nothing but a dismounted cannon, and some growing wheat which would never ripen. " This was enough. " The men and the Emperor are in the presence of each other. The soldiers cry to him that they are his, and the impressive Chief, whose Imperial will directs the masses that move around, salutes his devoted army. He and they plainly comprehend each other, and absolute confidence is expressed in every face. " Such was the idea as it leaped from my brain the first instant when I em- bodied the picture in thought; and which, in spite of the long time I have taken to put it on canvas, has always remained with me so clear and plain that I have never in any manner modified it." "Friedland, 1807" was sold at auction at the sale of the Stewart Collec- tion, March 25, 1887, and purchased by Judge Henry Hilton for $66,000, and by him given to the Museum in 1887. Napoleon mounted on his famous white horse and surrounded by his generals and aides is upon a slight eminence in the center of the picture. In wild enthusiasm the Cuirassiers are charging before him through a field of unripe wheat, every soldier rising in his stirrups and shouting ''Vive I'Em- pereur" as he raises his sword flashing in the light of a midday sun. The bat- tle rages in the distance and above is a clear blue sky with light floating clouds. Signed and dated, 1875. On canvas, 52i H. ; 95i W. 353 THE BROTHERS ADRIEN AND WILLIAM VAN DE VELDE. From the Laurent-Richard collection, Paris, 1878. The Van de Velde brothers, dressed in gray doublets and white shirts with full sleeves, are in the studio looking at a picture which is on an easel before them. The one wearing a bright red cloak over his shoulders is sitting bent forward looking intently at the picture, his right foot is on a bar of the easel; his right arm is resting across his knee; and in his left hand he holds a large straw hat. The other stands with his figure thrown back and the head to one side. His right hand is raised to his breast and in his left he holds his palette and brushes. Behind this group, on the top of a large old oak cabinet 118 »rc a steel helmet, a mandolin and other objects of art. Sketches and tap- estry are on the walls, and an open folio of drawings lies on the floor at the left. Bequeathed by Miss Catharine Lorillard Wolfb, 1887. Signed and dated. 1856. On wood. 10 H. ; 8 W. 374 A GENERAL AND ADJUTANT (SHORES OF ANTIBES). From the collection of the late Baron Strousberg, Berlin, 1873, Over a dry sunburnt road that borders the harbor of Antibes are two officers apparently in motion, one mounted on a gray, the other on a hay horse. There are some low buildings at the left, but there is no sign of life other than that seen in the moving figures. The outlying forts and low hills in the distance rise into an almost cloudless sky. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1869. On wood, 8 H.; 10 W. 488 MAN READING. A man habited in black is sitting in a large armchair with his right foot across the left knee. He is reading from an open book which he holds in both hands. A low latticed window is at his left from which the light enters the room crossing the figure wliif^ h is turned slightly towards the window. A dark, warm brown tone pervadejs the room. Bequeathed by Mrs. Elizabeth U. Coles, 1892. Signed and dated, 1850. On panel. 8f H. ; 6 W. MERLE, Hugues. French School Bom at St. Marcellin (Isere), March 1, 1823; died at Paris, March 26, 1881. Genre painter. Pupil of L, Cogniet. His pictures are carefully drawn, cool and gray in color, and often dramatically treated. Medals: 1861, 1863. Legion of Honor, 1866. 447 FALLING LEAVES. Autumn is represented by a female figure, life-size, full-length, standing in a wood with her face turned over her left shoulder and the eyes looking upward. Covering the figure and claj^ped in the folded hands resting upon her breast is a diaphanous mantle of black striped with gold. The autumn leaves shimmer in the sunlit air ils they fall from the trees about her, and a figure of Love is stealing awav into the shadowy grove. Purchased by Miss Wolfe's father, 1872. Bequeathed by Miss Catharine Losa^LARD Wolfe, 1887. Signed and dated, 1872. On canvas, 68 H.: 40 W. 677 THE OLD MAN'S STORY. Lent by Mr. George A. Adee. On canvas, 37^ H.; 49i W. 486 ITALY, PAST AND PRESENT. Lent by Mrs. Israel Corse. On canvas, 29 H. ; 36 W. 485 THE SPINNER. A French peasant girl is seated by a spinning-wheel with her left hand resting lightly over the wheel; with the right hand she holds a distaff. The figure is turned slightly to tlie right of the spectator; the face squarely to the front. Her long black hair falls about her shoulders, and her dark full eyes look intently out of the picture. An old bronze lamp is suspended from the light gray wall which forms the background. Three-quarter length, life-size. Bequeathed by Mrs. Elizabeth U. Coles, 1892. Signed and dated, 1874. On canvas, 50* H. ; 34* W. 119 MESDAG, Hendrik Willem. Dutch School Bom at Groningen in 1831. Pupil of Alma-Tadema; resides at The Hague. Medals, Paris, 1870; third class, 1878. 676 THE LONE SEA. Lent by the Artist. On canvas, 70 H. ; 55 W. MESGRINY, Frank de. French School. Bom at Paris 1836: died 1884. Pupil of Worms and Lalanne. 406 RIVER SCENE. Bordering the river in the middle distance are a row of trees and a shed where washerwomen are at work. The sky is filled with light fleecy clouds. Painted to order. Bequeathed by Misa Catharine Lorillard Wolfe, 1887. Signed. On canvas, 14 H.; 22 W. METSU, Gabriel. Dutch School. Born at Leyden, towards 1630 ; died at Amsterdam, 1667. The gentleman- ly portrait of this artist, now in the Queen of England's collection, represents him to have been a man of a naturally delicate frame and of a sensitive mind; he imquestionably formed his style from the study of works by such distinguished men as Gerard Dou, Frans Van Mieris, Terburg, and Jan Steen, who were all superior to him in invention and the dehneation of character; but Metsu obtained a grace of expression and an elegance in demeanor which left him without a rival in the old Dutch School. 273 THE MUSIC LESSON. Seated near the center of a room is a lady in a golden brown dress, with her face upturned to a man who is standing behind her to whom she is showing a sheet of music which she holds in her right hand, her left hand rests upon a guitar which lies upon a red tapestry-covered table by her side. At the lady's left is a man playing a violoncello, and behind this group is an open case- mented window, and a door through which a servant approaches with refresh- ments. In the foreground at the left is an open case, and sheets of music are on the floor, and at the right is the cloak and trappings of a cavalier. From the Perkins Collection. Gift of Mr. Hbnrt G. Mabquand. 1890. Signed and dated, 1659. 130 On canvas, 24 H.; 21 W. i~)luei^donici, ^can Jjoutd , 34 W. RICHARDS, William Trost. Amencan School Bom at Philadelphia, Pa., 1833. Landscape and marine painter; pupil of Paul Weber. In 1855 visited Florence; in 1866-67, France and Germany; and in 1878-79-80, London and the coast of England. Exhibited at the Royal Academy, London, in 1869 and 1878-81 ; Paris Salon, 1873. Honorary Member of National Academy. Medals: Philadelphia, 1876; (Temple) 1885. 339 A ROCKY COAST. Masses of dark rocks are piled up on the foreground at the left; and at the right, the surf beats against tne cliff sending the spray over its jagged surface. The sky is murky with rainclouds broken by a gleam of light at the horizon. Bequeathed by Miss Catharine Lorillard Wolfe. 1887. Signed and dated. 1877. Water Color. 22 K. ; 36 W. RICHTER, Gustav Karl Ludwig. German School Bom at Berlin, 1823; died there, 1884. Pupil of Berlin Academy under Eduard Holbein, and in Paris (1844-46) of Cogniet; studied in Rome in 1847- 49; visited afterwards France and Italy repeatedly, Egypt in 1861, and Crimea in 1873. Member of, and professor in, Berlin Academy; honorary member of Munich and Vienna Academies. Medals: Berlin, Paris (1855, 1857, 1859), Brussels, Vienna (1873), Philadelphia (1876), Munich (1883); 664 VICTORY. The figure of Victory with pink win^s, a breastplate of gilt armor, and accompanied by the angel of peace bearing a palm, is trumpeting the glad news to the world. Below are two loves, one upholding a shield filled with laurel leaves, the other holding a laurel wreath in his outstretched hands. The figures are life-size. Gift of Mr. Jacob H. Schiff. 1383. Signed. On canvas. 136 H. ; 63 W. 147 RICO, Martin. Spanish School. Bom at Madrid, Spain. Contemporary. Received his first instruction in drawing from a good-hearted cavalry captain who practised art as an ama- teur. Pupil of Federico de Madrazo ; then studied in Paris and in Rome. In 1862, he secured the first Prix de Rome ever given at Madrid for landscape, and, as the four years' pension involved by the prize may be used by the winner in either Rome or Paris, he chose the latter, and there Zamacois took him in hand; Meissonier and Daubigny gave him advice. Medals: Paris, third class, 1878; second class, 1889; Exposition Universelle. Legion of Honor, 1878. 393 CANAL OF VENICE. A canal bordered with marble buildings that rise out of the water on either side. At the left is a boat landing where a boy with his feet in the water is sitting on the steps which lead to the garden of a palace where there are trees, and a summer house decorated with marble figures. A bridge crosses the canal in the distance. The sky is clear blue and cloudless. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas. 19 H.; 26 W. 594 AN ITALIAN GARDEN. On a terrace in the center of the garden is a marble fountain relieved against green foliage and a tall tree which rises above the light buildings beyond. The sky is deep blue with light fleecy clouds. Bequeathed by Mr. Stephen Whitney Phcenix, 1881. On canvas, 23J H. ; 14i W. RIEFSTAHL, Wilhelm Ludwig Friedrich. German School Bom at NeustreHtz, Germany, 1827; died at Munich, 1888; pupil of Berlin Academy under F. W. Schirmer; professor at the Carlsruhe Art School in 1870-73, and director in 1875-77; settled in Munich, 1878. Member of, and professor in, Berlin Academy; honorary member, Munich Academy, 1881. Gold Medal, Berlin, 1864; Vienna, 1873. 398 A WEDDING PROCESSION IN THE BAVARIAN TYROL, The procession on its way from the church has reached the Hobz Kiel (Inn) with its swinging sign emblazoned with the double eagle of Austria: the balcony, where musicians are stationed to play the wedding march on the violin, zither and flute, is trimmed with Rose Marie, and a girl at the left with a Maas Krug and glasses well filled with wine awaits the approach of the bridal party to tender them refreshments and good wishes. Purchased in Berlin, 1866. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 27 H.; 43 W. 661 B A RELIGIOUS PROCESSION IN THE BAVARIAN TYROL. Lent by Mrs. Israel Corse. On canvas, 21 H. ; 42 W. RINALDI, of Rome. 15 THE RUINS OF PAESTUM. (Mosaic.) Lent by Dr. J. W. Alsop. 22 H.; 65iW. 148 ROBERT-FLEURY, Tony. French School. Bom at Paris, 1838. Pupil of Paul Delaroche and Cogniet. Medala: 1866, '67, '70; first class. Exposition UniverseUe, Paris, 1878. Medal of Honor, 1870. Medal, first class, Exposition Universelle, 1878. Legion of Honor, 1873. Officer, Legion of Honor, 1884. Gold Medal, 1889, Exposition Universelle. 462 A MUSICAL CARDINAL. The Cardinal absorbed in rendering the music which rests on a chair in front of him, is drawing the bow vigorously over the strings of a bass-viol. The figure in a scarlet robe is relieved against a gray tapestry background. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On panel. 21 H.; 17 W. ROBIE, Jean. Belgian School. Brussels, Belgium. Painter and author. Bom at Bmssels, 1821. Member of the Royal Academy of Belgium, and of the Commission in charge of the Royal Museums. Commander of the Order of Leopold. Chevalier Legion of Honor, and the Order of Francis Joseph, of Austria. In the Musee of Brussels are his "The Raisins," "Flowers, Fmits, and Accessories," "Sum- mer," and "The Buming of the Jungle — Tiger Hunt," all presented by the artist. 489 FLOWERS. A group of roses and pansies topped out with daisies and wild grasses lie on the border of pool of water where they are reflected among the petals which float on the surface. Bequeathed by Mrs. Elizabeth U. Coles. 1892. On panel. 23i H.; 18^ W. ROBINSON, Theodore. A mencan School. Bom at Irasburg, Vermont, 1854; died at New York, April 1, 1896. Pupil of Carolus Duran and J. L. G^rome, Paris. Webb Prize, Society of American Artists, 1890. Shaw Fund Prize, same society, 1892. Medal, World's Columbian Exposition, Chicago, 1893. Member of the Society of American Artists. 648 A WINTER LANDSCAPE. Lent by Mr. J. M. Lichtenauer. . On canvas, 18 H.; 22 W. ROMEYN, Willem. Dutch School. Born at Haarlem about 1624; died after 1693. Pupil of Berchem in 1642. Master of Haarlem Guild in 1646. A painter of landscapes with ani- mals, who imitated Du Jardin successfully. His love of nature was pure, his drawing good, and his composition picturesque. His works are in the Munich, Dresden, Berlin, and Amsterdam Galleries. 13 CATTLE IN REPOSE. A sombre picture with a group of cattle at the base of a small hill topped with a willow and other trees against a dull sky. Purchased by the Museum. 1871. On canvas, 13^ H.; 16 W. 149 ROUSSEAU, Pierre Etienne Theodore. BarUzon School. Bom at Paris, April 15, 1812; died at Barbizon, near Fontainebleau, December 22, 1867. Landscape painter; pupil of Remond (1826) and of Lethiere. Showed himself a true "naturalist" in his first picture (1826), and up to 1848 — when his works, after being for thirteen years excluded from the Salon by the Academical Jury, then abolished, were readmitted — fought the battle of naturalism with varying success, and founded the modern French school of landscape painting, of which he was one of the chief glories. Albert Wolfe said of Rousseau: "He occupied the highest place, because he was the most perfect master. The grand aspect of landscape and its tenderness are equally familiar to him. He renders with the same mastery the smile of creation and its terrors, the broad open plain and the mysterious forest; the limpid, sunbright sky or the heaping of the clouds put to flight by storms; the terrible aspect of landscape or those replete with grace. He has under- stood all, rendered all, with equal genius. The great contemporary painters have each a particular stamp, Corot painting the grace; Millet the hidden voice; Jules Dupre, the majestic strength. Theodore Rousseau has been by turns as much a poet as Corot, as melancholy as Millet, as awful as Dupre; he is the most complete, for he embraces landscape art absolutely." Medals: third class, 1834; first class, 1849, 1855; Medal of Honor, 1867. Legion of Honor, 1852. 337 EDGE OF THE WOODS. A small path leads up the side of a low hill which is surmounted b^ a group of large and sturdy oaks. Above is a brilliant blue sky flecked with white clouds. Purchased from the income of the Catharine Lorillard Wolfe Endowment Fund, for her collection, at the William Schaus sale, February 28, 1896. Signed at the left. On panel, 31 H.; 48 W. 417 LANDSCAPE. A woody landscape overlooking a plain; among |i group of trees at the left are two dwellings. The sky is pearly gray with light clouds. Purchased from the income of the Catharine Lorillard Wolfe Endowment Fund, for her collection, at the' Henry G. Marquand sale, 1903. Signed. On panel, 9i H. ; 12i W. 482 RIVER LANDSCAPE. A cluster of trees with a cottage nestling beneath borders the river; beyond, are meadow lands, a few trees, and a luminous sky with light clouds. Purchased in Paris, 1852. Bequeathed by Miss Catharine Lorillabd Wolfe, 1887. Signed. On canvas, 8 H.^ 10 W. RO YBET, Ferdinand Leon Victor. French School Paris. Bom at Uzes (Gard), France, 1840. Pupil of Vibert. Professor iJcole des Beaux-Arts, Lyons. Medal, 1866. Legion of Honor, 1892. Medal of Honor, Paris, 1893. Grand Medal, Munich, 1894. Medal of Honor, Berlin, 1895. 150 408 THE GAME OF CARDS. Three j^uardsmen in the ornate costume of the XVII century, two of ■whom are seated at a table covered with rich red tapestry, are playing at cards. The other, with his right hand resting upon a tall beaker of wine, stands behind the table watching the game. Painted to order. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 18 H. ; 22 W. RUBENS, Peter Paul. Flemish School. Bom at Siegen, June 28, 1577, baptized (the day after his birth) on the festival of Saints Peter and Paul (hence his Christian name), is the chief glory of the Flemish school, and one of the great masters of the world. This remarkable man, scholar, painter and diplomatist, was descended from two good families. His father, Jan Rubens, was an Alderman of Antwerp, and his mother, Maria Pypelinckx, belonged to a distinguished family of the same city. Rubens' talent for drawing early led him to decide upon paint- ing as a profession. He entered the school of Adam Van Noort, with whom he remained four years. An()ther four years was passed in the studio of Otto or Otho Vaenius, whose cultivation of mind and taste was of more advan- tage to Rubens than his instruction in painting. In 1598 he was admitted to the Guild of Painters in Antwerp; his father had died, and his mother had returned to that city. In 1600 he went to Venice and studied the works of Titian and Paul Veronese. For eight years Rubens was in the service of the Duke of Mantua. An excellent Latin scholar, he was also proficient in French, Italian, English, Clennan, and Dutch. These gifts pro- cured him diplomatic employment. In 1G03 he wa« sent on a mission to Spain. In 1608 news of his mother's illness readied him, and he hastened home, when he was appointed Court painter to the Archduke Albert, then Governor of the Netherlands. In 1622 he visited Paris at the invitation of Marie de' Medici (a sister of the Duchess of Mantua). In 1628 he was sent on a mission to Philip IV of Spain, and in the following year he was sent to Charles I of England. Here he was knighted, and wjis given an honorary degree by the University of Cambridge. Hut wherever he went, Rubens con- tinued to paint, and his diplomacy he considered as a mere recreation. "The painter Rubens," he is reported to have said of himself, "amuses himself with being ambassador." How hard he labored is known by the enonnous number of his works — between 2,000 and 3,000. In 1600 Rubens married his first wife, Isabella Brant, who died in 1626, leaving two sons, to whom Gevartius was tutor. It was in 1630 that he married Helena Fourment, who was at that time but sixteen years old. She bore him five children, survived him, and married again. Both his wives so often served him for models that their forms and faces are familiar to the world. He died May 30, 1640, and was buried in his private chapel in the Church of St. Jacques, at Antwerp, which is decorated with a magnificent work of his own. 48 RETURN OF THE HOLY FAXflLY FROM EGYPT. This admirable picture was painted for the Church of the Jesuits at Ant- werp prior to 1620, after Rubens' return from Italy, and before he had called in the aid of assistants. It was done immediately after finishing the famous 151 " Crucifixion " in the Cathedral of Antwerp, and before the execution of its com- panion picture, that other masterpiece, "The Descent from the Cross;" or, in other words, at the period when this prince of painters produced his greatest works. Grandeur of style and power of coloring are equally the characteristics of "The Return from Egypt." Reference is made to it in the catalogue of a sale, May 20, 1777, of the pictures taken from churches and convents of the Jesuits, at Antwerp, suppressed by the decree of the Emperor Joseph II: " Re- turn from Egypt. The Infant Jesus, the Holy Virgin, and St. Joseph. The Eternal Father is seen in the upper part of the picture, enveloped in clouds. Well grouped. Painted on wood. H., 7 ft. 9 in. ; B., 5 ft. 4 in." It was bought at this sale by the rich banker Dannoot, and is thus described in the catalogue of the Dannoot sale (page 27, No. 61), held at Brussels in 1829, when it was bought by Mr. Buchanan, one of the most skillful London experts: "The Return from Egypt. The Holy Virgin and St. Joseph hold by the hand the Redeemer of the World. The mother looks with solicitude on the Divine Infant. The Child raises His eyes to her, and seems to announce to her a happier destiny. The Father from heaven contemplates this scene with tenderness. An admirable picture, well composed, and painted with decision. It cannot be seen without exciting a sentiment of respect and devotion." It is also men- tioned in Smith's Catalogue, Vol. 2, page 21, No. 71. Smith's description is from Bolswert's engraving, where the engraver has introduced the Holy Spirit, and an aureole around the head of St. Joseph, which never existed in the original; and is described in the Life of P. P. Rubens, by I. F. Michel, Brussels, 1771 : At the end of the small nave at the right is another piece by the same master, representing the Virgin and St. Joseph leading the Infant Jesus by the hand. Although the composition is unpretentious, the feeling in the heads and the beauty of the flesh tints cause it to be much admired." It is also mentioned in all the other guide-books for amateurs in Belgium, etc., and in the "Histoire de P. P. Rubens," by Andrew Van Hasselt, page 248, No. 214, and in the Dictionary of Painters," by A. Siret, page 787, 2d edition. This picture was transferred from wood to canvas between 1879 and 1882 and was seriously injured at that time in an attempt at restoration. Purchased by the Museum, 1871. 98i H. ; 69 W. 226 SUSANNAH AND THE ELDERS. (School Copy.) On the left, in a crouching attitude, is the startled Susannah, about whose figure is draped a fur-trimmed mantle. On the right the two Elders; one in the act of stepping over a balustrade, the other reaching eagerly forward grasps the branch of a small tree, from which is suspended a black gown. A pet spaniel bounding up the steps sounds the note of alarm. Everjr object in the picture is finished with exquisite care, and the whole surface is glowing with color. There is no record of the provenance of this picture. Gift of Mr. Henry G. Marquand, 1890. On panel, 18i H. ; 25i W. 49 THE HOLY FAMILY. The Virgin is seated at the right dressed in a red robe, with an under-skirt of a deeper tone which is folded across her lap; from underneath, the white drapery falls to her feet. Her left arm is extended and rests gracefully on the folds of a dark green mantle which has been laid over the back of her seat. The Infant Christ standing upon His mother's knee, with one arm thrown about Her neck and the other extended downwards, turns His head in loving greeting to St. John. Behind the Mother and Child is St. Elizabeth, her right hand gently touching the Infant's arm, and above, at the right, St. Joseph contemplates the scene. At the left of the composition, St. Francis d'Assisi in the brown habit of the Franciscan order with his arms crossed over hi? breast, bends forward with an expression of rapt devotion. At his feet is tht 153 (Sambyded' Sunidlimcnt of an ^[hnjudt Lamb. Beyond, a background of glowing color, brilliant cumulus clouds streaked with crimson at the horizon, a tree with luxuriant foliage, a build- ing in the middle distance, and an architectural ruin in the foreground, complete the composition. Engraved by John Young in the "Miles Gallery," in 1822. Exhibited at BurUngton House, 1870. Described in Smith's Catalogue Raisonne, Vol. II, p. 221, No. 784; Waagen's "Art Treasures," Vol. Ill, p. 182; Max Rooses' UCEuvre de Rubens, Vol. I, p. 309, No. 325. From the collection of Sir Phillip Miles, Leigh Court. From the collection of Sir Cecil Miles, Leigh Court. From the collection of Mr. F. O. Matthiessen, 1902. Gift of Mr. J. Henry Smith. 1902. On canvas, 68i H. ; 811 W. 33 CAMBYSES' PUNISHMENT OF AN UNJUST JUDGE. It is a tradition that the Persian king, Cambyses, caused an unjust and prevaricating judge to be skinned alive, and then appointed his son to fill the chair made vacant bv the death of his father, and obliged him to sit upon a cushion made of his father's skin. Over the judge's seat the painter has dis- played the face and hands of the victim. A finished study for the painting made for the Magistrates' Hall at the city of Brussels, and which was destroyed in the conflagration caused by the bombardment in 1695. Described and illustrated in L'CEuvre de P. P. Rubens, par Max Rooses, Vol. IV, p. 8. Gift of Mr. Wm. E. Dodge. 1900. On panel. 17 H. ; 17 W. 249 PYRAMUS AND THISBE. School of Rubens. Thisbe, discovering her lover lying dead, attempts to take her own life by falling on a sword. Cupid hastens away, horrified at the sight. Above are three Loves in the branches of a tree; on the left is a monument, with a sculptured lion on a pedestal. Purchased through Eugene Benson, from a private collection, near Venice. Gift of Mr. Henry G. Marquand. 1888. Signed. On canvas. 50* H. ; 38i W. RUiSDAEL (RUYSDAEL), Jacob Isaacksz Van. Dutch School. Bom at Haarlem, 1628 or 1629; died there, 1682. Son and pupil of Izack Van Ruisdael; probably also pupil of his uncle Salomon Van Ruysdael. Became the greatest landscape painter of the Dutch School. In 1648 he joined the Guild of St. Luke, at Haarlem, and in 1659 obtained the rights of citizenship at Amsterdam. He was little appreciated by his con- temporaries, and gained but a scant maintenance by his art. The figures introduced in his landscapes are by Berchem, Adrian Van de Velde, Wouwer- man, Lingelbach, Venneer, and Eglin Van der Neer. Ruisdael was an admirable etcher. 153 235 LANDSCAPE. A pool surrounded by a rocky margin, from which the water has found a channel, through which it passes away to the left; in the center, on the bank of the pool, are two men driving sheep; on the right and left are groups of trees, and above, a bright sky with fleecy clouds. Purchased from M. Sedel- meyer in 1886. Gift of Mr. Henet G. Marquand, 1888. Signed. On canvas, 38^ H. ; 60^ W. RUSSELL, John, R.A. English School. Bom Guildford, Surrey, 1745; died at London, 1806. 310 LADY BEAUMONT, Lent by Mr. George A. Hearn. On canvas, 29 H. ; 24 W. RUYSCH, Rachel. Dutch School Born at Amsterdam, 1664; died there, 1750. Daughter of a celebrated professor of anatomy, and pupil of Willem van Aelst. She devoted herself to flower painting until she was eighty years old. She married, but always signed her works with her maiden name. 71 PLANTS, FLOWERS, AND FRUIT. There is a single butterfly at the bottom of the picture, and two others at the top are hovering about a small bunch of flowers and vines which twine around a cluster of brilliant red mushrooms. At the left, below, there is a creeping snail. Purchased by the Museum, 1871. On panel, 11 H. : 8i W. RUYSDAEL (RUISDAEL) Salomon van. Dutch School. Bom at Haarlem (?) about 1600; died there, 1670. Pupil of Esaias Van de Velde and Jan Van Goyen. Entered the Haarlem Guild in 1623, and was its president in 1648. His pictures are usually views of canals, bordered with trees and houses, monotonous and thinly painted. Some of his best works are in Munich, Dresden, and Berlin Galleries. 12 A DUTCH KERMESSE. A winter scene with a group of buildings at the right of the spectator. In the roadway, crowds of people, some on foot, others mounted with their frauen on horses, all in gay attire, are in quiet enjoyment of the day. Leafless trees rise from the sombre ground into a clear blue sky streaked with light stratus clouds, and a lake at the left is dotted with sleighs, sleds, and skaters. Purchased by the Museum, 1871. On canvas, 39 H. ; 41i W. 154 40 MARINE. A few fishing boats and a long stretch of low land dotted with buildings line the horizon. A gray sky with its floating clouds is reflected in the water beneath. Purchased by the Museiim, 1871. On canvas, 13 H.; 17 W, RYCKAERT (Rykart), David Dutch School. Bom at Antwerp, 1612; died there, 1661. The third painter of his name. He was instructed by his father, and devoted himself to interiors with peas- ants, fairs, etc. His coloring is clear and golden, his heads are animated, and although inferior to Teniers, he often approaches him in excellence. The Vienna and Dresden Galleries have fine examples of his works. In 1652, this master was Dean of the Guild of St. Luke, at Antwerp. 66 THE STOWAGE. In the center of a spacious, disorderly store-room containing everything pertaining to kitchen furniture and use piled head high, is a man and woman. The man has on a greenish blue coat and is in the act of turning a cask. A barking dog is in the left lower comer and some sheep are seen through an opening to the outer world. Pxirchased by the Museum, 1871. On canvas, 36 H. ; 45 W. 60 THE FARM-HOUSE. In the center of the picture, outside of a farm-house, an old man is carry- ing a small cask of wine. At the right of the spectator is a heterogeneous mass of kitchen utensils, casks, jugs, kettles, vegetables, etc., piled up in artistic confusion. At the left are some swine, a sheep, and the distant town over- shadowed by heavy clouds, through which the sun breaks near the horizon. Purchased by the Museum, 1871. Signed. On canvas, 36 H. ; 45 W. SANCHEZ-PERRIER, Emilio. Spanish School. Bom at Seville, Spain. Pupil of Cano. Honorable mention, Paris, 1886. Silver medal, Exposition Universelle, Paris, 1889. 682 LAGOON NEAR VENICE. Lent by Mr. Thomas P. Salter. On canvas, 16 H.^ 21 W. SARGENT, John Singer. French School. Bom at Florence, of American parents, in 1856. Portrait and genre painter; pupil of Carolus Duran. Has lived and painted many years in Europe. Honorable mention. Salon, 1879; Medal, second class, 1881. Medal 155 of Honor, Exposition Universelle, Paris, 1889; Legion of Honor, 1889; Officer of the same, 1897. Medal, World's Columbian Exhibition, 1893. Studio in London since 1886. Elected A.R.A. in 1894; R.A. in 1897; N.A. in 1897. 266 PORTRAIT OF HENRY G. M A RQU AND, Second President j»^.rXA of the Museum; from February, 1890, to February, 1902. ^ He is sitting by a table in an attitude of repose with the head resting lightly against his left hand. His right arm is over the back of the chair the hand falling by his side ; the figure and face are to the front, illumined by a strong light from the left. His dress is black relieved against a gray ground and an olive-colored drapery. Three-quarters length. Gift of the Trustees, 1897. Signed. On canvas, 39i H. ; 50J W. 225 B PORTRAIT OF W. M. CHASE. Standing in a characteristic pose, the figure, slightly relieved against a dark gray background, faces the spectator; in his left hand are a cluster of paint-brushes, a mahlstick, and a large palette smudged with paints. In the extended right hand he holds a brush; the eyes look confidently out of the picture from behind eye-glasses from which depends a broad black ribbon. Gift of his pupils, 1905. Signed. On canvas. 62 H.; 41 W. SASSOFERRATO, II. Bolognese School. Born at Sassoferrato, 1605; died at Rome, 1685. Real name Giovanni Brittista Salvi. Son and pupil of Tarquinio Salvi. About 1629 he went to Naples, where he is supposed to have studied with Domenichino. He after- wards studied and copied the works of the great masters in Rome. He de- voted himself chiefly to painting Madonnas and devotional pictures. 106 MADONNA. The face and figure are to the front. The head and eyes upturned in adoration. Over the head is a light drapery which falls about the shoulders over a dull red robe. The hands are raised and a blue mantle which is about the figure folds over the arms. Purchased by the Museum, 1871. On canvas, 17 H.; 13^ W. SCHAEFELS, Hendrik F. Flemish School. Born at Antwerp. Contemporary. 6S6 RUBENS AT THE COURT OF SPAIN. Lent by the Misses Hall. On canvas, 27^ H. ; 22^ W. SCHAUSS, Ferdinand. German School. Bom at Berlin, 1832 ; resides there. Pupil of C. Steffeck, at Berlin, and of Leon Cogniet, at Paris, where he lived from 1856 to 1862. Studied in Italy, 1863-64; visited Spain, England, Holland, etc. Professor of the Weimar Academy, 1874-76. Medals at Munich, Vienna, Philadelphia, etc. 555 RESIGNATION. Bowed before a crucifix and resting her head upon both hands is a woman with a pale, sorrowful face and dark brown hair, which falls about her shoul- ders over a dull red dress. Head and shoulders, life-size. Gift of Mr. William ScHAua, in memoriam of Catharine Denice Schaus, 1887. Signed. On canvas, 28i H. ; 23 W. 156 S^ottra 'it of &ijemii Q. BJOaicjuand. SCHEFFER, Ary. French School Bom at Dordrecht, Feb. 10, 1795; died at Argenteuil, June 15, 1858. History and portrait painter; son of Johann Baptist Scheffer; pupil of Gu^rin. Sympathizing neither with the classic school represented by his master, nor the romantic led by G^ricault and Delacroix, Scheffer took up a class of subjects which showed his sympathy with the cause of freedom, such as the Suliote women, an episode of the Greek war, and the Battle of Morat. Influenced by Ingres, he sought and obtained greater purity of form, and painted subjects from Goethe and Byron. In 1836 he was appointed art instructor to the Orleans family, and directed the studies of Princess Marie in sculpture. In 1836 he accompanied the Due d'Orl^ans and General Bau- brand, whose widow he afterwards married, to the siege of Antwerp, and after his return painted several military episodes for Versailles. Between 1835 and 1848 he produced his greatest works, the "Christus Consolator and Judex," the "Francesca" and the "Mignon." When the Revolution broke out, Scheffer assisted the King and his family in their escape from Paris, and then went to Holland and England for rest. The coup d'etat of 1852, which gave Louis Napoleon the throne, was a blow to his hopes which finally disgusted him with politics, from which he withdrew altogether. Five years later, after a last visit to England, he lost his friends Manin and the Duches&e d'0rl6ans, to whom he was much attached. After attending the funeral of the latter, he returned much broken to France, and shortly after died. 668 PETER'S REPENTANCE. At the right of the picture is the figure of Our Saviour in a white habit, his hands are bound with a heavy cord and his face is turned to the left looking reproachfully at Peter who with his hands clai>ped and raised before him is fleeing from the place ; a soldier in a steel lielmet stands behind the figure of Christ, and his disciples crowd forward raising their hands in indignation. Large columns and a piece of sky form the background. The figures are life- size seen to the knees Gift of Mr. Edward Brandus, 1899. Signed and dated, 1855. On canvas. 59 H. ; 73 W. 526 STUDY OF A HEAD. Lent by a Friend. On canvas. 25i H.; 20J W. 146 CHRIST ON THE MOUNT, Lent by Mrs. Israel Corse. On canvas. 6 H.; 6 W. SCHENCK, Auguste Frederic Albrecht. French School. Bom in the Duchy of Holstein, 1828. Resides at Ecouen (Seine-et-Oise), France. Pupil of Cogniet. Medal, 1865. Chevalier of the Order of Christ, of Portugal; Commander of the Order of Isabella the Catholic. Legion of Honor, 1887. 396 "LOST"— SOUVENIR OF AUVERGNE. Huddled together on a mountain side swept by a blinding storm of snow are a flock of sheep in distress. Their faithful guardian, a shepherd dog, is at the left, and high above in a whirl of snow a misty figure is seen clinging to a wooden cross. Painted to order. Salon, 1873. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas. 60 H. ; 96 W. 167 SCHRADER, Julius. German School Bom at Berlin, 1815; resided near there. Pupil of the Berlin and Diissel- dorf Academies; studied in Italy, 1845-47; Professor at Berlin Academy in 1848; a Senator and a Corporate Member of the Royal Academies of Berlin and of Vienna; Honorary Member of the Academy of Dresden, etc. Gold Medal, Berlin and Weimar; Medals at Vienna, Paris and London. 634 BARON ALEXANDER VON HUMBOLDT, Painted from life at the age of 89 years. In the year 1857, the late Mr. Albert Havemeyer, of this city, being then in Berlin, called on Baron yon Humboldt and requested him to sit for his portrait to the eminent artist, Julius Schrader. The Baron was obliged to decline the frequent and urgent solicitations of his many admirers for a similar favor, but having in the United States many personal friends and acquaint- ances whom he thought would be gratified to see a good portrait of him, cheerfully consented to sit; and taking from his table a number of sketches made of himself, he selected one having in the background Chimborazo, and said, "I will be painted sitting here," designating the spot with Chimborazo in the distance. The artist commenced the picture at once, and at its com- pletion the Baron expressed himself as delighted with it. This was the last portrait, from life, of Humboldt. Gift of Mr. H. O. Havemeyer, April 17, 1889. Signed and dated, 1859. On canvas, 62 H. ; 52 W. 560 Q VEEN ELIZABETH SIGNING THE DEA TH WARRANT OF MARIE STUART. Queen Elizabeth robed in a green velvet gown with slashed sleeves is seated at a table covered with rich tapestry listening to Sir Walter Raleigh who leans forward to present the death warrant of Marie Stuart for the Queen to sign. Her Titian red hair is in strong contrast to the pale face, drooping head, and listless hand which holds the pen at her side. Given in memory of Mrs. William F. Dominick, by her sons, November 15, 1892. Signed and dated, 1876. On canvas, 61 H. ; 48 W. SCHREYER, Adolphe. German School Bom at Frankfort-on-the-Main, 1828; died, 1899. Pupil of Stadel Insti- tute, Frankfort, studied the horse in the riding school and anatomically, then in Stuttgart, Munich, and Diisseldorf; traveled in 1848 with Prince Thurn and Taxis through Hungary, Wallachia, and Southern Russia; accompanied the Austrians on the march through the Danubian principahties in 1854; visited Syria and Egypt in 1856, Algiers in 1861, and resided in Paris until 1870, when he settled at Kronberg, near Frankfort; lived alternately there and in Paris. Member of Antwerp and Rotterdam Academies. Medals: Brussels, 1863; Paris, 1864, 1865, 1867; Munich, 1876; Order of Leopold, 1866; Honorary Member of the Deutsches Nochstift; court painter to Grand Duke of Mecklenburg, 1862; officer of the Star of Roumania, 1888. 158 348 "ABANDONED" {ON THE MARSHES OF THE DANUBE). A single horse attached to a wagon which has been wrecked stands over the bodies of his mate and his master, who he stark and stiff on a desolate plain soaked with the waters of a recent storm. Purchased in Paris. Bequeathed by Misa Catharine Lorillard Wolfe, 1887. Signed. Water Color. 11 H.; 22 W. 468 ARABS ON THE MARCH. A troop of mounted Arabs are passing slowly over a rocky verdureless ground into the middle distance towards a walled city; prominently in the center foreground are two of the number, one on a white horse, the other upon a bay. A range of low hills is at the right and a deep blue sky is above all. Bequeathed by Misa Catharine Lorillard Wolfe, 1887. Signed. On canvas. 22 H. ; 37 W. 630 BATTLE SCENE. ARABS MAKING A DETOUR. An Arab chief, leader of a troop, is mounted on a light dapple gray horse which, having been startled by the bursting of a shell, springs forward over the rocky foreground; with him is the standard bearer on a white horse which has swerved to the right: their followers come rushing on at full gallop. Smoke from the enemy's guns near the horizon at the left rises into a deep blue and cloudy sky. Gift of Mr. John Wolfe. 1893. Signed. On canvaa, 59 H. ; 96 W. 668 ARAB SCOUT. Lent by Mr. Thomas P. Salter. On panel, 7i H. ; 9^ W. SEITZ, Anton. German School. Bom at Roth-am-Sand, near Nuremberg, 1829. Pupil of Friederich Wagner and Reindel, in Nuremberg, and in 1853-1863 of Fluggen, in Munich, Professor and honorary member of the Royal Academy of Munich. Gold medals at Munich and Vienna. Chevalier of the Bavarian Order of St. Michael. 384 THE DISCUSSION. In the courtyard of a peasant's home two men are engaged in argument ; one in his shirtsleeves and with a pipe in his hand is seated on an old wooden bench; the other stands before him gesticulating; a German peasant girl by his side is listening to the argument. Purchased in Munich. Bequeathed by Miss Catharine Lorillard Wolfb, 1887. Signed and dated. 1869. On wood, 11 H.j 15 W. SHEE, Sir Martin Archer. English School. Bom at Dublin, 1769; died at Brighton, 1850. He came from an old Irish family, and it was Burke who introduced him, when he came from Dublin to London in 1789, to Reynolds. His own suavity and good manners were even better introductions to the portrait painter's clientele, and he soon met with distinguished patrons. In 1789 he was elected A.R.A., and having mar- 159 ried, moved into Romney's old house in Cavendish Square. In 1800 he be- came R.A., and upon the death of Sir Thomas Lawrence, in 1830, he was elected to the presidency of the Royal Academy. In 1805 he published a volume of verse (followed in 1809 and 1814 by others), which called forth praise from Byron in his ''English Bards and Scotch Reviewers": " And here let Shee and genius find a place, Whose pen and pencil yield an equal grace: While honors, doubly merited, attend The poet's rival, but the painter's friend." 168 PORTRAIT OF DANIEL O' CONN ELL. Half length, sitting with the left arm resting on a table and the right at his side holding a quill pen; face to the front, with eyes looking out of the picture. He is dressed in a black coat and red vest, with a black silk scarf about the neck. Gift of Mb. John D. Crimmins. 1899. On canvas, 36 H. ; 28 W. SHURTLEFF, Roswell Morse. American School, Bom at Rindge, N. H., 1841. Studied at Lowell Institute, Boston, and at National Academy of Design, New York, 1863. Elected N.A., 1890. Mem- ber of the Water Color Society. 142 A MOUNTAIN STREAM. The stream flows down through the center of the picture forming a pool in the foreground; at the left the forest trees crowd the bank; at the right of the gorge is a wooded cliflt and above, a mountain range from which the light clouds are lifting into a blue sky. Gift of Mr. Wm. F. Havemeyer, 1891. Signed. On canvas 38 H.; 50 W. SIMONETTI, Cavaliere Attilio. Italian School. Bom at Rome; contemporary. Genre painter; pupil of Fortuny. Pro- fessor in Naples. 347 THE RENDEZVOUS. A woman dressed in pink and canary colored silk and holding a fan in her hands is standing in front of a light wall; she has powdered hair, adorned with high feathers and a blush rose. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1874. Water Color, 13 H. ; 9 W. 410 THE FLOWER. A Spanish lady standing in her boudoir is seen at full-length holding a white rose in her hand; a green mantle covers her head and shoulders. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1872. Water Color, 14 H. ; 10 W. 409 AMATEUR OF PAINTINGS. Seen at full-length, standing, dressed in the costume of a Spanish gentle- man of the XVIII century. He is examining a small picture which he holds before him with both hands. Bequeathed hy Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1872. Wat«r Color, 13 H.; *) W. 160 SLINGELAND, Pieter van, Dutch School. Born at Leyden, 1640; died there, 1691. Pupil of Gerard Dou. He devoted himself chiefly to genre subjects, homely scenes. His execution was labored, and his composition without grace. 82 PORTRAIT OF A DUTCH BURGOMASTER. Full-length, cabinet-size, face slightlj^ to the left, figure to the right. The right hand rests upon the hip and the left is suspended over a stone base at the entrance to the house. In the background are a bit of sky and a garden with statuary. Purchased by the Museum, 1871. Signed. On canvas. 14 H.; Hi W. SNIJDERS, Frans. Flemish School Bom at Antwerp, 1579; died there, 1657. This great animal painter was the pupil of Pieter Brueghel and Van Balen, the friend and co-worker of Rubens and Jordaens, and closely allied in friendship to Van Dyck, who painted his portraits. He executed animals in the landscapes of Rubens, and the latter painted figures in the works of Snyders. Philip V of Spain gave liim large commissions. His works are in the principal European galleries and in private collections in England. 64 LIONS CHASING DEER. Two lions in the chase; one springing forward, has his paw on the haunch of a roebuck. Purchased by the Museum, 1871. On canvas, 54 H. ; 82J W. SORG (Sorgh), Hendrick Maertensz. Dutch School. Bom at Rotterdam, 1611; died there between 1669 and 1670. Real name, Hendrick Maertensz Rokes. Genre painter; pupil of Willem Buytewech; formed his manner after the works of Brouwer, though more dull and heavy in color. He represented peasant scenes, conversations, and kitchen interiors, with genuine feeling for nature, good drawing, and careful execution. 242 A KITCHEN. The room is lighted from a high window at the left of the spectator. One woman standing at a table is pealing apples ; another kneeling upon the floor and dressing a fish has tumed her head to watch a kitten which is investigating the contents of a basket. On the floor are many kitchen utensils and a group of fish. From the W. H. Aspinwall Sale, 1886. Gift of Mr. Henry G. Marquand. 1888. On panel, 20i H. ; 17i W. 161 SPRING. Munich School. Munich. Contemporary. 687 TRIAL OF STRENGTH. Lent by the Misses Hall. On canvas, 12 J H.; 19 J W. STARK, James. English School. Born at Norwich, 1749; died at London, 1859. He was for three yeara a pupil of "Old Crome," and then went to London and exhibited his first pic- ture at the Royal Academy in 1817. Returned to Norwich, and took a promi- nent part in the exhibitions there. Contributed to the Royal Academy and British Institutions, where in 1818 he won a premium of £50. In 1821 he removed to Yarmouth, but soon returned to Norwich, and in 1827 he pub- lished there his " Scenery of the Rivers of Norfolk." He removed to London, and in 1839 to Windsor. In 1849 he returned to London. His masterpiece, "The Valley of the Yare," is in the National Gallery. 283 WILLOWS BY THE WATER COURSES. A group of scragly willows beneath which a flock of sheep are grazing. The sky is blue with floating clouds. Gift of Mr. George A. Hearn, 1897. On canvas, 17^ H. ; 23 W. STEEN, Jan Havicksz. Dutch School. Bom at Leyden about 1626; died there, 1679. He loved a jovial, roister- ing life, and as a tavern keeper was able to indulge himself. It is remarkable that in his half drunken state he could have executed two hundred works of so much merit. He studied first with Nicholas Knupfer, and Van Goyen, whose daughter he married in 1649, and developed under the influence of Frans Hals and Adrian Van Ostade. He was fond of representing the humorous and ludicrous scenes incident to the life which he led, degenerating often into vulgarity. His pictures may be seen in nearly all of the large Continental Galleries. . 76 A DUTCH KERMESSE. Near the entrance to an old tavern where the sign of an elephant hangs over the door and a banner is flung to the breeze from a window above, happy people look down upon a young man standing upon a tub fiddling for the dancers in their merry sport, and a boatload of hilarious souls are just pushing from the shore, bidding adieu to a friend who raises his cap with his right hand and extends his left with a full mug of beer in a parting salute. A cool, cloudy sky, an arched bridge over a stream of water, a group of trees in the center, with the old tavern at the left, form the landscape; and in the immediate middle foreground is a family group with a basket of refreshments, and a black dog in repose. Purchased by the Museum, 1871. Signed. On canvas, 24 H. ; 29^ W. 1 1 THE OLD RAT COMES TO THE TRAP AT LAST. Purchased by the Museum, 1871, On canvas, 31 H. ; 26 W. m STEVENS, Alfred. Belgian School. Bom at Brussels, 1828. Genre painter; pupil of the £cole des Beaux- Arts, in Brussels of Navez, and in Paris of Roqueplan; has acquired great fame with his graceful representations of elegant modern interiors, enlivened with figures. Medals: Brussels, 1851; Paris, third class, 1853; second class, 1855 ; first class, 1867, 1878. Order of Leopold, 1855; Officer, 1863, afterward Commander, then Grand Officer. Legion of Honor, 1863; Officer, 1867; Com- mander, 1878. Commander of Austrian Order of Francis Joseph, and of Bavarian Order of St. Michael. Grand Medals of Honor: for Brussels at Paris, 1889; at Amsterdam; at the Universal Exposition of Berlin, 1894; and of Austria. The Cross of the Lion of the Netherlands, and of the Order of Merit from Bavaria. Grand Officer Order of Compbodge as a result of his historical panorama of the century, by the Minister of the Colonies, at Paris. 392 THE JAPANESE ROBE. A young lady dressed in a blue Japanese robe, richly embroidered, stands before a mirror which reflects her face, a portion of her figure and objects in the room. The figure is three-quarters length with her back to the spectator. Painted to order. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 30 H. ; 25 W. 687 AFTER THE BALL. A lady standing in her boudoir at full length, facing the spectator, and wearing a canary colored ball dress, is removing from her arms long-sleeved, white gloves. A golden arm-chair covered with red tapestry and a Japanese cabinet are at her left. Gift of Mrs. Mary Goldenbero, 1899. Signed. On panel, 12 H. ; 8 W. STEVENS, Edouard Joseph. Belgian School. Bom at Brussels, 1822; died there, 1892. (Brother of Alfred Stevens.) Self-taught. Exhibited in Brussels in 1844; in Paris, 1847. Medals: Paris, second class, 1852, 1855, 1857; Order of Leopold, 1851; Officer, 1862; Legion of Honor, 1861. One of the streets of Brussels was named after him. An expert swordsman and sportsman. 475 SURPRISE. A dog suddenly appearing before a mirror is surprised at his own reflec- tion. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 27 H. ; 30 W. STORK (Storck), Abraham the Elder. Lhitch School. Bom at Amsterdam about 1630, where he died about 1710. Marine painter. Imitator of Backhuysen. 10 A SEAPORT. Prominently at the right is a large gray building standing at the en- trance to a canal, opposite at the left is a dock where boats are moored and 163 merchandise is landed ; beyond, laying at anchor in the harbor are ships of the old Dutch type with high poop decks and ornate hulls. The sky is clear with cumulus clouds lifting into the blue above. Purchased by the Museum, 1871. On canvas 20 H.; 26 W. STORY, George H. American School Bom at New Haven, Conn., 1835. After studying with Charles Hine for two years in his native town, he went to Portland, Maine, and opened a studio where he remained one year, going to Washington in 1859; in 1862 he went to Cuba and spent one year in Santo Espiritu and Trinidad, returning to New York in 1863. He afterwards spent two years in study on the Continent. Elected A.N. A., 1875. Medal at the Centennial Exposition, Philadelphia, 1876. 99 THE YOUNG MOTHER. Lent by Mrs. George H. Story. Signed. On millboard, 12 H. ; 10 W. STRIGEL, Bernhard. German School. Bom at Memmingen, 1460; died there before 1528. History and por- trait painter, mentioned in documents as living in Memmingen between 1516 and 1528. 69 PORTRAIT OF A GERMAN LADY. A young lady wearing an elaborate head dress with lace falling down over her right shoulder is sitting by an open window through which are seen the vil- lage and a mountain range beyond. Her dress is dark red, trimmed with richly embroidered bands which pass over her bare neck and shoulders. A necklace of pearls with pendant point is about her throat. The right hand rests in her lap. Purchased by the Museum, 1871. On panel, 13|H.-J9| W. STUART, Gilbert. American School Born at Narragansett, Rhode Island, December 3, 1755; died Boston, July 27, 1828. After some unaided efforts he received instruction from Cosmo Alexander, a Scotch portrait painter, whom he accompanied to Scot- land in 1772. The death of his master left Stuart to shift for himself, and after stmggling a while at the University of Glasgow, he returned home. In 1775 he went again to England, where he found a friend in Benjamin West, whose studio he entered as a pupil, but soon became an assistant to his master. In 1785 he set up a studio of his own in London, achieving marked popularity and financial success. He visited Ireland in 1788, where he was received with great favor, and painted the portraits of many distinguished persons, and retumed to America in 1792. Soon after his arrival in New York the Duke of Kent offered to send a ship of war for him if he would go to Nova Scotia and paint his portrait, but he declined the offer. Among his sitters in Europe were three Kings: Louis XVI, George III, and George IV while Prince of Wales. He painted also Alderman Boydell, John Kemble, Sir Joshua Rey- nolds, Benjamin West, and many other distinguished artists. Six Presidents 164 Stuaxt, Qilbext. ^ox trait of STBxA. ^judgc Q^ntlion of the United States sat to him for their portraits, viz.: George Washington, John Adams, Thomas Jefferson, James Madison, James Monroe, and John Quincy Adams. After working two years in New York, Philadelphia, and Washington, Stuart settled in Boston, where he resided the remainder of his life. Stuart was gifted with a perception which enabled him to select the true lines of thought and character of his sitter, which he rendered without hesita- tion. A collection of two hundred and fifteen of his works was exhibited in the Boston Athenaeum soon after his decease, for the benefit of his family, which realized a considerable sum. 164 PORTRAIT OF JOHN JAY. Lent by Mr. Augustus Jay. On canvas. 53 H. ; 40 W. 178 PORTRAIT OF MR. DAVID SEARS. Bust, life-size; face three-quarters to his right; light brown hair, white neckcloth, black coat relieved on a gray ground. Gift of Several Gentlemen. 1881. On canvas. 27 H. ; 23 W. 174 PORTRAIT OF CAPTAIN HENRY RICE. Bust, life-size; face three-quarters to the left, eyes looking to the front; light brown hair, full white neck-cloth, tied in a bow; dark brown coat; gray background. Captain Rice served in the war of 1812. Purchased by the Museum, 1897. On panel, 25i H.; 21 W. 199 PORTRAIT OF GEORGE WASHINGTON. The face is strongly illumined from the left; the dark gray eyes look calmly and steadily to the front. The coat is black and a white lace ruff and tie are at the neck ; his powdered hair and florid complexion are strongly re- lieved against a dark olive background. Bust, life-size. Painted at Washington, D. C, 1803, for Daniel Carroll, of Duddington Manor, D. C, cousin of Charles Carroll, of Carrollton. Purchased from the Carroll family and given to the Museum by Mr. Harry O. Havemeyer, 1888. On canvas. 28i H.; 23* W. 225 C PORTRAIT OF JUDGE ANTHONY. Bust life-size. Sitting with the face and figure turned three-quarters to the left. He has a florid complexion, iron-gray hair and wears a dark blue coat with brass buttons. In the background is a dark crimson curtain illumined at the lower left-hand comer with a bit of bright blue sky. Purchased from income of the Rogers Fund, 1905. On canvas, 29i H.; 23| W. 225 D PORTRAIT OF MRS. JUDGE ANTHONY. Bust, life-size. She is sitting with her face and figure turned three-quarters to the right. The clear blue eyes are looking directly at the spectator; her fair face, abundant powdered gray hair and white d6collet6 dress are relieved against a dark crimson curtain which blends into a deep blue sky at the bottom of the canvas. Purchased from income of the Rogers Fund, 1905. On canvas, 29i H.; 23| W. 165 SULLY, Thomas. American School Bom at Homcastle, Lincolnshire, England, June 8, 1783; died, Philadel-- phia, November 5, 1872. Portrait painter. Taken to Charleston, S. C, by his parents, who were comedians, in 1792; was first instructed by M. Belzons, a French miniature painter, in Richmond, Va., and painted there, and at Nor- folk until his brother Lawrence's death, in 1804. In 1806, having married his brother's widow, he removed to New York, and lived there, excepting a short visit to Boston for instruction from Gilbert Stuart, until 1808, when he removed to Philadelphia. In 1809 he went to London, studied several months under Benjamin West, and coming back in 1810, settled permanently in Philadelphia. He again visited England in 1837-38, and in the latter year painted from life a portrait of Queen Victoria, from which he painted a full- length portrait of this Queen arrayed in robes of state. Between 1820 and 1840, he exhibited ten portraits at the Royal Academy. 1 77 PORTRAIT OF MR. WILLIAM GYNN. Bust, life-size; head inclined forward with face to the front; eyes looking out of the picture; dark curly hair, black coat, and gray background. Gift of Mrs. Rosa C. Stanfield, Philadelphia. 1894. On canvas, 23 H. ; 19 W. 222 PORTRAIT OF THE ARTIST. The figure is in profile to the left, and the face is turned three-quarters to the front; the eyes look steadily forward at the spectator. A portion of the right hand is seen holding a pencil. Gift of Mrs. Rosa C. Stanfield, 1894. On canvas, 16i H. ; 13i W. TENIERS, David (the Elder). Flemish School Born at Antwerp, 1582; died there, 1649. Pupil of his elder brother Juliaen, of Rubens, and in Rome of Adam Elsheimer. Master of Antwerp Guild in 1606; painted chiefly peasant scenes, but occasionally biblical and mythological subjects. 7 A DUTCH KITCHEN. Before this picture came into the possession of the Museum, the beef, which is now seen suspended at the right, was completely obliterated by a dark-gray cloth and other objects, which had been painted over it in an attempt to conceal or repair an injury to the canvas. The painting has recently been cleaned and these objects removed, leaving the composition the same as when the picture left the easel of the artist. In a spacious old kitchen with heavy oak beams, at the right a newly dressed beef is suspended with a bowl beneath to catch the drippings; be- hind a man and a woman are engaged in conversation. In the center above there is a window and underneath it a door, through which a man is stepping with a bowl in his outstretched hands. At the left a woman in a bright red waist, white apron, and dark green skirt, stands by an open well with an earthen pitcher resting on the curb. She is surrounded with kitchen uten- sils, a shining brass kettle, jars, and a small table, covered with vegetables. A white spotted dog stands in the near foreground, and a bright red liver, 166 2 ^ "which hangs from a beam near the middle center of the picture, strikes a high color note. Presented by Mr. William H. Webb, 1874. Signed. On canvas, 45J H.; 39 W. TENIERS, David (the Younger). Flemish School. Bom at Antwerp, 1610; died at Perck, near Brussels, 1690. The most eminent genre painter of Belgium. He was instructed by his father, but was very much influenced by Rubens. His first wife was the daughter of Jan Brueghel, and the second, Isabelle de Fren, a daughter of the Secre- tary of State for Brabant. He was much favored by the Archduke Leopold William, and by Don Juan, of Austria; he excelled in representations of the alchemist, fairs, and festivals of all sorts. His touch was light and brilliant, his coloring exquisitely beautiful. Teniers, though a Fleming by birth, belongs rather to the Dutch school in style, being one of the principal genre painters, of whom most of the other leading masters are Dutch. The place of Teniers in art history is that he was par excellence the painter of the pleasures of the ale-house and card- table. He was refined in person, enjoyed the highest patronage, and was the friend of courtiers and princes. Yet he remained throughout his life the painter of the pot-house. 77 A MARRIAGE FESTIVAL. The foreground is occupied with peasants who are dancing to the music of a bagpipe. At the right and behind under the trees a multitude of people, in hilarious enjoyment of the wedding feast, are seated at tables which ex- tend to the door of the farm-house. In the middle distance at the left two men are quarreling and friends of each are seen coming to the rescue. Public buildings and a church-spire rise from the village in the distance into a sunny evening sky. Purchased by the Museum, 1871. Signed. On canvas, 25 H. ; 28i W. 7B THE TEMPTATION OF ST. ANTHONY. St. Anthony, seated at a table in the center of a spacious cave, lighted from an opening to the sky at the left of the spectator, in rapt devotion, with his open Bible resting on a skull, a jar of water, and the exalted cross before him, turns his head at the instigation of a fiend in monkish garb to a beautiful woman, led by an imp in human shape into his presence. At the right, a group of gnomes with monstrous forms and hideous mien, sur- round a woman who sleeps; one is mounted on a boar; others are in the 167 form of bats, frogs, and flying fish, and two mounted eives float in the air above. St. Anthony clasps his hands in agony of spirit. Ptirchased by the Museum, 1871. On copper, 22 H.j 2fti W. 6 JUDITH WITH THE HEAD OF HOLOFERNES. Judith, standing in the center of the picture, three-quarters length, clad in a dark green dress, open at the neck, holds in her left hand the dis- severed head of Holofernes which she is in the act of dropping into a sack held at her left by an old woman. In her right hand is the falchion, and in a tent behind the headless trunk of the victim of her religious patriotism and insidious wiles is seen lying upon a couch. Gift of Mr. GoTJVERNEtrR Kkmble, 1872. On panel, 14 H. ; 10 W. 259 LANDSCAPE. On the right, near the edge of a wood, two men stand by a rocky ledge; the one leaning upon a stick has a brown dress and red cap, the other wears a blue coat. In the distance, at the left, a church-spire is seen above the trees ; the sky is gray and cloudy. Formerly owned by E. Smith, Esq., of Canterbury. Exhibited at the Royal Academy, 1888, by J. Humphrey Ward, Esq. Gift of Mb. Henry G. Marquand, 1888. On panel. 6* H. ; 8i W. 263 THE GOOD SAMARITAN. Copy after Jacopo da Ponte, called II Bassano. Landscape. The wounded man lies prostrate, while his limbs are bound with a long bandage by the Samaritan. Engraved by Q. Boel in Teniers Gallery. The Duke of Marlborough sale, 1886. Gift of Mr. Henry G. Marquand, 1888. On panel, 6,^ H. ; 8i W. 274 LANDSCAPE. Copy after Jacopo da Ponte, called II Bassano. In the foreground is a flock of sheep with a goat ; on the left, a man resting with his dog ; on the right, a boy in red dress with three lambs; a cottage in the middle distance. En- graved by Q. Boel, in Teniers Gallery. Duke of Marlborough sale, 1886. Gift of Mr. Henry G. Marquand, 1888. On panel, 6j% H. ; 8i W. THOMPSON, A. Wordsworth. American School. Born at Baltimore, Md., 1840; died at Summit, N. J., 1896. Genre and landscape painter. During the Civil War he was employed by Harper Bros, and the "London News," to illustrate scenes and incidents of the 168 I war; at its close he went to Paris and entered the £cole des Beaux- Arts, and also studied with Barye at the Jardin des Plantes; and with Gleyre, Lambinet, and Pasini. He first exhibited at the Salon in 1865. After spending eight years on the Continent, in Spain, and Algiers, he returned to New York and was elected A.N.A. in 1873, and N.A. in 1875. Medal of Honor at the Exposition Universelle, Paris, 1889. 626 OLD BRUTON CHURCH, VA., IN THE TIME OF LORD DUNMORE, The old church stands in the center of the picture with its historic sur- roundings as in the old Colonial days. At the right two men mounted on white horses are passing the compliments of the day with their neighbors and friends; others have dismounted and gallantly address themselves to the ladies. An empty calash stands by the walk and a negro holds a horse near by. At the left the citizens stroll leisurely up the walk and through the gate to the open door of the church. Gift of Mrs. A. Wordsworth Thompson, 1899. Signed. On canraa. 18 H.; 26^ W. THORNHILL, Sir James. English School. Born at Weymouth, in 1676; died, 1734. Pupil in London of Thomas Highmore; was patronized by Queen Anne, who made him her Sergeant painter. He decorated eight compartments of the Cupola of St. Paul's, the great hall at Blenheim, the ceilings and walls of the hall at Greenwich Hospital, and a salon and hall at Moor Park, Herts. He was knighted by George I, the first native painter, it is said, to receive that distinction. In 1724 he endeavored to found a Royal Academy of Art, and failing, opened a drawing academy in his own house. 292 PORTRAIT OF MRS. BENSON. . Bust, life-size. Three-quarters to the left. The smiling face and brown hair are relieved agamst a dark gray background. The eyes look directly at the spectator. She wears a decollete dress of blue velvet. Gift of Mr. George A. Hearn. 1889. On canvas, 29i H. ; 24i W. TIEPOLO, Giovanni Battista. Venetian School. Born at Venice, April 10, 1696. Died at Madrid, March 27, 1770. Pupil of Gregorio Lazzarini, afterwards influenced by Giovanni Battista Piaz- zetta, and still more by Paolo Veronese, whose equal he was reputed to be, in the decadence of Venetian Art, though he was far from being so as a colorist. He has been rightly called the last decorative painter of the Venetian School. 83 THE CROWNING WITH THORNS. Sitting upon a gray stone base beneath a vaulted archway with a crown of thorns upon his head and the tender of a scourge for a scepter, our Saviour nieekly bears the taunts of the soldiers and the mad populace who surround him; at the left of the spectator, banners upheld by cruel hands wave over the restless horses and brutal soldiers. Purchased by the Museum, 1871. Signed. On canvas, 30 H.; 34 W. 169 96 TRIUMPH OF FERDINAND III, The laurel-crowned king is seated upon a throne beneath a vaulted archway, with an opening to the sky beyond; the statues of Hercules and Minerva are at either side, and at the right of the throne are his officers of State; at the left a figure dressed in black, bearing a standard, and at- tended by nobles, courtiers, soldiers and a Bishop is kneeling on the steps of the throne at the feet of the King. Purchased by the Museum, 1871. On canvas, 27i H,; 19i W. 105 THE SACRIFICE OF ABRAHAM, Kneeling on the brow of a cliff, Abraham, with a weapon in his raised right hand, is about to strike his son, who, bhndfolded, stoops before him, when an angel appears on a cloud at his right and stays his hand. Purchased by the Museum, 1871. On canvas, 16f H.; 20^^ W. TILBORGH, Gillis (Aegidius) Van. Flemish School. Bom at Brussels, 1625; died, about 1678 (?). Supposed pupil of David Teniers, the younger. Master of the Brussels Guild in 1654; its President in 1663-1664. 78 VISIT OF A LANDLORD TO A TENANT, In the center of the picture there are gathered together tenants of the houses which are seen at the right. The landlord-guest is sitting at the left of a table which has been prepared with refreshments, and the most dis- tinguished lady among the tenants is seated at the other end to do the honors of the occasion. A little girl is dancing in front of the company to the music of a viohn in the hands of a young man who stands behind the table. The rest of the company are standing in the most decorous restraint. In a tub in the immediate foreground are a bottle and a flagon of wine. Purchased by the Museum, 1871. Signed and dated, 1661? On canvas, 45 H. ; 62^ W. TOULMOUCHE, AugUSte. French School. Born at Nantes, 1829; died at Paris, 1890. Pupil of Diel and Gleyre. Medals, 1852, '59, '61, '78. Legion of Honor, 1870. 372 HOMAGE TO BEAUTY. A lady in a pinkish-white flounced dress is stooping forward to look at a bouquet which has been tossed over a balcony through a casement window, and now lies on the floor before her. Painted to order. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1874. On canvas, 24 H. ; 18 W. TRAYER, Jean Baptiste Jules. French ScM. Bom at Paris, 1824. Genre painter; pupil of his father and Lequien. Medals: 1853, '55, '69. 386 RIBBON PEDDLER. Sitting on a chest by a window in an old Dutch kitchen is the "Ribbon Peddler," a girl about eighteen years old, dressed in a white lace-winged cap, a broad white collar, and a large pink apron over her brown skirt. By her side is a basket of ribbons, and seated below with their backs to a fire- 170 place are two girls examining the bright-colored ribbons which they hold in their hands. Purchased in Paris. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1873. On canvas, 29 H.*, 23 W. TROYON, Constant. French School. Born at Sevres, 1810; died in Paris, 1865. Pupil of Riocreux and Poupart, and influenced by Roqueplan to study nature, for which he showed an individual feeling in first exhibited works, 1836. A visit to Holland in 1847 revealed to Troyon his true mission, that of an animal painter. His great technical skill and inexhaustible resources as a colorist, and other rare endowments, enabled him to grapple with all the varying moods and effects of nature, and in this new line of cattle and landscape painter he soon became illustrious. Medals: third class, 1838; second class, 1840; first class, 1846, 1848, 1855; Legion of Honor, 1849. Member of the Amster- dam Academy. Diploma to the Memory of Deceased Artists, Exposition Universelle, 1878. 444 HOLLAND CATTLE. A large group of cattle are gathered on the left bank of a river; some are walking about and others are drinking. Three who have waded out into the stream are being watched by a black dog who stands at the right. Above and beyond, at the left, is a fine grove of trees, and in the distance are broad meadow-lands dotted with wind-mills; boats and a city are seen in the distance. Purchased by Mr. John Wolfe, out of E. Gambart's exhibition in New York, 1860. Purchased by Mr. Wm. T. Sanford from the John Wolfe col- lection in 1863, and at the sale of Mr. Sanford's pictures, 1876, purchased by Miss Wolfe. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas. 39 H. ; 58 W. 455 STUDY OF A WHITE COW. The light from a late afternoon sun glints across the back of a large white cow as she ascends a steep incline on her way out from her pasturage. A deep shadow is upon her side and the fields beyond are unilluminated. A dark blue cloudless sky is above all. From Troyon's sale. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 23 H. ; 29 W. TRUMBULL, Col. John. American School. Bom at Lebanon, Conn., June 6, 1756; died, New York, November 10, 1843. History and portrait painter. Served in the War of Independence, in 1775, as aide-de-camp to Washington, and in 1776 as deputy Adjutant- General under Gates; retired from service in 1777 with rank of Colonel. Went to London in 1780 to study under Benjamin West, but was imprisoned eight months, and returned home in 1782; went again on the conclusion of peace, and resumed his studies. His "Battle of Bunker Hill" (1786, engraved by J. G. Miiller) was the first of a series of historical works illus- trating the war of the Revolution. It was followed by the " Death of Mont- 171 gomery" (engraved by F. Clements), and the "Sortie from Gibraltar" (engraved by Sharp). Returned to America in 1789, accompanied Mr. Jay to England in 1794 as Secretary of Legation, and was engaged several years in diplomatic work; painted in England in 1808-15, and was engaged in 1817-24 in painting four pictures for the rotimda of the Capitol at Wash- ington, for which he received $32,000. Trumbull was president of the Academy of Fine Arts in New York from 1816 to 1825. Most of his pictures are in the Art Gallery of Yale College. 1 7 1 PORTRAIT OF ALEXANDER HAMILTON. The figure is to the front, the face nearly in profile to the right. The clear complexion, white tie, and silvery gray hair are relieved against a dark- gray ground. The coat is black velvet. Gift of Mr. Henry G. Marquand, 1881. On canvas, 29 H.; 23i W. TRYON, Dwight W. American School. Bom at New York, 1849. Landscape painter, made his debut at the National Academy of Design in 1872. In 1876 he went abroad, sketching in Holland, Italy, and the Channel Islands, studying under Jacquesson de Che- vreuse, Guillemette, and Daubigny in Paris. In 1881 he returned to New York. Hallgarten Prize at the N.A.D., 1887; Webb Prize, Society of American Artists, 1889. Studio in New York. 138 EVENING, EARLY SPRING. Lent by Mr. N. E. Montross, On Canvas, 13i- H.; 23 W. TURNER, Joseph Mallord William. English School Born in Maiden Lane, Covent Garden, London, 1775; died, 1851. He was the son of a barber, and his father intended him for his own profession. Of his earlier sketches, made in pencil and india ink when he was a boy, a large proportion consists of careful studies of stranded boats, and different parts of old Dutch shipping. He hired himself out every evening to wash in skies in india ink in other people's drawings, at half a crown a night, get- ting his supper into the bargain. It was in water color that Turner first painted. By 1789 he began to paint in oils, and this great genius, who now holds the first place in English landscape art, entered the Royal Academy as a student at the age of thirteen, and under the prevailing influence of the day studied the works of Claude Lorrain, the Poussins, Salvator Rosa, and other classical painters. A close observer and diligent student, nature early revealed to his mind an illimitable source of glorious truths, which left no room for influences, methods, or conceits, other than those which his unerring accuracy of perception led him to formulate for the perfect rendering of material loveliness with unrivaled precision. Ruskin says: "The great distinctive passion of Turner's nature — that which separates him from all other modern landscape painters — is his sympathy with sorrow, deepened by his continual sense of the power of death. Colossal in power, he was also tender and delicate in harmony of tint and subtlety of drawing. He had a perfect grasp of English scenery, and shrank from no labor in expressing details. His Yorkshire drawings are peculiarly rich and varied in composition, the rock and hill forms being marvelously accurate, while 172 his skies and effects of mist are exquisitely rendered. Glorious in conception — unfathomable in knowledge — solitary in power — with the elements waiting upon his will, and the night and morning obedient to his call, sent as a prophet of God to reveal to men the mysteries of a universe; standing like the great angel of the Apocalypse, clothed with a cloud, and with a rainbow upon his head, and with the sun and stars given into his hand." 244 SALTASH. The river Tamar in the foreground, with a barge at a dock on the left, and on the right a boat half drawn on shore. A large building extends across the canvas bearing the sign " Beer House;" on the wall at the right is scrawled, "England expects every man to do his duty." Through a square opening or gateway in the building are seen a street, market, etc. The scene is enlivened by groups of men, women, sailors, and horses. Painted about 1812-14. Purchased in 1851 by John Miller, of Liverpool, for 300 guineas. A letter from John Ruskin, dated November 22, 1852, says: "I once bid up to £300 for it, but it went higher, and I had no more to give." Mr. Miller exhibited it at Manchester in 1857, and at his sale in 1858 it was bought in at £430 by his daughter, who exhibited it in 1885 at the Royal Academy. Purchased in 1886. Gift of Mr. Henry G. Marquand, 1888. Signed. On canvas, 35i H. ; 47| W. 165 THE GRAND CANAL, VENICE. The entrance to the Grand Canal with gondolas, fishing boats and barges decked in brilliant colors, resting in the broad light of a sunny day in Venice. Santa Maria della Salute, and the Dogana Vecchia are at the right, and a long row of buildings which extend to the Doge's Palace and the Cam- panile, are at the left. The waters reflect the glittering surfaces from the boats and figures in the foreground to the old city in the dim distance which mingles in a mysterious way with the light stratus clouds which rise from the horizon to fill the center of the sky and drift up into the clear deep blue above. Bequeathed by Mr. Cornelius Vanderbilt, 1899. On canvas, 35f H. ; 47i W. 341 THE WHALE SHIP. "Hurrah for the good ship Erebus! Another Fish." (Vide Beale's Voyage.) A white, phantom-like ship, under full sail, is seen emerging through the misty atmosphere into view, and a large whale, which has just been harpooned, rears its huge head from the sea in the foreground and is spouting water stained with blood; with its tail it has overturned one of the four boats put out for its capture. The picture is luminous and lovely in color, with a variety of hues in both sky and water which are infinitely beautiful. This painting was purchased by Dr. Munro, of Novar, one of Turner's earliest patrons, at the R. A. Exhibition in 1846. Re-sold to Sir Francis Seymour Haden, 1884, from whom it was acquired by the Museum for the Wolfe Gallery in 1896. (It was exhibited at the Royal Academy Exhibition of Masters in 1892.) It has never been engraved. Purchased from the income of the Catharine Lorillard Wolfe Endowment Fund for her collection, 1896. Signed. On canvas. 42 H. ; S6 W. ULRICH, Charles F. American School. Bom at New York, 1858. Pupil of Loefftz and of Lindenschmidt, at Munich. A.N.A. "Glass Blowers of Murano" received a prize of $2,500 in the Competitive Exhibition of the American Art Association, 1886. 173 574 GLASS BLOWERS OF MURANO. In the center of the picture is a furnace with the flames at white heat, the Hght from which glows on the faces and forms of the workmen who are blowing the liquefied glass. Two unoccupied maidens who are sitting at the right have brought a flagon of wine and a package of food for the workmen which they have placed on a bench before them. A large apple- green vase stands on the floor. Gift by an Association of Gentlemen, 1886. Signed and dated, 1886. On canvas, 25i H. ; 20^ W. UNKNOWN 87 SPANISH FRUIT. Purchased by the Museum, 1871. On canvas, 231 H.; 28^ W. UNKNOWN. Dutch School. 261 A BURGOMASTER. With short gray hair, beard, and mustache, seated three-quarters right, at a table, writing. He wears a narrow ruff, with a fur tippet crossing his breast and falling over his knees on the left; his gloves are in his left hand, and writing implements on the table. Purchased from the Brinley family, Philadelphia. Kneepiece. Gift of Mr, Henry G. Marquand, 1888. On panel, 411 H. ; 29^ W. , UNKNOWN. German School. 647 EURYDICE. A semi-nude female figure with white drapery about the loins is startled by a snake in the grass and springs across a ledge of rocks for safety. Gift of MES8R8. Gat & Co., of Paris, 1885. On canvas, 76 H. ; 57 W. UNKNOWN. American School. 491 PORTRAIT OF MR. WM. F. COLES (son of Mrs. Eliza- beth U. Coles). Bequeathed by Mrs. Elizabeth U. Coles, 1892. On canvas, 28i H.; 23i W. UNKNOWN. 94 VIRGIN AND CHILD. Lent by a Friend. Oval, on canvas, 19 H. ; 23i W. VANDERLYN, John. American School. Born at Kingston, Ulster County, New York, 1776; died there, Sept. 23, 1852. Pupil of Gilbert Stuart, friend and protege of Aaron Burr, whose portrait he painted. Studied in 1796-1801 in Paris, where he painted from 1803 to 1815. Medal at Paris, 1808, for his "Marius Among the Ruins at Carthage." "Ariadne in Naxos" is a beautiful ideal and is now in the Pennsylvania Academy of Fine Arts. Washington, Monroe, Madison, Calhoun, Clinton, Zachary Taylor, and many other distinguished men sat to him for their portraits. But he made unfortunate ventures late in life; poverty and discouragement oppressed him, and the autumn of 1852 174 he went to his birthplace so poor that he begged a shilling with which to transport his baggage to the town. Upon reaching the hotel his only re- quest was for a bed, and to be left alone, and there the next morning he was found dead. 187 PORTRAIT OF THE ARTIST. Painted by himself, and presented by him to Aaron Burr. Lent by Miss Ann S. Stevens, New York. On canvas, 24^ H. ; 20^ W. 223 PORTRAIT OF MR. JOHN A. SI DELL. Seated, the left arm resting upon a table covered with papers. The face is turned slightly to the right and full into the light; the coat is black. A bit of red drapery and gray panel form the background. Bequeathed by Mr. C. V. Sidell, 1902. On canvas. 29i H.; 23i W. VEDDER, Elihu. American School. Bom at New York, 1836. Pupil of T. H. Matteson, New York, and of Picot, in Paris. Worked in Italy, 1857-1861, when he returned to America, and remained here until 1865. Since 1892 he has been occupied with deco- rative work, much of which is in the New Congressional Ubrary at Washington. Occasionally exhibits at the National Academy; elected N.A. in 1865. Studio in Rome. 1 1 0 THE AFRICAN SENTINEL. An alert African sentinel, with a ready pistol in his right hand and a musket over the left shoulder, is standing in the pathway at the foot of a rugged hill. Bequeathed by Mr. Stephen Whitney PntENix, 1881. Signed and dated. 1865. On canvas. 14 H.; 8 W. VEEN, Martin van. Dutch School Bom at Heemskerk, 1498; died at Haarlem, 1574. (Called Martin Heemskerk.) His works are not numerous. His manner was hard, dry and unattractive. Examples of his works may be seen at Delft and at Haar- lem. There is also one of his pictures in the Berlin Museum, and another in the Vienna Gallery. 68 PORTRAIT OF HIS FATHER, JACOB WILLEMS VAN VEEN. A realistic work, in which is portrayed with great force the character of the individual. His habit is black and upon his head is a large black hat.* The face is turned slightly to the left into a full broad light, and the deep dark eyes look directly mto those of the spectator. The flesh is leathery in quality, but it is boldly modeled and full of vital energy. Head and shoulders. Life-size. Purchased by the Museum, 1871. On wood, 20 H.; 13^ W. VELAZQUEZ, Diego Rodriguez de Silva y. Spanish School. Bom at Seville, 1599; died at Madrid, 1660. Both his parents were of noble blood — his father's name being Silva, his mother's Velazquez. Hia 175 talent for drawing quickly showed itself. He studied first with Herrera el Viejo, a painter of Seville, his second master being Pacheco,whose daughter he married in 1618, and whose house, says one of the Spanish historians, was "the golden prison of painting"; and it was here that Velazquez met Cervantes and obtained his first introduction to the brilliant circle in which he himself was to shine. In Pacheco's company he went, in 1622, to Madrid, returning one year later at the request of Olivares, who persuaded the King to sit to Velazquez for his portrait. The portrait was a complete success, and the painter stepped at once into fame and favor. From the time of this first portrait of Philip IV onward, the life of Velazquez was one of long triumph. He was made in succession Painter to the King, Keeper of the Wardrobe, Usher of the Royal Chamber, and Chamberlain; and offices were also found for his friends and relations. When Charles I, then Prince of Wales, visited Madrid, in 1623, Velazquez painted his portrait. The Duke of Buckingham was also his friend, and Velazquez saw something too of Rubens, when the latter came on his diplomatic mission to Madrid. In 1629 he traveled with recommendations from the King, and wherever he went — Venice, Ferrara, Rome, Naples — he was received with all the honors accorded to princes. His second visit to Italy was in 1649. At Rome he painted the portrait of the Pope (Innocent X), which made so great a mark that it was carried in triumphal procession, like Cimabue's picture of old. His royal master, however, became im- patient for his return, and he hurried back to Madrid in 1651. On his return he was given fresh honors and offices — especially that of Quarter Master, whose duty it was to superintend the personal lodgement of the Kjng during excursions. It was the duties of this office which were the immediate cause of his death. He accompanied the King to the conference at the "Island of Pheasants," which led to the marriage of Louis XIV with the Infanta Maria Teresa. There is a picture of him at Versailles by the French artist Lebrun, which was painted on this occasion. The portrait, somber and cadaverous-looking, was, no doubt, true to life; and when Velazquez returned to Madrid it was found that his exertions in arranging the royal journey had sown the seeds of a fever, from which, after a week's iUness, he died. Seven days later his wife died of grief, and was buried at his side. 270 VELAZQUEZ, He is between thirty and forty years old, the face is turned three-quarters to the left of the spectator, the eyes looking to the front. He has abundant black hair and mustache and a serious expression of the face. His habit is black and he wears a stiff linen collar close about the neck. The background is warm gray. From one of the royal palaces of Spain. Purchased from the Prince of Peace. Brought to London by Mr. Buchanan, who sold it in 1814 to the Marquis of Lansdowne. Bust, Life-size. Gift of Mr. Henry G. Marquand, 1888. On canvas, 26i H. ; 20i W. 272 BALTHAZAR CARLOS. Eldest son of Philip IV. A boy ten years of age, turned three-quarters to the left, head uncovered, hair dressed smooth and falling on his golilla, or wide stiff linen collar; his black dress is richly embroidered with silver, 176 and a scarf crosses his breast. Photographed by Caldesi in Art Treasures of the Manchester Exhibition. From Colonel Hugh Baillie sale, 1868. Charles Sackville Bale sale, 1881. Purchased in London in 1883. It was probably in the sale of the Count de Altamira, London, 1827. Exhibited at Man- chester in 1857 Gift of Mr. Henry G. Marquand. 1888. On canvas, 20i H. ; I5i W. 255 MARIANA OF AUSTRIA, QUEEN OF SPAIN. Second wife of Philip IV. She had been betrothed to Don Balthazar Carlos, son of Philip IV, whose portrait is described above: but after the death of the son she married his father, who was also her uncle. She is about 24 years of age, and is seen nearly in front, with an enormous head- dress composed of her own hair, arranged in ringlets, the ends of which are tied with red ribbon; over the ringlets on her left falls a red and white plume; her dress is court mourning, consisting of black silk, with silver ornaments arranged in stripes, the skirts distended by enormous hoops; her right hand is on the back of a chair. A similar portrait, but full length, is in the Bel- vedere Gallery at Vienna. Formerly in the Duncan collection. Purchased through Martin Colnaghi, London. Gift of Mr. Henry G. Marquand, 1888. On canvas, 29,', H.; 38i W. 265 OLIVA RES— {School of Velazquez) Three-quarters left, wearing a golilla or stiff linen collar, and a black dress, over which is a cloak partly concealing the green cross of Alcantara on his breast. From the gallery of the Prince of Peace. Brought from Spain in 1813. Sold by Mr. Bucnanan to the Marquis of Lansdowne. Gift of Mr, Henry G. Marquand, 1888. On canvas, 261 H. ; 20i W. VELTEN, W. German School. 61 1 HALT OF CAVALIERS. Lent by Mr, Thomas P, Salter. On canvas, 9 H. ; 12^ W. VERBOECKHOVEN, Eugene Joseph. Belgian School. Bom at Wameton, West Flanders, June 9, 1799; died at Brussels, January 19, 1881. Son and pupil of the sculptor, Barthelemy Verboeck- hoven. Visited England in 1826, France and Italy in 1841, and settled in Brussels. Member of Brussels, Antwerp, Ghent, Amsterdam, and St, Peters- burg Academies. Legion of Honor; Commander of Orders of Leopold and Francis Joseph ; Bavarian Order of St. Michael; Portuguese Order of Christ; Order of Iron Cross, 1830. 456 INTERIOR OF A STABLE WITH SHEEP AND POULTRY. A warm light enters the stable from the left, spreading sunshine over three sheep and a lamb lying contentedly by its mother's side on the straw- covered floor. At the right, a cock is strutting about among the poultry. Bequeathed by Mies Catharine Lorillard Wolfe, 1887, Signed and dated. 1860, On wood, 23 H.; 32 W. 532 CATTLE WITH LANDSCAPE. Lent by Mr, Thomas P, Salter. On panel, 12 H. ; 10 W. 592 C CATTLE WITH LANDSCAPE. Lent by Mrs, W, J. Syms, On canvas, 29 H. ; 43^ W. 177 VERENDAEL (Veerendael), Nicolas Van. Flemish School. Bom at Antwerp, 1640; died there, 1691. Still-life painter. Son and pupil of Willem Van Verendael; Master of Antwerp Guild in 1656. 32 A BOUQUET OF FLOWERS. Composed of roses, sweet peas, fleur de lys, blue hyacinths, carnations, tulips, etc., on a dark gray ground. Purchased by the Museum, 1871. Signed and dated, 1662. On canvas, 19 H.; 15i W. VERMEER (Van der Meer van Delft), Johannes. Dutch School. Bom at Delft, 1632; died there, 1675. Portrait, genre, landscape, and still-life painter. Pupil of Karel Fabritius, and further developed under the influence of Rembrandt. Master of the Guild of Delft in 1653, and was its Dean in 1662, '63, and 1670, '71. One of the greatest colorists, excelling in admirable light effects. i\Ji^\ V * 258 A YOUNG WOMAN OPENING A CASEMENT. A She is standing by a window, with one hand raised, opening a casement, ^ (// and the other resting upon the handle of a brass pitcher. A large white hood and a broad linen collar cover her head and shoulders; the waist of her dress is buff, with slashed sleeves, and the skirt is dark blue. Upon a table covered with an Oriental cloth, are an open jewel casket and a large metal y i - " ' plaque, in which stands a pitcher. In the background upon a gray wall 1 w is a large map. Purchased, in 1887, from M. Pillet, Paris, who had if from an Irish nobleman. Gift of Mr. Henry G. Marquand, 1888. On canvas, 17i H.; 15i W. VERNET, Emile Jean Horace. French School Bom at Paris, 1789; died there, 1863. Son and pupil of Carle Vemet, and pupil of Moreau and Vincent. In 1810 he exhibited his "Capture of a Redoubt." In 1812 he won a first medal by his "Taking of an Intrenched Camp." In 1814 Napoleon decorated him with the cross of the Legion of Honor for gallant conduct at the defence of the Barriere de Clichy, whi'jh he subsequently depicted in 1820. In 1826 he became a member of the Institute; in 1828-1839 he was director of the French Academy in Rome. Visited Algeria in 1833-1835; St. Petersburg in 1836, 1838, and 1842; Algeria again in 1837, 1845, and 1853, and Egypt, Syria, Palestine, and Turkey in 1839-40. Officer, Legion of Honor, 1825; Commander, 1842; Grand Officer, 1862; Medal of Honor, Paris Exhibition, 1855. Vemet painted success- fully military. Oriental and Biblical scenes, but after 1836 he devoted him- self chiefly to battle pieces. 178 383 PREPARING FOR A RACE. Study for large picture, "Roman Corso." A group of horses and men are preparing for a race. A light gray and a sorrel horse are plunging about to the imminent peril of a dark horse who has fallen with his master beneath him; other horses are being brought in from the left and above are the royal box, and the populace. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas. 19 H. ; 21 W. VIBERT, Jehan Georges. French School Born at Paris, 1840; died at Paris, July 27, 1902. Genre painter; pupil of Picot and Barrias. Medals: 1864, 1867, 1868; third class, 1878; Legion of Honor, 1870. 345 THE FIRST BABE. In a sumptuous apartment, lying upon a yellow sofa, and partially covered with a blue silk damask quilt, is "The First Babe." At the right, the fond mother stands over the child in adoration, and the father with folded hands sits meekly by its side at the left. Purchased from the artist. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1872. Water Color, 14 H. ; 17 W. 343 PALM SUNDAY IN SPAIN. Leaning against the newel post at the foot of a massive stone stairway is a woman in the brilliant costume of old Spain. She holds a palmleaf in her hands. Behind her and hanging over the balustrade is a pannier filled with palm leaves. Painted to order, 1873. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1873. Water Color, 20 H. ; 14 W. 380 THE STARTLED CONFESSOR. In the inner court of a parish house with a brick tiled floor is a young priest seated in a red chair. A table with writing materials, a prayer-book, and a glass of water are by his side; and on the floor is an apple-green por- celain vase. He is in a black habit, with a black beretta upon his head and with open mouth he leans forward nervously clasping his knees with both hands, the astonished recipient of the secrets of a Spanish girl, who in a bright red dress and black veil stands by his side. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 32 H.; 25 W. 441 THE REPRIMAND. An anxious mother and her gaily dressed and waj-^ard daughter are seated on a stone bench in the garden of the Vicarage. The mother in an ecstasy of passionate grief reproves her daughter and appeals to a priest who is sitting in an easy chair at the right, partaking of a luxurious repast, for counsel in her extremity. The priest looks nonchalantly up with well-feigned surprise at the erring one, and a sleepy old tomcat is curled up on the ground by his side. Painted to order. Salon, 1874. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1874. On canvas. 20 H. ; 32 W. 179 493 ''LE CORDON BLEU." Lent by Mrs. Frederick Buiterfield. On canvas, 34 H. ; 46^ W. VILLEGAS, Jose. Spanish School. Born at Seville, Spain, August, 1848; began the study of painting at the age of 16. In 1867 went to Madrid to study the great masters in the Museum of "El Prado." Went to Rome in 1868-1892; exhibited at Munich, Berlin, Vienna, Barcelona, and Venice. Received Four Grand Medals at Ber- lin, Munich, Vienna, and Barcelona. Officer of the Crown of Italy, 1893. Commander of the Order of Frederick of Wiirtemberg, 1892. Made Acade- mician de merite of the Academies of Berlin, Munich, and Vienna, 1893; and in 1894, of San Luca, of Rome, and of Acireale, and of Cararra, 1895. Com- mander of the Crown of Italy, 1894. "Virtuoso al Pantheon," 1896; Acade" mician of Perugia, 1897. Resides at Rome. 371 EXAMINING ARMS. In the interior of a guard room there are four men examining arms and armor. The two central figures are standing. The one leaning against a table is contemplating a sitting figure at the right who is polishing a piece of armor. Purchased in Paris. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1870. On wood, 14 H. ; 12 W. VINCENT, George. English School. Bom at Norwich, England, 1796; died 1832 (?). Pupil of "Old Crome." Removed to London in 1819. 309 LANDSCAPE. Lent by Mr. George A. Hearn. On canvas, 25 H. ; 34^^ W. VINCI, Leonardo da School of. Florentine School. Bom at Vinci, Val d'Amo, near Florence, in 1452; died at the Chateau de Clot, or Cloux, near Ambroise, May 2, 1519. Florentine School, pupil of Andrea del Verrocchio, with whom he was associated as late as 1476. The bright angel which he painted in his master's picture of the "Baptism of Christ," Florence Academy, and the "Medusa Head" at the Uffizi attributed to him, are the only extant works of the earlier period of his style, which closed in 1483. Lodovico Sforza, Duke of Milan, appointed him court painter, director of the newly founded Academy of Arts, general organizer of fetes in which art played a conspicuous part, and manager of all enterprises in which a knowledge of hydraulics engineering and general science was necessary. For the Duke he executed the famous wall painting of the "Last Supper" (1495-98), in Santa Maria deUe Grazie, and modeled an equestrian statue, never cast, of his father, Francesco Sforza. When Lodovico was overthrown by the French (1499), and sent to France to die in a dungeon at the Castle of Loches, Leonardo retumed to Florence, thence to Venice, and (in 1502) he visited the fortress of the principal cities of Romagna as military engineer to ^80 Ciesar Borgia. Between 1503 and 1505 he produced the famous Cartoon of tha " Battle of the Standard," from which he was to have painted a fresco in the great hall of the Palazzo Vecchio, at Florence. In October, 1507, Leonardo once more established himself in Milan, until 1514, when he accompanied Giuliano de' Medici to Rome to assist at the Coronation of Leo X. In 1516 he went to France, at the invitation of Francis I, and spent the last three years of his life in the King's service. 233 PORTRAIT OF A LADY. Half-length, full-face portrait of a young lady, with a wreath of foliage round her head, and holding in her hands a salver of fruit. She has long, flowing golden hair, and is attired in a rich dress of ItaUan fifteenth century fashion. Sir Charles Robinson says: "There can be no doubt that this most admirable and unique picture should be referred to Leonardo's early period; i.e., that it was executed at Florence before his removal to Milan, consequently anterior to 1483-85." It was formerly in the possession of Lord de Ros, and afterward in that of Lord St. Leonard, at Boyle Farm, Thames Ditton, near London; Boyle Farm, with its furniture and collections complete, having been purchased by the latter from Lord de Ros about 1830-40. Gift of Mr. Henry G. Marquand. 1890. On panel, ISf H.; 14A W. VOLLON, Antoine. French School. Bom at Lyons, 1833; died, 1900. Pupil of the Lyons Academy and of Ribot. He went to Paris and made his debut at the Salon of 1864. His subjects were mostly still-life, kitchen interiors, sea-fish, and occasionally portraits. Medals: 1865, 1868, 1869; first class, 1878; Legion of Honor, 1870; Officer, 1878. Member of the Beaux-Arts, 1897. f 385 A FARM YARD. A cart and some chickens are in the yard, and three horses are standing by a stable with a heavily thatched roof, which is reheved against a cold cloudy sky. Purchased in Paris. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas. 37 H.; 45 W. VOLTZ, Friedrich. Munich School. Born at Nordlingen, 1817; died at Munich, 1886. Son and pupil of Johann Michael Voltz (1784-1858) ; then studied at the Munich Academy, and from nature in the Bavarian Alps. Visited Italy in 1843^5 and in 1872, and the Netherlands in 1846. Professor at Munich Academy. Member of Munich, 1863, Berlin, 1869, and Vienna, 1870, Academies. Gold Medals: Beriin, 1856, 1861 ; Wiirtemburg Medal for Art, Orders of the Red Eagle and of St. Michael, 1867. 424 LANDSCAPE AND CATTLE. Two cows standing in the shadow of some large trees are drinking at a pool of water. Beyond, a girl pulling the limbs of a tree is silhouetted against the distant landscape where there is a cottage among the trees. Purchased in Munich, 1868. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On wood. 10 H. ; 13 W. 181 VOS, Comelis de (the Elder). Flemish ScM. Bom at Hulst, 1585; died at Antwerp, 1651. Pupil of David Remeeus; Master of the Guild of Antwerp in 1608; its Dean in 1619-20. Belongs to the school of Van Dyck, whose friend he was, and who painted his portrait. His works are in most of the Continental Galleries. 36 PORTRAIT OF A YOUNG LADY. Full length, seated, face and figure to the left, three-quarters front. She has golden-brown hair and a dress of similar color; both hands are resting on her lap and in her right she holds a feather fan; a string of pearls encircles and depends from the left wrist; a bunch of bright flowers is in her hair. Purchased by the Museum, 1871. Julien De Vriendt; history painter in Brussels, with an archaic tendency in opposition to the realism of the day. Order of Leopold. His brother, Albert, was also a painter and a contemporary. Under the gray stone arched entrance to the chapel is a priest holding an ornate crucifix before a young lady who wears a scarlet gown and hat of the same color, trimmed with peacock feathers. Following are two other ladies, one of whom wears a hat and cloak of blue, and a gown of rich brocade in blue and gold. The other leads by the hand a child who is dressed in white. At the right, sitting on a stone bench, is a young woman wearing a blue cloak and a voluminous headdress of white linen. In the shadowy interior of the chapel are a man and woman at worship. Bequeathed by Mr. Stephen Whitney Phcenix, 1881. Signed and dated, 1868. On canvas, 32i H. ; 32 W. VRIES, Adrian (Adriaan) de. Dutch School. Born at The Hague, 1601 ; died after 1643. He was the friend of Rubens and Van Dyck, and was highly esteemed by them as a portrait painter. His portraits are seen at Leyden, Dresden, and other large Galleries. 1 PORTRAIT OF A DUTCH GENTLEMAN. Bust, life-size; face in full light three-quarters to the left of the spec- tator. Hair dark brown, with mustache and goatee. Broad white linen collar at the neck. Dress black, melting into a warm dark ground. Purchased by the Museum, 1871. Signed and dated, 1643. On canvas, 24i H.; 20J W. On canvas, 46 H.; 36i W. VRIENDT, Julien De. Belgian School. 580 A CHAPEL SCENE, OLD ANTWERP. 182 ^^oxtxait of a ^utch (gentle WAHLBERG, Alfred. Swedish School. Bom at Stockholm, 1834. Pupil of Dusseldorf Academy, and in Paris of Corot and Daubigny. Member of the Stockholm Academy. Medals: Paris, 1870; second class, 1872; first class, 1878. Legion of Honor, 1874; Officer, 1878. Order of Vasa. 395 PORT OF WAXHOLM {MOONLIGHT), NEAR STOCK- HOLM, SWEDEN. At the right are fishing boats, some shipping, and a portion of the town. Above the sky is filled with flickering silvery clouds illumined by a full moon, the light from which glints over the surface of the water below. Painted to order. Salon, 1873. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 32 H. ; 54 W. 439 A DAY IN OCTOBER, NEAR WAXHOLM, SWEDEN. The gloom of a wet day hangs over the landscape. At the right, a muddy road leads up to an old mill in the center of the picture; and in the distance at the left, is a \ake reflecting a dull heavy sky illumined near the horizon. Painted to order. Salon, 1873. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed and dated, 1873. On canvas, 39 H. ; 62 W. WALDO and JEWETT. Amencan School. Waldo, Samuel L. — Bom in Connecticut, 1783; died at New York, 1861. He received his first instructions in art in his native State, but painted for some time in Charleston, S. C. In 1806 he went to London, and was admitted into the small but select circle of American artists then in the English metropolis. After painting portraits in London for three years, he returned to the United States in 1809, and opened a studio in New York, where the balance of his professional life was spent. He devoted himself to portrait painting with marked success. Jewett, William S.— Bom, Febmary 14, 1795, at East Haddam, Conn.; died, 1873. At the age of sixteen years he was apprenticed to a coachmaker in New London. Soon after, Samuel L. Waldo came there and painted several portraits, the sight of which fascinated young Jewett so mucli that he offered to grind the colors for Mr. Waldo that he might be near and see him at his work : later followed him to New York, and became his assistant: very many portraits bear the impress of the two men who worked together in perfect harmony for eighteen consecutive years. 173 PORTRAIT OF MR. EDWARD KELLOGG. Bom at Northfield, Conn., 1790; died at Brooklyn, N. Y., 1858. A man of literary tastes and writer upon financial questions; late in life he published a revised edition of "A New Monetary System, the only means of securing the respective rights of labor and property and of protecting the public from financial revulsions." Seated in an arm-chair, holding a glove in his right hand, face three- quarters to the left, the eyes looking forward at the spectator; dark -brown hair, white neck-cloth; background, dark gray. Gift of Mrs. Mart E. Kellogg Putnam. 1899. On panel, 32 H. ; 25 W. 183 184 PORTRAIT OF MRS. EDWARD KELLOGG. Sitting with a small book in her hands, the face and figure turned to the right, the eyes looking pleasantly forward. She is gowned in black silk with a ruffed lace coiffure, and collar. Her hair is dark brown. Gift of Mrs. Maky E. Kellogg Putnam, 1899. On panel, 32 H.; 25 W. 180 PORTRAIT OF REV. GARDINER SPRING, D.D., 1832. Bom, 1785; died, 1873. Pastor of the Old Brick Presbyterian Church, N. Y., 1810-1873. Bust, life-size, showing the right-hand resting on a book; face three- quarters to the right, eyes looking to the front; white necktie, black coat; red drapery background, with a gUmpse of the sky below. Gift of Mr. S. p. Avery, 1896. On panel, 32^ H. ; 25 W. WALDO, Scimuel L. American School. 191 "OLD PAT, THE INDEPENDENT BEGGAR." Gift of Mr. Samuel P. Avery, December, 1904. On panel, 19i H.; 14 W. WALKER, Robert. English School. Born (?); died in 1658. An English portrait painter of great merit, under the Commonwealth. An imitator of Van Dyck. He painted the Protector, Admiral Blake, Sir Thomas Browne, and other notables, and is known as "Cromwell's portrait painter." His works are in the principal English galleries. 151 PORTRAIT OF GENERAL IRETON. Bom near Nottingham, 1611; married Cromwell's daughter, Bridget; commanded the left wing at the battle of Naseby; wounded and made prisoner. He accompanied Cromwell to Ireland in 1649; and crowned his military career by the taking of Limerick, where he died of the pestilence in 1651. From the collection of the late Jacob H. Lazarus. Bust, life-size, three-quarters to the left of the spectator; his eyes look frankly to the front; his nair is a warm brown; slight mustache and beard he is dressed in black, with a broad Cromwellian collar. The background is a warm brown tone, i , ' Gift of Mr. S. p. Avkry. 1894. j On canvas, 21^ H. ; 17i W. WAPPERS, Gustaaf, Baron. Flemish School. Born at Antwerp, 1803; died at Paris, 1874. Pupil, at Antwerp Acad- emy, of I. J. Van Regemorter, then of Van Bree and of Herreyns; professor at the Antwerp Academy, 1832, and its director in 1840-53; made court painter and baron in 1845; settled in Paris in 1853. Many medals. Legion of Honor, 1842; Officer, 1855; Order of Red Eagle, 1847; Officer, Order of Leopold, 1855. 478 CONFIDENCES. Painted from the daughters of the artist, for Mr. John Wolfe; sold from his collection, in 1863, to Mr. William T. Sanford, and repurchased from his sale, 1876, for Miss Wolfe. Two girls sitting at the feet of a statue of Cupid in the garden of a chateau 184 are exchanging confidences. Both are in neglige costume; one holds a daisy, the other has her folded hands around her knee. The figures are life-size, three-quarter length. Bequeathed by Miss Catharine Lorillard Wolfb, 1887. Signed and dated, 1853. On canvaa. 44 H.; 37 W. WARD, Edgar M. American School. Bom at Urbana, Ohio. Contemporary. Genre painter. Pupil N.A.D., New York, Beaux-Arts and Cabanel at Paris. 122 THE COPPERSMITH. Standing by his bench, surrounded with the implements of his trade, he is examining a small copper kettle. The figure is lighted from a window at the side. Gift of Several Gentlemen, 1900. Signed. On canvas, 24 H. ; 20 W. WEBB, C. M. msseldorf School. 664 IN THE STUDY. An old man in a cap and fur-trimmed gown is sitting at a desk writing in a large book. Papers and books are piled up and scattered about the floor of the room and from a latticed window at the left, the light illuminates the wall. A clock, and other objects at the back of the room. Bequeathed by Mr. Stephen Whitney Phcenix, 1881. Signed and dated. 1863. On canvas. 22^ H. ; 20 W. WEEKS, Edwin Lord. French School. Bom at Boston, 1849; died November 17, 1903. Landscape and figure painter; pupil in Paris of the Ecole des Beaux-Arts, Bonnat and G^rome- Sketched and painted in Cairo, Jerusalem, Damascus and Tangier, and is particularly noted for pictures of Eastern life. Member of the Boston Art Club. Honorable Mention, Paris Salon, 1885. 225 E THE LAST VOYAGE— SOUVENIR OF THE GANGES— BENARES. A superstition exists among the pious Hindus that the souls of the faith- ful who die on the left bank of the Ganges River are blessed, and enter directly into Paradise, while those who pass away on the opposite shores are cursed, and their souls are changed into long-suffering donkeys or other beasts of burden. So the boy rows lustily, while a comrade fans the old Fakir in order that he may arrive soon enough to draw his last breath in the shadow of some temple and pass directly into peace. The background shows a line of temple steps, and wooden platforms, built out over the stream to facilitate bathing and washing in the waters of the sacred river, as well as for meditation. The devout sit for hours sheltered under their straw umbrellas dotted like mush- rooms along the shore. In the centre of the background is the burning ghat, where after death the bodies of the better classes are burned in the open. Gift of Mrs, Edwin Lord Weeks, 1905. Signed. On canvas. 77 H.; 116iW. 185 WEENIX, Jan Baptista. Dutch School. Born at Amsterdam, 1621; died at Huys-Termey, near Utrecht, 1660. Genre, landscape, and animal painter, pupil of Jan Micker, then of Abraham Bloemart in Utrecht, and of Nicolaas Moeyaert, whom he closely imitated; went to Rome in 1643, and was employed by Cardinal Pamphili, afterwards Pope Innocent X. After his return in 1647 he lived in Amsterdam, then at Utrecht, where he appears among the Managers of the Guild in 1649. 73 AN ITALIAN SEAPORT. In the immediate foreground at the left of the spectator two men seated are in earnest conversation; behind them is an architectural ruin which leads off into the middle distance where ships are at anchor, or unloading at a quay; groups of figures and a horseman are in the middle foreground at the right. Purchased by the Museum, 1871. On panel, 21 H. ; 15 W. WEIR, John F. American School. Born at West Point, 1841. Pupil of his father Robert W. Weir. Came to New York in 1861. Elected N.A. in 1866. In 1869 he was elected by the Corporation of Yale College to fill the chair of Director of the Yale School of Fine Arts, a position which he still holds. 124 FORGING THE SHAFT. In the left center of a foundry with its huge oaken beams and sky- lighted roof a shaft at white heat is being withdrawn from the furnace; the workmen shield their faces with their aprons and the heavy chains are strained under the weight they carry. The entire structure is glowing with light and heat. Gift of Mr. Lyman G. Bloomingdale, 1901. On canvas, 51 H.; 72 W. WEIR, Julian Alden. American School. Born at West Point, N. Y., 1852. Son and pupil of Prof. R. W. Weir, and studied with Gerome at Paris, 1872-76. Honorable mention, Paris Salon. Associate of National Academy of Design, 1885. Academician, 1886. "Idle Hours" was one of the prize paintings at the Competitive Ex- hibition of the American Art Association, 1888. 159 IDLE HOURS. Figures, Life-size. An oblong latticed window at the top of the picture with its gauzy curtain diffuses the light -over a mother and child who are seated upon a sofa piled with cushions. Both figures are dressed in white, and are in shadow, except for a glint of light here and there. The child listlessly holds a guitar in her lap, and the mother is gazing reflectively out of the picture. Gift of an Association of Gentlemen, 1888. Signed and dated, 1888. On canvas, 50 H. ; 71 W. 186 WENTWORTH, Cecelia E. French School 140 PORTRAIT OF MAJOR-GENERAL GEORGE B. MC CLELLAN. Head and bust, life-size. Face turned to the right of the spectator. Nearly in profile. The eyes look directly forward. He has iron-gray xiair, mustache and goatee. The coat is black and the background a dull red tone. Gift of Several Gentlemen, 1887. Signed. On canvas, 21 H.; 16 W. WEST, Benjamin. American School. Bom at Springfield, Penn., October 10, 1738; died in London, March 11, 1820. He began to draw when seven years old and took his first lessons in preparing colors from Cherokee Indians. After a little instruction from a painter named Williams, he set up, when eighteen years old, in Philadel- phia, as a portrait painter ; thence removed to New York, and in 1760 went to Italy, wher.e he remained until 1763, when he settled in London. His pictures of "Agrippina bringing home the ashes of Germanicus," painted for the Archbishop of York, and the "Departure of Regulus," bought by George III, won him royal patronage and favor, which he long enjoyed. From 1769 to 1801, during which time he received all orders from the King, who made him his historical painter, 1772, West gained £34,187. The seven pictures illustrating revealed religion, which he painted for the Oratory at Windsor, brought him in £20,705, and his many portraits of members of the Royal family were highly remunerative. On the death of Sir Joshua Reynolds, 1792, West succeeded him as President of the Royal Academy, of which he had been one of the founders in 1768, and with the exception of a few months, held that office until his death, in 1820. 204 TRIUMPH OF LOVE. A youth, bearing in his right hand a flaming torch and holding with his left the guiding reins of a lion and a horse, is preceded in the journey over the world by two amours, one of whom is mounted upon a flying eagle. Following this group is a female figure, hoMing in her hand a pair of snow- white doves, while Cupid clings to her garments, as they all float along on a cloud, dispelling the darkness by the liglit of love. Signed. On canvas. 79 H. ; 69 W. 220 HAGAR AND ISHMAEL. Genesis 21st; 17th and 18th verses: "And God heard the voice of the lad; and the angel of God called to Hagar out of heaven, and said unto her. What aileth thee, Hagar? fear not; for God hath heard the voice of the lad where he is. Arise, lift up the lad, and hold him in thine hand; for I will make him a great nation." On canvas, 74J H.; 52^ W. WHEATLEY, Francis. English School. Bom at London, 1747; died there, 1801. He received his early art education at Shipley's drawing school, and obtained several premiums from the Society for the Encouragement of Arts. He assisted Mr. Mortimer in painting the ceiling of Brocket Hall and in the decorations at Vauxhall. His inclination appeared to lead him equally to figures and landscape, but 187 meeting with considerable success in painting small whole length portraits, he for some time made that his pursuit; after practising some years in London he visited Ireland, where he painted a large picture of the Irish House of Commons, which gave him great reputation. Returning to London about 1780, he was invited to contribute twelve pictures for Boydell's Shakespeare. A.R.A., in 1790. R.A., 1791. 153 VIEW IN WALES. At the base of a mountain there are a group of trees, a cottage, and a stream of water, by which a shepherd is tending his flock. Some women with fagots and a dog are in the foreground. Gift of Messrs. Dowdeswell and Dowdeswells, Limited, 1903. On canvas, IH H. ; 13i W. 154 VIEW IN WALES, (^(f) A wooded hill landscape with a small lake in the foreground, and a group of figures and three cows on the bank. Gift of Messrs. Dowdeswell and Dowdeswells, Limited, 1903. On canvas, 11^ H.; 13^ W. WHITE, Edwin. American School. Bom at South Hadley, Mass., 1817; died at Saratoga Springs, N. Y. June 7, 1877. History and genre painter. Elected N.A., 1849. Studied in Paris, Rome, Florence, and Diisseldorf in 1850, and in 1869. Returned in 1875, and opened a studio in New York. Among his important works are "Pocahontas informing Smith of the Conspiracy of the Indians," "Wash- ington resigning his Commission," now in Annapolis; "Age's Reverie," Military Academy, West Point; "Death-bed of Luther," "Requiem of De Soto," " Old Age of Milton." 211 THE ANTIQUARY. In the costume of the early Florentines, sitting at a table upon which there are a book and a silver casket, the antiquary is examining a coin which he holds in his right hand. The red cap, black coat, red tights, and tapestry at the left, are in beautiful harmony with the gray wall of the room. Gift of Mrs. Edwin White, 1877. Signed and dated, 1855. On canvas, 26^ H. ; 21\ W. WIGGINS, Carlton. American School. Bom at Turners, N. Y., 1848. Landscape and cattle painter. Pupil of the National Academy, N. Y. Studied in France, 1880, '81. Studio in New York. 115 YOUNG HOLSTEIN BULL. Standing in an open field in the bright sunlight, his white skin being in strong contrast to the blue sky overhead and the green pasture lands below. About one-half the size of life. Gift of Mr. Joseph Grafton, 1895. Signed. On canvas, 53 H.; 45 W. 188 WILLAERTS, Adam. Flemish School. Bora at Antwerp, 1577; died at Utrecht, April 4, 1664. Landscape, marine, and genre painter, especially of coast and harbor scenes, enlivened with numerous characteristic figures; also burning ships, houses and villages, markets and festive scenes. Mentioned as Member of the Guild at Utrecht in 1611, among the Managers in 1620-37, as still living in 1649, as dead in 1662. 303 RIVER SCENE WITH BOATS. Lent by Mr. George A. Hearn. Signed and dated, 1645. On panel, 19^ U.) 33 W. WILLEMS, Florent. Belgian School Bom at Liege, Belgium, 1823. Pupil of Mechlin Academy; studied especially the old Dutch Masters, and attracted attention as early as 1840. The great success of his picture exhibited in Paris in 1844 induced him to settle there. Medals: Paris, third class, 1844; second class, 1846; first class, 1855, 1867, 1878; Legion of Honor, 1853; Officer, 1864; Commander, 1878; Ofl&cer of the Order of Leopold, 1851. 407 PREPARING FOR THE PROMENADE. A lady standing, dressed in white satin with a light cape over her shoulders and a light felt hat on her head, is putting on her gloves. By her side is a page holding back a portiere. Vienna Exhibition, 1873. Purchased from the artist. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On wood. 25 H. ; 19 W. WILSON, Richard, R.A. English School. Bom at Pinegas, Montgomeryshire, 1713; died at Llanberris, Carnar- vonshire, 1782. An eminent English landscape painter. He early mani- fested a taste for drawing, and gave such promise that his relative, Sir George Wynne, took him to London, and placed him under an obscure portrait painter, Thomas Wright, where he made rapid progress. In 1748 he painted a large picture of the Prince of Wales, and his brother the Duke of York. In 1749 he went to Italy. While stopping at Venice, he paid a visit to Zuccarelli, who happened to be from home, and Wilson, to pass the time, made a sketch in oils, of the view from the painter's window. Zuccarelli thought so highly of this sketch that he recommended Wilson to relinquish portrait and take to landscape painting. A similar experience with Vemet, in Rome, caused Wilson to devote himself to landscape painting. 284 THE STORM. A classic landscape, over which a storm is breaking. Forked lightning shoots across the sky, illuminating a distant town at the foot of a hill. In the middle distance there is a wooded plain with ancient ruins, and on a cliff at the right is an old castle. By a roadway in the immediate foreground is a large tree split and swaying in the wind, and a shepherd with his flock are making their way to a cottage near the base of the cliff. Gift of Mr. Georqk A. Hearn, 1895. On canvas, 41 H. ; 52} W. 189 315 ITALIAN LANDSCAPE. Lent by Mr. George A. Hearn. On canvas, 34 H. ; 50i W. 300 LANDSCAPE AND FIGURES. In the foreground there are figures promenading on an esplanade which leads to a group of trees where there is a chateau on a cliff ; at the left is a lake bordered by hills and beyond in the distance is a plain and a glimpse of the sea. The sky is clear and cloudless. Gift of Mr. George A. Hearn, 1905. On canvas, 16^ H. ; 20i W. WINNE, Lievin de. Belgian School. Bom at Ghent, 1821. Died at Brussels, 1880. Portrait painter. Pupil of Felix Delvigne. Legion of Honor, 1865; Officer, 1878. 495 PORTRAIT OF A GENTLEMAN. Lent by a Friend. On canvas, 52 H. ; 35 W. WINTERHALTER, Franz Xavier. French School. Bom at Mengenschwand, in the Black Forest, 1806; died at Frankfort, 1873. Portrait and genre painter; pupil of Munich Academy and of Stieler. Went in 1828 to Carlsruhe, where he was made court painter; spent several years traveling in Italy, Spain, Belgium, and England, and in 1834 settled in Paris, where for more than thirty years he was regarded as the portrait painter par excellence of royalty and of the aristocracy, especially of women. Medals: Paris, 1836, 1837, 1855; Legion of Honor, 1839; Officer, 1857; Order of Red Eagle, 1861; Wiirtemberg Crown Order, and many others. 490 FLORIN DA. The Maids of Honor of Roderick, King of the Spanish Visigoths, about A.D. 700. The king, wishing to determine which of their number was the fairest, retired to a lonely spot, where, in concealment, he was a witness of the scene, and awarded the prize of beauty to Florinda, whom he afterwards made the object of his love. Her father, in revenge, called the Arabs into Spain and brought about the Arab Conquest. The Empress Eugenie and her Maids of Honor were said to have been the models for the painter. In a thickly wooded glen twelve maids of honor, semi-nude, ready for a bath, are gathered together in a semi-circle around a pool of water, all uncon- scious of the presence of the king who is peering through an opening in the wood at the left. The castle is seen above in the distance. Bequeathed by Mr. William H. Webb, 1901. Signed. On canvas, 70 H.; 86 W. WOOD, Thomas W. AmeHcan School. Bom at Montpelier, Vt., 1823. Died at New York, April 14, 1903. Studied from nature, and painted portraits in his native city until 1857. He went to Boston and entered the studio of Chester Harding, where he remained but a few months before going to Paris, where he opened a studio. He made short trips to Italy and Switzerland, returning to America in 1860. He painted portraits in Louisville, Ky., and Nashville, Tenn., until 1867, when he 190 settled in New York. He was made an associate of the National Academy, 1867, Academician in 1871, President of Water Color Society, and President of the National Academy of Design from 1891-1899. 116 WAR EPISODES: THE CONTRABAND; THE VOLUN- TEER; THE VETERAN. "The Contraband." A plantation negro, with a walking stick and ban- danna bundle in his left hand, raises his light felt hat with the right in saluta- tion. The edge of an army tent is seen at the left and a musket and trappings are at the right, above which is the sign of the provost marshal's office where the negro has come to enlist as a soldier. On the second panel "The Volun- teer" has just stepped out of the office dressed in the uniform of a Union soldier bearing a musket over his right shoulder. The third panel represents "The Veteran," returned disabled and on crutches, in the act of giving a military salute. Gift of Mr. Charles Stewart Smith, 1884. Signed and dated. 1865. On canvas. 28 H.; 60 W. WORMS, Jules. French School. Bom at Paris, 1832. Resides there. Genre painter; pupil of Lafosse. He has traveled extensively, especially in Spain, and many of his best works are illustrative of Spanish life. Medals: Paris, 1867, 1868, 1869; third cla8.s, Exposition Universelle, 1878; first class, Madrid, 1869; Legion of Honor, 187G. 388 LETTER OF RECOMMENDATION. Sitting in the middle of a Spanish courtyard is an old man wearing a fur- trimmed cap and reading a letter of introduction which has been handed him by a young girl who stands at the right; leaning over the old gentleman's shoulder and scanning the letter is a priest, and behind is a young man intently regarding the girl. A housemaid at the left is drawing water from a well, and another is seated by a column at the right. Painted to order. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On canvas, 19 H.; 28 W. 448 THE FOUNTAIN OF THE BULLS; GRANADA. Sitting astride a dark bay horse which is drinking at the fountain is a cava- lier chatting with two gaily dressed i^irls, one of whom is petting the horse. At the right a boy and girl are bearing away between them a heavy jar of water, and in the doorway of a barl)ershop are two men in conversation. In the foreground at the left is a dog, and beyond, a peddler is selling trinkets to two women who stand in a doorway. Painted to order. Salon, 1877. Bequeathed by Miss Catharine Lorillard Woue, 1887. Signed and dated, 1877. On canvas, 22* H.; 31 W. WUST, Alexander. Norwegian School. Born, 1837; died, 1876. 648 A MOUNTAIN TORRENT IN NORWAY, Gift of Mrs. Henry G. Norton, 1882. Signed and dated. 1867. 191 On canvas. 43 H.; 93 W. WYANT, Alexander H. American School. Bom in Ohio, 1836; died at New York, 1892. He devoted himself in early life to painting photographs and portraits in Cincinnati. At the age of 21 years he made a journey to New York to visit George Inness, by whom he was received most kindly. The impression made upon Wyant at this meeting was lasting, and the influence of that masterful painter may be traced in many of his most important works. He spent some years at Diisseldorf ; subsequently at London ; settled at New York after 1864. He was one of the founders of the Water Color Society, and a member of the National Academy of Design. 601 VIEW IN COUNTY KERRY, IRELAND. A large pool of water with its grassy border occupies the center of a land- scape saturated with the moisture of continuous rains. At the right is a whitewashed cabin snuggled against a rocky ledge from which a footpath leads down to the foreground. An atmosphere of mist envelops the low hills and plains beyond, and the distant mountains rise into a clearing sky where the vapory clouds are slowly lifting. Gift of Mb. George I. Seney, 1887. Signed. On canvas, 26 H. ; 40 W. 328 LOOKING TOWARDS THE SEA. Lent by Mk. George A. Hearn. On canvas, 17i H. ; 29i W. 329 LANDSCAPE, Lent by Mr. George A. Hearn. On canvas, 20 H. ; 29J W. 330 BROAD, SILENT VALLEY. Lent by Mr. George A. Hearn. On canvas, 60^ H. ; 50 W. WYLIE, Robert. American School. Bom at the Isle of Man, 1839; died in Brittany, 1877. Brought to America when a child. Pupil of the Pennsylvania Academy, Philadelphia. Went to Paris for study, 1863; settled in Brittany in 1865. Medal, second class; Paris Salon, 1872. 686 THE DEATH OF A VENDEAN CHIEF. This picture was nearly finished at the artist's death. It depicts an inci- dent in the romantic insurrection of the inhabitants of La Vendee, March, 1793, to March, 1796, against the over-harsh interference of the revolutionists with the rights of their simple community. The wounded chief surrounded by his family and followers is lying upon a litter of straw in the crypt where he has been taken, fatally wounded after a desperate conflict. A priest kneels by his side administering the last rites of the church, and his grief-stricken wife leans over the prostrate form, covering her face with one hand while she holds out the crucifix before his face with the other. Two women at the left have thrown themselves into each other's arms, and two men kneel at the right where the lighted candles shine upon them. Above is a Vendean soldier holding a blunderbuss under his arm and in the center of the picture is another leaning upon his weapon. On the stone stairs at the right, in deep shadow, is a captive soldier. Gift of MsesRS. Goupil & Co., 1880. On canvas, 77 H. ; 86 W. 192 YEWELL, George H. American School Born at Havre-de-Grace, Md., January 20, 1830. Portrait and still-life painter. Pupil of Thomas Hicks in New York, and of Couture in Paris. Lived several years in Rome. Elected N.A. in 1880. Exhibitor at the Paris Exposition of 1878. 118 INTERIOR OF ST. MARK'S, VENICE. The pulpit stands in the center of the picture, and the steps at the right of the spectator lead to the oratory Gift of the Artist, 1890. Signed. On canvas, 21 H. ; 12i W. ZAMACOIS, Eduardo. Spanish School. Bom at Bilboa, 1842; died at Madrid, 1871. Pupil, at Bilboa, of Balaco, then of Madrid Academy under Federico de Madrazo, and in Paris of Meis- sonier. Medals: Paris, 1867; Munich, 1870. 466 SLEEPING HUNTER. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. Signed. On wood, 6 H. ; 6 W. ZIEM, Felix. French School. Bom at Beaune (Cote-d'Or), 1821. Pupil of Art School of Dijon. Traveled in 1845-48 in southern France, Italy, and the East. His views of Venice have won him world-wide fame. Medals: third class, 1853, 1855; first class, 1852. Legion of Honor, 1857; Officer, 1878. 405 INUNDA TION OF THE PIAZZA OF ST. MARK, VENICE. Purchased in Paris. Bequeathed by Miss Catharine Lorillard Wolfe, 1887. On canvas, 32 H.; 26 W. ZOFFANY, Johann, R.A. English School. Born at Ratisbon about 1733; died at London, 1810. Real name Zauffely. Portrait painter; pupil in Ratisbon of Speer; went to Rome, where he remained twelve years. Went to England 1758, where he attracted the notice of Lord Bute by a portrait of Garrick, and soon acquired reputation; he was sent to Italy by the King in 1775, and there painted his famous picture, "The Tribune of Florence," and in 1778, for the Empress Maria Theresa, the " Imperial Family of Tuscany," for which picture he was made a baron. After his retum to England, he went to India, in 1783, and amassed a great fortune. Member of London, Bologna, Florence, and Panama Academies. 317 PORTRAIT OF OZIAS HUMPHREY, R.A. Lent by Mr. George A. Hearn. On canvas, 25 H.; 20 W. ZURBARAN, Francisco de. Spanish School. Bom at Fuente de Cantos, Estremadura, 1598; died at Madrid, 1662. Pupil of Juan de las Roelas, afterward imitated style of Caravaggio. In 1625 193 he painted a' series of scenes from the life of St. Peter for the chapel of San Pedro, Cathedral of Seville, and about the same time his " Glory of St. Thomas Aquinas," his best work, now in the Seville Museum. 277 ST. MICHAEL, THE ARCHANGEL, Clad in a blue tunic, red mantle, plumed helmet, and girt with a jeweled belt, he is seen in front view holding aloft in his right hand a flaming sword, in his left is the palm of peace. His left foot is upon the shoulder of a prostrate demon whom he is driving to the infernal regions below. Purchased in 1887, from Mr. Bensusan, of Cadiz. Gift of Mr. Henbt G. Mabquand. 1888. On canvas, 63i H.; 421 W. 194 GALLERY 1 6 THE WILLIAM H. VANDERBILT COLLECTION OF MODERN PAINTINGS LENT BY MR. GEORGE W. VANDERBILT THE WILLIAM H. VANDERBILT COLLECTION OF MODERN PAINTINGS LENT BY MR. GEORGE W. VANDERBILT The Catalogue of this loan is a reprint from that of Mr. William H. Vanderbilt, published in 1886, with a prefatory note by Mr. S. P. Avery, NOTE. Mr. William H. Vanderbilt was born in the year 182 1. In 1854 he accompanied his father, Commodore Cornelius Vander- bilt, and other members of his family, on his steamship the " White Star," during the famous trip to notable parts of Europe. It was the desire to visit Rome, but on account of the cholera then raging there they could only land at Civita Vecchia, where Mr. W. H. Vanderbilt purchased his first painting. Later on, in the early '6o's, he began to purchase and commission pictures from a number of our native artists. This experience did much to interest him in collecting works of art. His first purchases were distributed throughout his residence on Fifth Avenue, southeast corner of Fortieth Street. During 1868 and succeeding years he began to purchase works by foreign artists. On the death of his father in 1877 his increasing means enabled Mr. Vanderbilt to purchase examples of the celebrated living and recently deceased painters, which at that time had not become common in this country. Frequently going to Europe, he visited the national and private galleries, attended notable public sales, conferred 197 THE WILUAM H. VANDERBILT COLLECTION. with reliable experts, made extensive purchases, and gave com- missions to several prominent artists of the time. In course of events and with many art accumulations Mr. Vanderbilt found that he required more extensive premises. He then built his final residence at 640 Fifth Avenue, with adjoining picture galleries, to which he removed in 1881, and where he continually added to his collection up to the time of his death in 1885. Since then no paintings have been added, neither have any of them ever been exhibited outside the residence, where for several years it has not been convenient to admit visitors. In consideration of the many applications to see the paintings, Mr. George Vanderbilt, having planned to be absent from the city for the most of the coming year, has in the most generous manner loaned this portion of his father's collection to the Metropolitan Museum of Art, where it can be freely enjoyed by the public. 198 GALLERY 16. CATALOGUE OF PAINTINGS FROM THE W. H. VANDERBILT COLLECTION LENT BY MR. GEORGE W. VANDERBILT \* The measurements represent the "sij^ht** or painted surface— in lnch«5s — and in every case the first figures indicate the width. For Index, see page 229. 1 MEISSONIER (J. L E.). A Portrait 10 X 13 Dated l88a f MOLLER (Leopold Carl). Street Scene, Cairo. 26 X 35 Dated i88a 3 DL\Z (N., DE LA Pe?ia). " Blind Man»s Buff.- 19 X 16 Dated 1853. From the Spencer Collection, l87i* 199 CiALLERY 16. 4 BOLDINI (a). Ladies of the First Empire. II X 13 Dated 1875,. 5 BOUGUEREAU (W, A.), Going to the Bath. 30 X 40 Dated 1865, From the John Taylor Johnston Collection, iStJI 6 LEIGHTON (Sir Frederic) An Odalisque. 17x35 ^^Vci^ 7 ^aM COROT (J. B. C). Classical Landscape* 24 X 16 8 ALMA-TADEMA (L.) The Sculpture Gallery* 23 X 30 This subject depicts visitors in a Roman Sculpture Gallery, the specimens being taken from some celebrated antique works : the Vase in the center from that in the Naples Museum; the portrait of "Agrippina" from that in the Capitol at Rome ; the Bronze Horse from that in the Naples Museum ; the por- trait of " Pericles'* from that in the Vatican ; the Silver Dish upon the Table from that in the Berlin Museum ; the Table from that in the Casa Rufi at Pom. peii ; and the *' Hercules Strangling the Serpents " is also well known to archae- ologists. The room in the background is an emporium for minor works, where customers may be seen purchasing Lamps, ate. 200 GALLERY 16. 9 GSrQmE (J. L.) Louis XIV. and the Grand Cond6. 54x37 Painted to order. 1878. (Extract of Letter from the Artist.) '* In order to deliver your picture of the * Reception of the Prince of Cond^ by Louis XIV./ 1 have worked upon it without intermission to reach the desired end, and I hope that I have succeeded. I hope also that you will be satisfied, for I have done my best to arrive at this result. A few lines about the subject will make you understand it in its details. The reception takes place on the grand staircase at Versailles. This staircase no longer exists. It was destroyed under Louis XV., but there remains an engraving of it at that time, very well executed, which has enabled me to reconstruct it with truth. In the year 1674 Conde had returned to Court, where he was received in triumph. The King came forward to meet him on the grand staircase, which was not his usual habit. The Prince was going up slowly, on account of the gout, which made him almost helpless. As soon as he saw the monarch, * Sire,' said he, * I beg Your Majesty's pardon to make you wait so long.* * My cousin,* answered the King, * do not hurry When one is so loaded with laurels as you are, it is difficult to walk quickly.' Louis XIV, pressed him in his arms, and embraced him repeatedly. By the side of Louis XIV. stands his son, the Duke of Burgundy, whom they called the Great Dauphin, at that time thirteen years old. He died while young, with- out having reigned, and was the father of Louis XV. Behind him is his pre- ceptor liossuet. Bishop of Meaux. On the right and on the left are members of the Court. 10 DETAILLE (Edouard). Ambulance Corps. 46 X 32 Painted to order. 1878. (Extract of a I.etter from the Artist.) • The title of my picture is * The Arrest of an Ambulance, Eastern Part ot France, January, 1871.' They are civil Ambulanciers, who have been taken by a Prussian patrol in a village where a battle has taken place. When their papers have been examined and recognized in order by the Prussian general, they will be released and authorized to collect the wounded and assist in tlie German in- firmaries. The spot where the scene is laid is a village in Francho-Comte ; they hare fought there ; the Germans occupy it. The foot-soldiers who surround the ambulances are Prussian Chasseurs (Rhetnisches Jagers, Battalion No GALLERY 16. The Prussian general is accompanied by an officer of the Hussars (Leibhusaren, Regiment No. 2), and by an officer of the staff ; his cap and cloth-facing of amaranth. The two other officers are : the one in blue tunic and yellow collar, an officer of the Dragoons ; the other, an officer of the Cuirassiers (Branden- burgisches Cuirassiers, Regiment No. 6, Kaiser Nicholas I. von Russland). The dead body in the foreground is that of a Bavarian foot-soldier. Those are also Bavarians who are at the end of the street, and at the entrance of the house under the facade, and pierced by bullets. Here are very minute explanations, but I thought that Mr. Vanderbilt would be pleased to have all possible details about his picture. I hope that he may be satisfied with it, and that it will receive many compliments." 11 COROT (J. B, C). Road Near Paris. 23x15 12 ALMA-TADEMA (L.). The Picture Gallery. 23 X 30 This represents a Gallery of Antique Paintings. Several visitors are mak- ing good use of the catalogues and references which they have found in the boxes on the tables. On the easel is a Monochrome by **Apelles"; above which appears part of a large picture, taken from the great Mosaic in the Naples Museum, which is probably a copy of the painting ** The Battle of Issus," by Philoxenos of Eretria. The picture over the doorway might be attributed to Marcus Ludius, the inventor of that most charming and well-known architectural decoration in which Pompeii abounds. Through the doorway is seen another work, taken from a Mosaic in the Naples Museum, representing *' Strength Captivated by Love," The life-size figure is, by some archaeologists, believed to be the ** Medea '* by Timomachos of Byzantium, which picture Julius Caesar bought from the artist for 40 talents (;^8,ooo) for his collection in the gardens on the Tiber, and left by will to the Roman people. Next to this, ** The Sacrifice of Iphigenia," by Timanthes, is a picture much praised by ancient writers ; to the right appears a foreshortened Lion, which there is reason to believe is the work of Pausias, who is said to have been the first to paint objects in foreshortening, and never to have been surpassed in that branch of art. The picture above it represents "A Theatrical Rehearsal," taken from a Mosaic in .he Naples Museum. This pair of pictures (8 and 12) have been engraved by A. Blanchard of Paris. 202 GALLERY 16. 13 BARGUE (Charles). Playing Chess on the Terrace. 17 X II The last and most important work of the artist, x88> 14 TROYON (Constant). Autumn Woods, with Cattle. 21 z 15 LEFEBVRE (Jules Joseph). Mignon. 36 X 60 Dated 1878. Purchased from the Salon, 1878. Engraved by A. Lamotte, 16 KNAUS (Ludwig). The Road to Ruin. 43 X 33 Dated 1876. From the Wallis *' French Gallery,** London, 1877, 17 LEYS (Baron Henri). Lucas Cranach Taking the Portrait of Martin Luther 36 X 22 Dated 1863. Exhibited at the Universal Exhibition, Paris, 1867. m GALLERY 16. 18 FORTUNY (Mariano). Arab Fantasia at Tangiers, 24 X 20 Dated 1866. From the M. Foil Collection. Rome. x5i7a. 19 TROYON (Constant). Group of Cattle, etc. 15 X 12 From the W. Wilson Collection, Paris, l88l« 20 MILLET (J R). Shepherdess (Plains of Barbizon). XX X 16 21 MltLAIS (Sir John Everett),. The Bride of Lammermoor, 29 X 40 Dated 1878. The original of the well known engraving by T» Oldham Barlow Lucy, scarcely yet recovered from the bewilderment of her terror and the faintness of her swoon, clings with all her light weight to the stranger's arm, while yet she seems to be urging him onward. There is a look of entreatv blended with trust and helplessness, in the beseeching blue eyes and in the wistful face. The plaid, which she wears in the graceful old Scottish fashion, folded mantillawise over her head and shoulders, still wet with the water he has used to restore her to consciousness, clings closely round the fair face and neck and slender figure. Her small gloved hands are clasped clingingly round his strong arm. He, with knit brow and dark eyes fixed in a far-off look — it may be that he now first sees the enemy of his house, the author of his father's ruin and death, the usurper of his birthright ; or that he already reads, as in a vision, the mysterious interweaving of his fate with that of the innocent daughter of his and his house's enemy, who clings to his arm, with dreamy eyes, that seem, like his own. to see far into the future. 204 GALLERY 16. 22 MCOL (Erskine). Paying the Rent 64 X 46 Dated iBbb^ Exhibited at the Koyal Academy, 1866, and Unirersal Exhibi- tion, Paris, 1867. From the collection of the late Mr. F. O. Day, St. Louis. (Extract of Letter from the Artist.) ** The subject is a representation of what is usually to be seen in the busi- ness-room of an * agent,' where, as our Scottish Burns expresses it, * Puir tenant bodies, scant o' cash,* drop in one after the other to pay rents and arrears ; often •with great difficulty to themselves, and sometimes not without unwillingness, even when they can, from a failing not uncommon in frail human nature, viz.: a distaste to part with the cash. The agent, accustomed to the work, and used to the many complaints of *high rents, hard times, failure of crops,' etc., takes it all as a philosopher, and quietly listens, chats, and nibs his pen, having but one point in view — getting the cash. The particular incident illustrates what is not uncommon — a difficulty in arranging contra-accounts, and for work * done for his Honor, and for which his Honor said himself was to be deducted from the rint.' The Lady, who is sometimes the better man of the two, is active and looking after their interests, knowing that a mistake might be made ; while the clerk, likely to be more sharp than polite, feels that in his, for the day, imposing and responsible position, he is called upon to look closely into such charges — if a mistake exists, it may be in their favor — and, in all probability, will in the end have to refer the matter to his superior. The other figures are all acces- sories of the same story ; The man coming in warm, rubbing his head with bis kerchief, chatting to the old man of the weather, and the hard run he has had to be in time before his Honor got busy, as he had to go look after some heifers in the field beyant Patsy Conroy's after he had done his business; another stooping to pick up some papers he has dropped out of his hat ; while the agent's 'own man' is seen coming in at the door with some books which will be required in the course of the day. This is something like what I intended. After the warm reception the picture has met with in Paris, I think I may ven- ture to hope it will still add to my reputation * 23 MEISSONIER (J. L. E.) Artist at Work (Time of Boucher. 1 703-1 770) 10 X 12 Dated 1855. From the G. Morris ** Allerton Priory " Collection Liverpool, 1883 206 GALLERY 16. 24 DUPR£ (Jules). River Scene, Boats, etc 15 X 10 Dated 1834. 25 BONHEUR (Mlle. Rosa). The Old Monarch. 30 X 36 DMed X879. Engraved by W. H. SimiuoM. 26 DECAMPS (A. G.). An Italian Family. 12 X 15 Dated 183s. 27 KNAUS (LuDwiG). Female Head. 8 X to Dated 1879. 28 MEISSONIER (J. L. E.). Information. General Desaix, of the Army of the Rhine, 18 13, and the Captured Peasant 16 X 12 Exhibited at the Universal Exhibition, Paris, 1867. Purchased from the Col- lection of M. Meyer, Dresden, 18S0 m GALLERY 16. 29 DECAMPS (A. G.). A Bashi-Bazouk. iO ROTTA (Antonio) The Lucky Lottery^ticket. to I ft Dwad Si LINNELL (John). The Monarch Oak. 58 s rv Dftt»d Z864. LELOIR (Louts). The Portrait, P&inted to order. 187^ (Extract ol a Letter from the ArttsLI ** Believe me, I consider it a great honor to have one of my pictures In yonr collection. You may be assured that I will take every pains with your picture —not only for myself, but for you — to make it one of my best works. Nothing shall be neglected in the finishing of it, as I wish with all my heart to give you satisfaction. . . The subject of the painting is * The Portrait-' A young lady of noble birth is having her portrait painted. She is sitting on a stairway covered with rich tapestries. An attendant amuses her with some music. A young man near her is held by her conversation and the animation of her face In the foreground is the artist with his easel and canvas. While he works m group of lords contemplate the picture. At the left a page prepares some r» f reshmcnta The costumes are of Holland, ean? \o ♦be »ev«atecnth centunr * 207 GALLERY 16. 83 BARGUE (Charles). The Artist and His ModeL 8 X lo Dated 1878. S4 MILLET (J. F.). At the Well ^ l*^ ' ^ ROUSSEAU (Theodore). t Autumn (River Scene), xo X 8 3& ROUSSEAU (Theodore). Village of Barbizon (with House of Mil)et/5c 87 VILLEGAS (]osty h Spanish Christening, 66 X 35 liared i88a Purchased from the Artist ALMA-TADEMA (L.> Down the Riven 6b A 32 mmvtC to oraer and exhibited at the Royal Academy, lx>ndOtt. 208 GALLERY 16. 39 DUPRE (Jules). Autumn Sunset. 51 X 30 Date about 1840. From the Collection of Mr F. Barbediennc, Paris, 1883. 40 MILLET (J. R). The Knitting Lesson. 12 X 16 41 BARGUE (Charles). The Almee. 10 X 16 Dated 187a 42 BOLDINI (G.). Des Parisiennes. ID X 12 Dwtotf «875. From the Spencer Collection. 187^ 43 PETTENKOFEN (A.). Ambulance Wagon. 14 X 9 Dated 1855. From the Laurent Richard Collection, Pans. 1878. 44 VAN MARCKE (£.> Cows in a PooL 34 X 24 209 UALLtKY If): 45 COUTURE (Thomas) Volunteers of the French Revolution, 1789. Study for a I-arge Work Commissioned by the French Government, but never finished. 30 X 22 From the Collection of Mr. F. Barbedienne, Paris. 1883. 46 ROUSSEAU (Theodore). Gorges d'Apremont (Evening) Forest of Fontainebleau, 39 X 26 Exhibited In the Paris Salon of 1859, and the Universal Exhibition. Paris, 1867. Purchased 1882. ** The Salon of 1859 contained five compositions ; one was a chef d'oeuvre, the Gorges d'Apremont, in the evening when the sun sets behind the mountains of Rochefort. It is the hour when the cool air touches the earth and strikes the trees, prognosticating the arrival of night. The circle is vast, the rocks which tower above it have a dry and primitive look, making a fitting place for a nocturnal visit of Macbethian witches. Nothing is exaggerated or too nervous in this picture, which is painted with a light touch, perfectly representing great calm and serenity of the atmosphere." — Alfred Sensier's ** Life of Rousseau," t372. 47 STEVENS (Alfred) Ready for the Fancy Ball. 45 X 35 Painted to order iSjf^ 48 ISRAELS (Josef). ♦ A Frugal MeaL 51 X 36 . Sio GALLERY 16. 49 KNAUS (LuDWiG). A German Village Fete 57 X40 Pointed to order, l88l, 50 DUPRE (JuLEsV Mid-Day. 22 X 24 From the Laurent Richard Collection, P^iris. 197%, 51 JACQUE (Charles). The Sheep Stable. l8 X 13 From the Laurent Richard Collection, Paris, 1878. The Original of the weB- known Etching by Jacque. 63 BONNAT (L^ON). An Arab Plucking a Thorn from His Foot* 41 X 55 Pointed to order, l88a 58a CABANEL (Alex.). Pia de Tolomeu Dated 1876. Painted to order. (Extract of a Letter from the Artist.) I have received with great pleasure your obliging letter. No one can be more sensible than I to the expressions of sympathy which it contains. You 211 GALLERY 16. mnst have already received the picture of * Pia de Tolomei/ which I have painted for you. I will give you the passage of history which inspired my work.* Pia, of the noble family of the Tolomei, of Siena, was shut up in a castle of the Maremma, by her husband, Nello della Pietra, who accused her of infidelity. The poisoned air of this region killed her. I have, then, imagined her upon th :. terrace of the castle, strong in her innocence, and defying her evil destiny. Pia has been for many years a favorite subject with Italian painters and poets. Her story is a mysterious one, and her personality has always at- tracted a noble sympathy. Dante, who places her in his * Purgatory,* devotes to her only a few lines of the Fifth Canto, but these few lines are a poem in themselves i ' Ah I when thou hast returned unto the world, And rested there from thy long journeying. Do thou remember me, who am the Pia t Siena made me ; unmade me, Maremma j He knoweth it who has encircled first. Espousing me, my finger with his gem.' " Alfieri has written a fine tragedy, and many poets have sung the beauty and the sad fate of Pia de Tolomei. You know my aspirations. I do not need, therefore, to tell you what an attraction this noble and touching figure must have for me. I have exerted myself, therefore, to the utmost to paint the sub- ject as it presents itself to my imagination. My artist friends, and others in whom I place great confidence, have praised the picture very highly ; and, for my own part, I am well pleased that this picture is to go to you, for I consider it not only one of my very best works, but also ^ 74 MEISSONIER (J. U E.| The Ordinance. 15 X 18 Uated 1866. Exhibited at the Universal Exhibition. Parts. 1867. From the Prosper Crabbe Collection, Brussels, 1878. 75 KNAUS (LuDwio). The Rag Baby. If X aa Dated (880- MERLE (Hughes). Maternal Love. 20 X 24 Dated 1863. From the Edward Matthews Collectioa 217 GALLERY 16. n MILLET (J. F.). The Water Carrier, 3» X 39 From the Hartmann Collection, Paris, l88l. la a letter addressed to his friend There in i860, Millet refers to this pic- ture as follows : ** In the woman coming from drawing water, I did not try to portray a servant, but a wife who had just drawn water for her household needs — the water with which she makes her husband's soup — and that she should appear to be carrying neither more nor less than the weight of the full pails ; that through the kind of grimace that is forced on her by the dragging down of the arms and the half-closed eyes, that just allow her to see, one could divine on her visage an air of rustic goodness. I have avoided, as I always do, with a sort of horror, anything that turned towards the sentimental ; I wished, on the contrary, to show her accomplishing with simplicity and willingness an act which is» with the other household duties, an everyday part of her life." 78 MUNKACSY (MihAly), The Two Families. 58 X 41 IDated i88o* Aod exhibited the same year at the Royal Academy, London Etched by Laguillermifr MILLET (}. ¥,u The Sower. 32 X 42 While patiently studying the action of his reapers, Millet produced a ('igure which had long occupied his thoughts. We know what a serious affair the sowing is to an agricultural people. Plowing, manuring, and harrowing are done with comparative indifference, at any rate without heroic passion ; but when a man puts on the white grain-bag, rolls it around his left arm, fills it with seed, the hope of the coming year, that man exercises a sort of sacred ministry. He says nothing, looks straight before him, measures the furrow, and, with a movement cadenced like the rhythm of a mysterious song, throws the grain 218 GALLERY 16. which falls to the earth and will soon be covered by the harrow. The rhythmic walk of the sower and his action are superb. The importance of the deed is real, and he feels his responsibility. If he is a good laborer he will know how much seed to throw with every fling of his hand, adjusting the amount sown to the nature oS the soil. I have seen sowers who, before they put foot upon the field, would toss a handful of grain into the air in the sign of a cross ; then, stepping upon the field, they would pronounce, in a low voice, some indistinct words which sounded like a prayer." *' The Sower" was sent to the Salon of 1850, then held at the Palais Royal. It made some noise ; the young school talked about it, reproduced it in lithography, and it has remained in the mem- ory of artists as Millet's chef-d'' auvre. Theophile Gautier was touched by it. In the following quotation we see the impression made by this virile work : •* * The Sower,' by M. J. F. Millet, impresses us as the first pages of ' Marc au Diable ' of Georges Sand, which are about labor and rustic toil. The night is coming, spreading its gray wings over the earth ; the sower marches with a rhythmic step, flinging the grain in the furrow ; he is followed by a cloud of pecking birds ; he is covered with dark rags, his head by a curious cap. He is bony, swart, meager, under this livery of poverty, yet it is life which his large hands sheds ; he who has nothing pours upon the earth, with a superb gesture, the bread of the future. On the other side of the slope a last ray of the sun shows a pair of oxen at the end of their furrow, strong and gentle companions of man, whose recompense will one day be the slaughter-house. This is the only light of the picture, which is bathed in shadow, and presents to the eye, under a cloudy sky, nothing but newly ploughed earth. Of all the peasants sent to the Salon this year, we much prefer * The Sower.* There is something great and of the grand style in the figure, with its violent gesture, its proud raggedness, which seems to be painted with the very earth that the sower is planting." — (Sensier's ** Life of Millet.") 80 MEISSONIER (J. L. E.). Man Reading (Interior). 7 X Q Dated i85(>. P>om the Collection of M. Secretan Paris. 81 DUPRE (Jules) Shepherd Boy, IS X II 219 GALLERY 16. 83 VAN MARCKE (Emile)„ Cattle Resting. 63 jc 47 Dated tSSo, and purchased from the Paris Saloa of that jeaXo 83 WILLEMS (Florent) The Dance, " La Pavane." 30 X42 With portraits of the artist himself, Ger6me, and other frienda. Dated 1878, and purchased from the Universal Exhibition, Paris, 1876. 84 FR£RE (Edouard). Street in Ecouen (Winter) X5 X 18 Dated i8?i. 85 FROMENTIN (Eugj Arabs Watering Horses. 28 » 24 8ft GALL AIT (Louis). The Prisoner, 24 X Dated i86»- 320 GALLERY 16. 87 BONHEUR (Mlle. Rosa). Ready for the Hunt. 35 X 26 painted to order. 1879. 88 FORTUNY (Mariano), A Court FooL 89 DOMINGO ax The Guard Room. 4x6 Dated 1877 90 VIBERT (J. G.) Committee on Moral Books. 20 X ig From the Gov. Latham (of California) Collectioii 1878 01 PETTENKOFEN (A) Hungarian Volunteers. 13 X 10 Dated 1S53. From the San-Donato Gallery of Prince Demidoff, Florence, 1877, On a road that crosses one of the vast plains of Hungary, appears in the midst of a cloud of dust a wagon filled with young men and drawn by three spirited horses at full gallop. The enthusiasm of the young volunteers is at its highest pitch ; they seem to be exciting each other by their shouts , one of them, standing in the middle of the wagon, is beating a drum ; a second is waving his hat in the air ; others are smoking or singing^ ; the wagon is hung with various trophies. GALLERY 16. 92 DETAILLE (Edouard). Skirmishing near Paris, 1870. 7x6 Dated 1875. FROMENTIN (EuG.). Crossing a Ford. 55 X40 94 DIAZ (N., DE LA PEfTA). The Bathers. 27 X 19 Dated 1866. 95 DIAZ (N., DE LA PEfTA). Boy and Dogs. 29 X 20 Dated 1856. From the Collection of M. Casimir Per^rie, Paris, 1882. 96 GRISON (F. A.). The Happy Omen. A Wedding and a Christening meeting at a Church Door. 26 X 25 Purchased at the Paris Salon, 1878. 222 GALLERY 16. 1/ 97 ROUSSEAU (Theodore). River Scene. 25 X 16 ROUSSEAU (Theodore). Farm on the Oise. Exhibited in the Universal Exhibition, Paris, 1867. Formerly in the Gal- lery of the Vicomte d'Aquila. Purchased from the Collection of Mr. E. Bruga- man of Brussels, 1882. 99 TURNER (J. M. VV.). The Fountain of Indolence. 64 X 41 This important and highly characteristic work was first exhibited at the Royal Academy, London. 1834. It never changed ownership until purchased from Messrs. Agnew & Sons of London, 1882. The pictur* has never been engraved. 100 DAUBIGNY (C. F.). Landscape (Evening). 56 X 31 Dated 1872. 101 BONHEUR (Mlle. Rosa), A Fleck of Sheep 36 X 2w Paintea to ordsi, «87& GALLERY 16. 102 SCHREYER (Adolphe). Arabs Retreating. 67 X 44 Dated 1863. From the John Taylor Johnston Collection, 1876. 103 COUTURE (Thomas). The Realist. 15 X 18 104 VILLEGAS Qost). A Dream of the Arabian Nights. 25 X 41 Dated 1879. Painted for the Comte D'Epinay, and purchased from him. 105 DIAZ (N.. DE LA PeSTa). Eastern Bazaar. 10 X 16 106 MILLET (J. F.). Hunting in Winter. 14 X iS 224 GALLLRY IG WATER-COLOR DRAWINGS, ETC. 107 BARGUE (Charles). An Algerian Guard. 8 z la Dated 1872. From the Collection of Mr. J. Abner Harper, i88 Pupil of his father. Medals, 1864- 1866-1867, Legion of Honor, i86p. Medal of Honor, Salon, 1878, Died, j88o, N08. 16. 27. 49, 73. KNAUS (Professor Ludwig) Berlin, Born at Wiesbaden, 18^0. Pupil of Jacobi, and the Academy of Diisseldorf under Sohn and Schadozv. Mcjnber of (he Academies of Berlin, Vienna, Munich, Amsterdam, Antiverp, and Christiania, and Knight of the Order of Merit, Medals, 33d GALLERY JQ. Paris, 1853-1855 (Universal Exhibition)-i85p, Medal of Honor, 186/ (Universal Exhibition), Legion of Honor, 185^; Officer of the same, 186'j, Medals, Vienna, 1882; Munich, 1883. Professor in the Academy at Berlin, Medal of Honor, Antwerp, 1885. N 3. 62. LANDSEER (Sir Edwin), deceased , London, Born at London, 1802, Studied with his father. Member of the Royal Academy, Medal of Honor at the Universal Exhibition, Paris, 1855, Died, 18/3, No. 15. LEFEBVRE (Jules Joseph) Paris. Born at Tournan (Seine and Marne), 1836, Pupil of Cogniet, Prize of Rome, J 861, Medals, 1865-1868-1870, Legion of Honor, i8yo. Medal, Universal Exhibition, 18 y8. Officer Legion of Honor, i8y8. Medal of Honor, Salon, 1886, No. 6 LEIGHTON (Sir Frederic) . , . London. Born at Scarborough, England, 1830, Pupil of Berlin and Florence Academies. Studied at Rome in 1842-43, under Filippo Mali, Medal, 18 5p^ Associate of Royal Academy, 1864. Royal Academician, i86p. President of Royal Acad- emy, 18/8, Officer of the Legion of Honor, i8y8. Baronet of the United Kingdom, 1885. Corresponding Member of the Institute of France. Medal of Honor, Antwerp Exhibition, 1885, Member of the Academies of St. Luke and Florence, Nos. 32, 135. LELOIR (Louis Alexandre), deceased , . Paris. Born at Paris, 1843. Pupil of his father. Medals, 1864" i868-i8yO'i878, Legion of Honor, 18^6, Died, 1883. 240 GALLERY 16. No 128 LELOIR (Maurice) Paris Born at Paris, iSjj. Pupil of his father and brother Louis, Medal, 1878. Nos. 17, 55 LEYS (Baron Henri Jean Augustin), deceased, Antwerp. Born at Antwerp, 1815. Entered the studio of his brother- in-lazv, F. de Brackeleer, in 18^0, and came into prominent notice by a picture painted in his ei