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Digitized by the Internet Archive 
 
 in 2011 with funding from 
 
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 http://www.archive.org/details/catalogueofpaint01yerk 
 
THE YERKES COLLECTION 
 
 VOLUME I 
 
NO. \ 1-8 OF TWO HUNDRED AND FIFTY COPIES. 
 
 PHOTOGRAVURES BY 
 A. W. ELSON iff CO., BOSTON. 
 
Catalogue 
 
 OF 
 
 Paintings and Sculpture 
 
 IN THE COLLECTION OF 
 
 CHARLES T. YERKES ESQ. 
 
 New Y'ork 
 
 VOLUME 
 I 
 
 MDCCCCIV 
 
COPYRIGHT, I9O4, BY CHARLES T. YERKES 
 
INTRODUCTION 
 
 In bringing this catalogue before my friends I do so with much hesitation, 
 mainly on account of the great difficulty which all collectors have in naming 
 the artists who have painted the pictures. Where the signature of such artist 
 is not on the picture there can be no certainty of its authenticity unless there 
 is direct evidence of some one who has seen it painted and has also com- 
 municated such evidence to people who have lived after him ; and even 
 where the name is so found on the picture it is possible that it may have been 
 placed there by some one other than the artist, and fraudulently. Then, again, 
 there are many painters who never sign a picture, and we are left to the opin- 
 ion of the so-called expert, whose testimony is, to say the least, doubtful. There- 
 fore while I have taken the best evidence at hand for the authentication of my 
 pictures, it must not be understood that I am sure that the names attached to 
 them are the correct ones. Where I have had grave doubts myself I have so 
 designated, and only placed the name where / have felt it was quite certain to 
 be correct. 
 

ARTISTS AND TITLES 
 
 PAINTINGS BY OLD MASTERS 
 
 Bartoli, Taddeo The Adoration i 
 
 Bol, Ferdinand Portrait of a Man 2 
 
 Both, Jan Sunset 3 
 
 Botticelli, Alessandro Madonna and Child, St. John and an 
 
 Angel 4 
 
 Boucher, Francois The Toilet of Venus 5 
 
 Bouts, Dirck The Adoration of the Magi . ... 6 
 
 Brueghel, Peeter Levieux A Thief steals from a Thief ... 7 
 
 « « " Fill the Well after the Calf is drowned 8 
 
 " " " The Bacon is too Good for your Mouth 9 
 
 " " " As Full as an Egg 10 
 
 Bronzino, Agnolo Portrait of a Lady 11 
 
 Brussels, School of (artist unknown) . . Virgin and Child 12 
 
 Clouet, Jean Portrait of a Man 13 
 
 Corneille, Claude Portrait of Francois Dauphin deVien- 
 
 nois, Due de Bretagne . . . . 14 
 
 Craesbecke, Joost van The Alchemist 15 
 
 " " " Portrait of a Man 16 
 
 Cuyp, Aelbert Landscape with Man on Dappled Horse 17 
 
 David, Gerard The History of St. Augustine ... 18 
 
 Denner, Balthasar Head of an Old Woman 19 
 
 Dou, Gerard The Evening School 20 
 
 " " The Hermit 21 
 
 Durer, Albrecht Portrait of Hans Gunder of Nuremberg 22 
 
 Dusart, Cornelis Peasants merrymaking 23 
 
 Dyck, Anton van Wolfgang, Duke of Nieubourg ... 24 
 
 Eyck, van, School of (artist unknown) . Adoration of the Magi 25 
 
 Flinck, Govaert Tobias and the Angel 26 
 
 Gellee, Claude (Claude Lorrain) . A Seaport 27 
 
 Ghirlandajo, Domenico Portrait of a Young Girl .... 28 
 
 Goyen, Jan van On the River 29 
 
 " " " Village on the River 30 
 
 " " " Landscape by the River 31 
 
Greuze, Jean Baptiste Reverie 32 
 
 Guardi, Francesco Grand Canal at Venice ■$•$ 
 
 " " Wedding of the Doge 34 
 
 Hals, Frans Portrait of a Woman 35 
 
 " " The Singers 36 
 
 " " The Violin Player 37 
 
 " " The Singing Girl 38 
 
 Harlow, George Henry Portrait of a Boy 39 
 
 Heyden, Jan van der Market Day in Rotterdam .... 40 
 
 " " " The Village 41 
 
 " " " The Old House 42 
 
 Hobbema, Meindert A View in Westphalia 43 
 
 The Mill 44 
 
 The Ford 45 
 
 The Old Mill 46 
 
 " " (attributed to) . . . Threatened Storm in Summer ... 47 
 
 " " The Road to the Cottage .... 48 
 
 Hooch, Pieter de The Social Glass 49 
 
 " " " The Music Party 50 
 
 " " " An Interior 51 
 
 Holbein, Hans (The Elder) The Fool 52 
 
 Holbein, Hans (The Younger) .... Portrait of a Lady 53 
 
 " " " " .... Portrait of a Chief Magistrate of Am- 
 sterdam 54 
 
 Keyser, Thomas de Portrait of a Gentleman 55 
 
 Landseer, Sir Edwin Henry The Pets 56 
 
 Luini, Bernardino The Mystic Marriage of St. Catherine 57 
 
 M abuse, Jan van . Madonna and Child 58 
 
 Memling, Hans Virgin and Child Enthroned ... 59 
 
 Metsu, Gabriel The Letter 60 
 
 " " Woman cleaning Carrots . . . . 61 
 
 Mieris, Frans van Boy blowing Bubbles 62 
 
 " " Portrait of a Lady 63 
 
 Mignon, Abraham Fruit 64 
 
 Neer, Aert van der Dutch Channel by Moonlight ... 65 
 
 " " Twilight 66 
 
 Neer, Eglon Hendrick. van der . . . Lady and Child 67 
 
 Ostade, Adriaen van The Old Toper 68 
 
 " " " The Skittle Players 69 
 
 " " " Dancing to Music . . . . „ . . 70 
 
Ostade, Adriaen van Dancing in the Barn 71 
 
 " " " Interior of Room with Men drinking 72 
 
 Ostade, I sack van Interior of a Stable ...... 73 
 
 " " " The Itinerant Musician 74 
 
 Patiner, Joachim de The Apostles after the Crucifixion wor- 
 shiping in a Cave 75 
 
 Pinturricchio (Bernardino di Betti) . . Portrait of desar Borgia .... 76 
 
 Potter, Paulus The Red Bull 77 
 
 " " Landscape with Cattle and Figures . 78 
 
 Previtali, Andreas Virgin and Child 79 
 
 Raphael Sanzio The Holy Family and the Sparrow . 80 
 
 Rijn, Rembrandt van Philemon and Baucis 81 
 
 " " Portrait of a Rabbi 82 
 
 " " " Resurrection of St. Lazarus ... 83 
 
 " " " Portrait of Joris de Coulery ... 84 
 
 Reynolds, Sir Joshua Portrait of Lady O'Brien . . . . 85 
 
 Romney, George Portrait of Mrs. Ralph Wiilett . . 86 
 
 Rubens, Pieter Paulus Ixion and Hera 87 
 
 Ruisdael, Jacob van Landscape 88 
 
 Solario, Andreas de The Annunciation 89 
 
 Stavern, Johan Adriaensz van .... The Hermit 90 
 
 Steen, Jan The Siesta 91 
 
 " " Christ driving the Traders from the 
 
 Temple 92 
 
 " " The False Players 93 
 
 " " Boors merrymaking 94 
 
 Susterman, Lambert Portrait of a Medici Princess ... 95 
 
 Teniers, David (The Younger) .... The Lesson on the Flute 96 
 
 " « .... The Guard Room 97 
 
 " " " " .... Temptation of St. Anthony .... 98 
 
 Ter Borch, Gerard The Glass of Lemonade 99 
 
 Unknown ARTist Landscape 100 
 
 Velde, Adriaen van de Landscape with Figures and Cattle . 101 
 
 " " Noon-Day Rest 102 
 
 Velde, Willem van de (The Younger) . . Calm on the Bay 103 
 
 " " " "... Firing a Salute 104 
 
 Verrocchio, Andrea del Madonna and Child 105 
 
 Waterloo, Anthonie In the Forest 106 
 
 Watteau, Antoine The Garden Party 107 
 
 Wouwerman, Philips The Watering Place . . . . . .108 
 
 Wynants, Jan Landscape 109 
 
PAINTINGS BY OLD MASTERS 
 
[No. i ] 
 TADDEO BARTOLI 
 
 Born in Siena about 1363 ; died there 1422. He was the son of a barber. The earliest 
 specimen of his work is now in the Louvre and is an altar-piece of the Virgin and Saints 
 painted for San Paolo of Pisa, dated 1390. 
 
 He painted other altar-pieces and frescoes at Pisa, Genoa, and Siena. Although he main- 
 tained the standard of the Sienese School by his excellent paintings, he did not cause any 
 progress to be made. 
 
[No. i] 
 
 "THE ADORATION" 
 
 TADDEO BARTOLI 
 
 The Virgin is sitting in the upper part of the picture with her hands raised in 
 an attitude of supplication. Surrounding her head are angels with red wings 
 outstretched. Below these there are other angels, numbering nineteen in all. 
 At the bottom of the picture at right and left, kneeling with upturned heads 
 and eyes, are two figures. Between these two figures is the following inscrip- 
 tion in ancient Latin : " Andreas Bartoli de magisri fredi de senis pinxit hoc 
 opus fecit fieri dmia honesta uxor qdam Ser Palamides de Urbino pro aiabus 
 diti uiri sui Matheifilii exode." 
 From the collection of the Baron Lazzaroni, Lazzaroni, Rome. 
 
 Panel, half-round top, 33 y 2 in. long by 79^ in. high. 
 

[No. 2] 
 
 FERDINAND BOL 
 SDutcf) £rfjool 
 
 Born at Dordrecht in 1611 ; died in Amsterdam in 1681. He went when a child to 
 Amsterdam, his future home, studied under Rembrandt, was made a citizen, and mar- 
 ried in 1653 Elizabeth Dell. 
 
[No. 2] 
 
 "PORTRAIT OF A MAN" 
 
 FERDINAND BOL 
 
 The picture is half length, representing a man sitting upon a table with his 
 hands one over the other. He wears a velvet hat, and a velvet cloak trimmed 
 with fur thrown over his shoulders. He has a mustache and imperial. The 
 picture has often been taken for a Rembrandt, but the owner is very sure it is 
 a Bol. 
 
 Canvas, 28 yi '"• long by 34^ in. high. 
 
[No. S ] 
 
 JAN BOTH 
 2Dutcf) c§>cfjool 
 
 Born at Utrecht, 1610; died after 1662. Pupil of his father, who was a glass painter. 
 He adopted the manner of Claude Lorrain. His brother, Andries, painted figures and 
 animals in his pictures. 
 
[No. 3 ] 
 
 "SUNSET" 
 
 JAN BOTH 
 
 The sun has just descended behind the high hills in the distance. Its light is 
 
 reflected, not only on the horizon, but over the entire landscape. A train of 
 
 pack-mules in charge of two drivers — painted by Andries Both — are winding 
 
 their way along a rocky road. Large trees are on the right of the picture, 
 
 while to the left the landscape stretches out in the distance. 
 
 From the Armengand collection. 
 
 Signed in lower right-hand corner : "J. Both." 
 
 Canvas, 21*4 in. long by zty 2 in. high. 
 
[No. 4] 
 
 ALESSANDRO BOTTICELLI (SANDRO) 
 
 f loztntmc £rijooI 
 
 Born in Florence 1446; died there May 17, 1510. 
 
 His real name was Alessandro di Mariano Filipepi, but he took the name of Botticelli 
 
 from his master goldsmith, to whom he was apprenticed. 
 
 In 1469 he was considered the best master in Florence. He is the only contemporary 
 
 whom Leonardo da Vinci mentions by name in his treatise on painting. 
 
[No. 4 ] 
 
 "MADONNA AND CHILD, ST. JOHN AND AN 
 
 ANGEL" 
 
 ALESSANDRO BOTTICELLI (SANDRO) 
 
 This is a circular picture containing Christ in the arms of the Virgin Mary. 
 On one side is St. John the Baptist and on the other an angel. Over the Vir- 
 gin's head falls a light scarf, part of which entwines the head of the Infant 
 Christ. The Virgin's dress is of dark crimson, and over this is thrown a dark 
 blue cloak. St. John is on the left side of the picture in the attitude of prayer, 
 while the angel standing with his hands folded is adoring the Christchild. 
 From Gallery del Nero, Rome. 
 
 Painted in distemper on panel, 29 in. in diameter. 
 
[No. S ] 
 
 FRANCOIS BOUCHER 
 frerttf} *£>cf>ooI 
 
 Born in Paris, September 29, 1703 ; died there May 30, 1770. Mostly self-taught. 
 Obtained the first prize at the Academy, 1723. Became Professor in the Academy, 
 1737; Director in 1765. Was appointed First Painter to the King after the death of 
 Carl van Loo. 
 
[No. S ] 
 "THE TOILET OF VENUS" 
 
 FRANCOIS BOUCHER 
 
 Surrounded by Cupids and her attendants, Venus has submitted herself for her 
 toilet. She is nude, and is gazing into a looking-glass supported by a piece of 
 blue ribbon held in the hands of one of the Cupids. Another Cupid lies on 
 the ground in front of her ; an attendant is arranging pearls in her hair ; while 
 another, with back, turned, holds a string of the same, ornaments. In the rear 
 the face of another attendant can be seen. To the right is a casket filled with 
 jewels. In the foreground two doves are " billing." 
 Collection, Prince Demidoff, 1870. 
 Signed on the right-hand side : " F. Boucher, 1742." 
 
 Canvas, 58 in. long by 49 in. high. 
 
[No. 6] 
 
 DIRCK BOUTS 
 2Dutd) £djool 
 
 Born 1440; died May 6, 1475. Called also Stuerbout. His family settled in Louvain 
 about 1450. History painter of great merit of the Van Eyck school, of which he is 
 almost unequaled in glowing depth and transparent clearness of color. 
 
[No. 6] 
 
 "THE ADORATION OF THE MAGI" 
 
 DIRCK BOUTS 
 
 The Virgin is sitting at the left of the picture, holding the Infant Jesus. She is 
 dressed in a blue robe, the upper part covered with white, and a white turban on 
 her head. Behind her stands Joseph, dressed in a short red frock. On a table 
 beside the Virgin is a vase. One of the wise men is standing, his hands raised 
 in supplication. In the centre of the picture is another of the wise men coming 
 through the archway, bearing a present. He holds his right hand to his hat and 
 in his left hand carries his gift. 
 
 The picture is almost divided into three parts, the right-hand part containing 
 a number of figures. A white horse and also another horse, both without 
 riders, are in the background. Beyond is a landscape. 
 
 Panel, 52 in. long by 36*4 '"■ h'gh. 
 
[No. 7 ] 
 PEETER LEVIEUX BRUEGHEL 
 
 Born at Brueghel, near Breda, between 1525 and 1530; died in Brussels about 1569. 
 Pupil of Pieter Koeck van Aalst and of Hieronymus Cock. His specialty was delineating 
 the Flemish proverbs. He imitated Hieronymus Bosch. He became master of the 
 Guild in Antwerp in 1 55 1. He went to Italy, and on his return lived at Antwerp until 
 1563, when he settled in Brussels. 
 
[No. 7 ] 
 
 "A THIEF STEALS FROM A THIEF" 
 
 PEETER LEVIEUX BRUEGHEL 
 
 A thief, disguised as a monk, is passing along the road. An odd-looking 
 man approaches him stealthily, and cuts from beneath his gown a bag of 
 money. 
 
 Panel, 7 in. in diameter, circle. 
 
[No.S] 
 
 PEETER LEVIEUX BRUEGHEL 
 f lemiglj &cfjool 
 
[No. 8] 
 
 "FILL THE WELL AFTER THE CALF IS DROWNED" 
 
 PEETER LEVIEUX BRUEGHEL 
 
 A burly peasant is endeavoring to fill the well after he has lost his calf. 
 The calf's head shows above the dirt. 
 
 Panel, J in. in diameter, circle. 
 
[No.g] 
 
 PEETER LEVIEUX BRUEGHEL 
 f lcmi£f> £$00! 
 
[No.g] 
 
 "THE BACON IS TOO GOOD FOR YOUR MOUTH" 
 
 PEETER LEVIEUX BRUEGHEL 
 
 A portly fellow is shown sitting on a stool beside a house. Near him is his 
 repast on the head of a cask. In one hand he holds a large sausage, and in 
 the other a knife with which to cut it. 
 
 Panel, 7 in. in diameter, circle. 
 
[No. i o ] 
 
 PEETER LEVIEUX BRUEGHEL 
 f lemigfj £ri)ooI 
 
[ No. 10 ] 
 
 "AS FULL AS AN EGG" 
 
 PEETER LEVIEUX BRUEGHEL 
 
 An old toper is seen astride of a large egg. His head is thrown back, and he 
 is emptying the contents of a mug into his mouth. The head of a figure is 
 seen inside the egg. 
 
 Panel, 7 in. in diameter, circle. 
 
[No. 1 1 ] 
 
 AGNOLO BRONZINO 
 f lorentme £ri>ooI 
 
 Born at Monticelli, near Florence, in 1502 or 1503; died in Florence, November 
 23, 1572. 
 
 His real name was Agnolo di Cosimo Allori, but commonly called II Bronzino. Pupil 
 of Raffaelino del Garbo, and later of Jacopo da Pontormo. He was a great admirer of 
 Michael Angelo. Some of his works show his influence, though he was not one of his 
 imitators. His portraits of members of the Medici family and of many distinguished 
 men of his time are among his best works and among the finest of the sixteenth century. 
 
[No. ii] 
 
 "PORTRAIT OF A LADY" 
 
 AGNOLO BRONZINO 
 
 The lady wears a dark low-cut crimson gown, with lace filled in across the 
 neck and shoulders. The dress has dark sleeves. She is sitting at a table 
 covered with a red cloth. An open book is before her. 
 
 Panel, 26^2 **. long iy iS% '"• high. 
 
[No. 12] 
 
 ARTIST UNKNOWN 
 £ct)ooI of 23rug£rig 
 
[No. 12] 
 
 "VIRGIN AND CHILD" 
 
 SCHOOL OF BRUSSELS 
 
 The Virgin holds the child in her hands, while he is playing with a little bird. 
 A red mantle is thrown partly over her head and shoulders, and she wears a 
 black velvet dress trimmed with fur. In front of her on a table is an illuminated 
 book and a bunch of grapes. To the left is a window, the glass of which is 
 composed of disks set in metal frames. On the window-sill is a glass filled with 
 flowers. 
 
 Panel, 10^ in. long by 12^ in. high. 
 
[No. 13] 
 
 JEAN CLOUET 
 f tcnt§ £cf)ool 
 
 Born about 1485 ; died about 1541. Son of Jehan Clouet, of Brussels. He was com- 
 monly called Janet. Settled first in Tours, and afterward in Paris. Became painter and 
 valet de chambre to Francis I., in 151 8. 
 
[No. 13] 
 
 "PORTRAIT OF A MAN" 
 
 JEAN CLOUET 
 
 A very strong face, adorned with a full red beard and mustache, is here pre- 
 sented. The individual wears a coat of dark fur resembling sealskin, and a 
 low crown hat of black velvet. 
 From the collection of Horace Walpole, Strawberry Hill, 1842. 
 
 Panel, 5^ in. long by 6^ in. high. 
 
[No. 14] 
 
 CLAUDE CORNEILLE 
 frcncf) J>cf)ool 
 
 Born in the early part of the 16th century, and died about 1576. He was called 
 Corneille of Lyons. He enjoyed great reputation for his portraits — which were usually 
 of small size and pale in color — during the reigns of Francis I., Henry II., Francis II., 
 and Charles IX. 
 
[ No. 14 ] 
 
 « PORTRAIT OF FRANCOIS, DAUPHIN DE VIENNOIS, 
 
 DUC DE BRETAGNE" 
 
 (Son of King Francis I. and of Claude of France.) 
 
 CLAUDE CORNEILLE 
 
 The subject was born at Chateau d'Amboise, February 28, 15 17, and made 
 
 Due de Bretagne, at Nantes, August 14, 1532; died by poison, at Valence, 
 
 August 1, 1536. The picture represents him as a grown-up boy with a pale, 
 
 sad face, brown eyes, and the suggestion of a mustache. He wears a dark 
 
 coat, which is slightly opened at the breast, and a small lace collar. On his 
 
 head is a dark cap of soft material, ornamented with two drooping white 
 
 feathers. 
 
 From the collection of M. de Gagniers. 
 
 Also from the collection of Horace Walpole, Strawberry Hill. 
 
 Pane/, 6 in. long by 7 in. high. 
 
[No. 15] 
 
 JOOST VAN CRAESBECKE 
 iFIemisffj J>rfjooI 
 
 Born at Neerlinter in South Bravant in 1608. The date of his death is not known, 
 but it must have been prior to 1662. He was the pot companion and pupil of Adriaen 
 Brouwer. He was bred a baker and had settled at Antwerp in that capacity at the time 
 when Brouwer visited that city. He was also a pupil of Rubens. 
 
[No. i 5 ] 
 
 "THE ALCHEMIST" 
 
 JOOST VAN CRAESBECKE 
 
 A doctor's office is displayed opening into a portico. On the table is an 
 open book standing against the wall, beside which is a skull, suggesting the 
 occupant's profession. On the wall four pictures are hung. The doctor is clad 
 in a bright red gown, and holds in his hand a carafe containing some liquid, 
 through which he is looking as he holds it to the light. A little boy stands 
 by his mother, intently gazing at the wise man. 
 
 Pane/, 19% in. long by 251^ in. high. 
 
[No. 16] 
 JOOST VAN CRAESBECKE 
 
[No. 16 ] 
 
 « PORTRAIT OF A MAN " 
 
 JOOST VAN CRAESBECKE 
 
 This picture represents a man dressed in a dark coat or cassock, with white 
 neckcloth and cuffs. He is full-faced, with a mustache and slight imperial; and 
 curly brown hair falls over his neck and shoulders. His left arm rests upon a 
 table. 
 
 Panel, oval, 8^ >"• l° n S h IO T / & '*• high. 
 
[No. 17] 
 
 AELBERT CUYP 
 Dutch School 
 
 Born at Dordrecht, October, 1620; died there and buried November 6, 1691. Land- 
 scape, animal, and marine painter. Son and pupil of Jacob Gerritsz Cuyp. 
 Lived many years at Dordwijk, near Dordrecht, where as vassal of the countyship of Hol- 
 land he had the right to sit in the Supreme Court of Justice. His name was presented 
 to the stadtholder William III. in 1672 as a nominee for membership in the Regency of 
 Dordrecht. In his early years he painted still life, birds, stables, and sometimes portraits 
 signed " A. C." 
 
[No. 17] 
 
 "LANDSCAPE WITH MAN ON DAPPLED HORSE" 
 
 AELBERT CUYP 
 
 The picture shows two men on horseback, — one in the foreground wearing a 
 red coat sitting on a gray horse, and another in the background on a bay 
 horse. He wears a dark coat. A man and two dogs stand to the left. Men- 
 tioned in "Smith's Catalogue," part v., page 334, number 174, as follows : "A 
 gentleman in a scarlet jacket, mounted on a spotted gray horse, at the head of 
 which stands a gentleman in brown dress with two dogs by his side. A third 
 gentleman is seen on the left on a bay steed galloping from a wood. Now in 
 the collection of Mr. Gates." 
 Signed in the lower right-hand corner : " A. C." 
 
 Panel, 1 5 y^ in. long by u}£ in. high. 
 
[No. 18 ] 
 GERARD DAVID 
 
 Born at Oudewater about 1450; died in Bruges, August 13, 1523. Took the freedom 
 of the Guild in Bruges in 1484; was its Dean 1501-1502. Appears also in the Guild of 
 Antwerp, 151 5. 
 
[No. 18] 
 
 "THE HISTORY OF ST. AUGUSTINE" 
 
 GERARD DAVID 
 
 This picture is in three parts. The centre part represents St. Augustine receiv- 
 ing the Pope's hat. He is sitting in an attitude of supplication. A cardinal on 
 either side holds the hat above his head while two other figures at either side 
 hold a staff. In front and at the sides kneel two friars dressed in white ; one 
 stands holding vessels of church worship. The altar is at the rear of the 
 figures. In this part there are all together eleven figures. At the right of the 
 picture there are six figures, prominent among them a man in green and a 
 man in red. Behind them a house and landscape are seen. To the left are 
 eight figures in the foreground, and four figures in the background. There is 
 also a house with a cupola adjoining it in the background. 
 This painting was originally owned by the Comtesse de Beam, Paris. 
 
 Panel, 59 in. long by 53 in. high. 
 
[No. 19] 
 
 BALTHASAR DENNER 
 German £djool 
 
 Born at Altona, November 15, 1685 ; died in Rostock, April 14, 1749. Studied under 
 obscure masters in Altona and Dantzic ; then in 1707 at the Berlin Academy. In 1709 
 he began his career by painting the portraits of Duke Christian Augustus of Holstein and 
 his sister. At the age of twenty-four his name was famous, and he received numberless 
 orders from princes and nobles of northern Germany, Denmark, Holland, and England, 
 which he executed with microscopic accuracy and infinite elaboration of detail. 
 
[No. 19] 
 
 "HEAD OF AN OLD WOMAN" 
 
 BALTHASAR DENNER 
 
 This is a life-size bust of an old woman clad in a wine-colored velvet cloak 
 trimmed with gray fur. Her head is covered with a white kerchief which 
 also envelops her neck, and covering the kerchief is a blue velvet head-dress. 
 The dress is open at the throat, showing the aged neck. Her face has many 
 wrinkles, and her eyes are a light blue, into whose depths one can see as clearly 
 as if the portrait were life itself. 
 Signed in the lower right-hand corner: " Denner." 
 
 Copper, 1 3 in. long by 1 ; in. high. 
 
[ No. 20 ] 
 
 GERARD DOU 
 
 Durrti ^cfiool 
 
 Born at Leyden, April 7, 1613 ; died there, February 9, 1675. Pupil of Bartholomew 
 Dolendo, and also of Rembrandt, in 1628. His work was of a fine character and has 
 always been greatly admired. 
 
[ No. 20 ] 
 
 "THE EVENING SCHOOL" 
 
 GERARD DOU 
 
 An old schoolmaster is shown sitting at a table, busily engaged sharpening a 
 quill pen. A single candle lights the room. One of his scholars — a little 
 girl — is studying her book ; another pupil — a boy — is writing ; and still 
 another boy is holding an unlighted candle to the one already lighted. In the 
 background a woman holds a lantern. The whole scene is in the master's 
 finest vein, and can only be fully appreciated when seen under a strong glass. 
 
 Pane!, half-round top, 9 in. long and I o in. high. 
 
[No. 21 ] 
 
 GERARD DOU 
 SDutrf) £rf)ool 
 
[No. 21 ] 
 
 "THE HERMIT" 
 
 GERARD DOU 
 
 This picture is described in Smith's Catalogue Raisonne, Part I. No. 84, as 
 follows : " A venerable hermit in a cell perusing a large book. In his left 
 hand he holds a pair of spectacles, and with his right is raising the leaves of a 
 book, as if about to turn over a page. The trunk of a withered tree fills up the 
 left of the subject. This production has been considerably enlarged. Originally 
 all that was shown was the head of the hermit, which was painted with 
 extraordinary care and fine effect. The exquisiteness of the work, no doubt, 
 induced the artist to increase the size of the picture, and give it the develop- 
 ment and finish it now presents. Collection of M. Tronchien, 1 801. Collection 
 of M. Sereville, 181 1. Now in possession of M. Woodburns." 
 In the opinion of the writer the above statement is incorrect, as it is quite evi- 
 dent that the head was never painted without surroundings. It is more likely 
 that some part of the picture got very badly injured and the head was cut out, 
 placed in another panel, and Dou then painted the surroundings as they are 
 now. 
 
 Panel, 12 in. long by 16% in. high. 
 
[ No. 22 ] 
 
 ALBRECHT DURER 
 German £cl)ool 
 
 Born in Nuremberg, May 21, 147 1 ; died there, April 6, 1528. History and portrait 
 painter and engraver. 
 
 Son of a goldsmith, who first instructed him in his trade, and then apprenticed him to the 
 painter Michael Wolgemuth for three years and a half, after which, in 1490, he visited 
 Strasburg, Colmar, Basle, and Venice, where he was much impressed by the works of 
 Andrea Mantegna. Returning home about 1494, he married Agnes Frey, and probably 
 worked in Wolgemuth's studio until 1497, when he removed to an atelier of his own, 
 where during the succeeding eight years he produced a large number of pictures, wood- 
 cuts, and engravings. From 1505 to 1507 he lived at Venice, where he felt the charm 
 of the Italian Renaissance masters, Bellini and Mantegna, whose influence he showed 
 in his subsequent works. Shortly after, he returned to Nuremberg. From 15 12 he 
 worked for the Emperor Maximilian as court painter. In 1 5 1 5 Nuremberg assigned 
 him a yearly pension of 100 gulden. 
 
 He attended the coronation of Charles V. at Aix-la-Chapelle, and obtained the appoint- 
 ment of court painter before his return to Nuremberg, where he continued to work 
 until his death. 
 
[ No. 22 ] 
 
 "PORTRAIT OF HANS GUNDER OF NUREMBERG" 
 
 ALBRECHT DURER 
 
 The picture represents a portrait of Hans Gunder of Nuremberg painted in the 
 
 year 1509. It is a striking picture of head and bust on a red background. His 
 
 eyes are light blue ; his coat is open at the neck ; one lapel is partly folded over. 
 
 This picture was purchased from B. Purgen of Nuremberg. 
 
 From the collection of H. d'Anslan. 
 
 Signed in upper right-hand corner : " A. D. " (in monogram). 
 
 Panel, I 3 ]^ in. long by I 5 j£ in. high. 
 
[ No. 23 ] 
 
 CORNELIS DUSART 
 
 2Dutcf) £djool 
 
 Born in Haarlem April 24, 1660; died there October 1, 1704. Genre painter, excel- 
 lent pupil and faithful imitator of Adriaen Van Ostade. Admitted to Painters' Guild 
 January 10, 1679. 
 
[No. 23] 
 
 « PEASANTS MERRYMAKING " 
 
 CORNELIS DUSART 
 
 There is a merrymaking in a large room filled with merrymakers. The fiddler 
 is standing in an elevated position a little to the left of the centre, and a man 
 playing a bass viol is standing beside him. A man and a woman are dancing 
 in the middle of the floor, a dog in front of them and a number of people in 
 the rear. In the front and to the left is a man sitting on a bench, and between 
 him and the large stained-glass window stands an older man with a tall hat on 
 his head. Below the window sit an amorous pair, the woman with a glass in 
 her hand. The heavy wooden beams support the roof. 
 
 From the collection of M. de Potemkins ; also sale of Valentone Roussel, Brus- 
 sels, 1899. 
 Signed in lower right-hand corner: " D. 1524." 
 
 Canvas, 1 6 in. long by IJ^ in. high. 
 
[ No. 24 ] 
 ANTON VAN DYCK 
 
 Born in Antwerp, March 22, 1599 ; died in London, December 9, 1641. At ten years 
 of age he was apprenticed by his father, Francis Van Dyck, linen draper, to Hendrik 
 Van Balen, and at sixteen he entered the studio of Rubens as his pupil and assistant, 
 employed by this great master to prepare black and white drawings for his pictures for 
 the use of the engravers who worked under his eye and to make cartoons from his 
 sketches. Van Dyck's talent developed with astonishing rapidity. He obtained access to 
 James I. through the Countess of Arundel. He painted the king's portrait at Windsor. 
 In the autumn of 1621 the king gave him a horse and sent him on a journey to Italy, 
 where Van Dyck took up his residence. Jealousy of his great success made Rome intol- 
 erable, and he proceeded to Genoa in January, 1624, and remained there until the next 
 year, when he returned home. Rubens was very fond of him, and bought several of his 
 pictures, which set the tide running in his favor. 
 
 After an unsuccessful visit to England in 1627, where he failed to obtain presentation 
 at Court for want of favor with the Duke of Buckingham, Van Dyck lived for three 
 years at Antwerp and Brussels, painting and etching a number of pictures which have 
 become famous. In 1630 Charles I., who had seen some of his work, invited him to 
 England. In April, 1632, Van Dyck obeyed the summons, and after he had been 
 presented to the king by Sir Kenelm Digby, painted his portrait, that of the queen, and 
 the great picture of the royal family, now at Windsor. 
 
 In July he was knighted and appointed court painter, and in October, 1633, had a 
 pension of ^200 a year assigned to him. During the next nine years he painted nineteen 
 portraits of the king, seventeen of the queen, as well as many of their children, at a fixed 
 price of £50 for half and ^ioofor full length figures. Living in a style of splendor far 
 beyond his means, Van Dyck became more and more embarrassed as the troubles of 
 Charles's reign thickened, until in 1638 he presented his unpaid claims to the king, 
 including his pension for the past five years, payment for many portraits and for four 
 cartoons prepared for tapestries at Whitehall, which he valued at the large sum of 
 ,£80,000. These claims were but partially satisfied when he went to France in 1641. 
 Disappointed and in broken health, he returned to England via Antwerp, and on the 1st 
 of December, the birthday of his daughter Giustiniana, he made his will, and on the 9th 
 he expired. He was buried in St. Paul's Cathedral. 
 
[ No. 24 ] 
 
 "WOLFGANG, DUKE OF NIEUBOURG " 
 
 ANTON VAN DYCK 
 
 The subject of the picture is portrayed as a tall man dressed in the style of a 
 Spanish grandee. The close political connection between Spain and the Neth- 
 erlands at that period doubtless influenced the dress of the Dutch. He stands 
 with the thumb of his right hand thrust through a part of the drapery of his 
 doublet and the thumb of his left through the guard of his sword. He is dressed 
 entirely in black and has a closely cut beard. He wears broad cuffs and a large 
 white collar. Behind him to the left is a marble column and to the right some 
 red drapery. A large dog, a Great Dane, brindle and white, is to the left. 
 They both stand on a red carpet. 
 
 Mentioned in Smith's Catalogue Raisonne ; Part 3, page 18, No. 51. "A full 
 length portrait of Wolfgang, Duke of Nieubourg. He is dressed in black. The 
 right hand holds a ribbon, which is suspended around the neck ; a large dog is 
 standing by his side. . . . Done in lithography by Piloti." 
 The picture here described in Smith's Catalogue is in the Munich Gallery, and 
 differs somewhat from the picture in this collection in being not quite so large. 
 
 Canvas, 53^ in. long by 86 in. high. 
 
[ No. 2 5 ] 
 
 ARTIST UNKNOWN 
 «g>rf)ooI of Ban <£pcfe 
 
[ No. 25 ] 
 
 "ADORATION OF THE MAGI" 
 
 SCHOOL OF VAN EYCK 
 
 The Virgin is clad in a dress with a blue bodice and a red skirt. Her golden 
 hair flows over her shoulders, mingling with a red scarf. To the left is a man 
 in a green coat, over which is a richly embroidered garment trimmed with 
 ermine. His hat lies upon the floor, and in his hand is a jewel case filled with 
 jewels towards which the Christchild reaches. Back of him is an Ethiopian 
 wearing a white turban, in whose hands are a number of rich presents. 
 On the right stands a man facing this group, his back to the spectator. He 
 wears a green mantle and carries a jeweled present in his hands. He wears 
 red stockings, and on his head a red cap. He has a dark-brown beard. In 
 the background is a landscape with a river. 
 
 Panel, 28 in. long by 35^ in. high, curved top. 
 
[ No. 26 ] 
 
 GOVAERT FLINCK 
 
 SDutcf) <§>cf)ool 
 
 Born at Cleves in 161 5; died in Amsterdam 1660. His parents wished to bring him 
 up to mercantile pursuits, but he preferred to be a painter. He was first a pupil of 
 Lambert Jacobsz at Leeuwarden. About 1650 the Magistrates of Amsterdam engaged 
 him on the paintings for the town hall. In 1652 he became a Burgher for Amsterdam. 
 
[ No. 26 ] 
 
 "TOBIAS AND THE ANGEL" 
 
 GOVAERT FLINCK 
 
 Tobias is sitting with his head thrown back, that his son, with the guidance of 
 the angel, may apply restoratives to his eyes that his sight may return. The son 
 is standing behind him with his left hand resting on his father's head while 
 with the right he is preparing to administer the medicine. The angel points to 
 the eyes of Tobias, and with head turned slightly to the left is looking at the 
 old wife, who holds her husband's hand. On the extreme right in the back- 
 ground are two children. 
 
 Canvas, 6$*4 '"• l° n & by 58^ in. high. 
 
[ No. 27 ] 
 
 CLAUDE GELLEE (CLAUDE LORRAIN) 
 f rentf) ^>cl)ool 
 
 Born in Champagne, on the Moselle, in 1600; died in Rome, November 23, 1682. 
 Pupil of his elder brother, a wood engraver at Freiburg in Breisgau. From 1619 to 
 April 8, 1625, lived at Rome working as an apprentice and valet to Agostino Tassi. 
 At Nancy he found employment in decorating Chapelle des Carmes for Duke Charles 
 III. Then in 1627 he returned to Rome to remain for the rest of his life. By 1634 
 Claude had become a celebrity of Rome. In the height of his fame he was patronized at 
 Rome by the King of Spain, the Elector of Bavaria, Prince Doria, the dukes de Bethune 
 and de Crequy, and many other distinguished persons. From the church of the Trinita 
 di Monte, where he was buried and where his monument was destroyed by the French 
 in 1798, his remains were removed in 1840 to the church of S. Luigi in Francesi, at the 
 suggestion of M. Thiers. 
 
[ No. 27 ] 
 
 "A SEAPORT" 
 
 CLAUDE GELLEE (CLAUDE LORRAIN) 
 
 An old port is seen with a vessel about to sail. She is on the extreme right, 
 and four women are on the shore, evidently sad at the departure of the sailors. 
 A man is sitting on a stone, pointing to the vessel. Three sheep and two goats 
 are seen lying down or feeding in the foreground. A small boat is sailing off 
 in the distance. A little to the left of the centre, on a quay, stands a massive 
 building with four square towers. Four men are hauling on a hawser at the 
 left, whilst two more are to be seen in a small boat. At the extreme right of 
 the picture is a large tree ; two classical columns with architrave somewhat 
 fallen into decay are near by. Hills are in the background. 
 
 Canvas, 69 in. long by 49^ in. high. 
 
[ No. 28 ] 
 
 DOMENICO GHIRLANDAJO 
 
 floventmt £df)ori 
 
 Born in Florence, 1449; died there, January 11, 1494. Real name was Domenico di 
 Tommaso Curradi di Dosso Bigordi. He took his surname from his father, a gold- 
 smith, who was called Ghirlandajo (garland-maker), from the wreaths of gold and silver 
 worn as head-dress ornaments which he made. Called to Rome by Sixtus IV. in 1482, he 
 painted the " Calling of Peter and Andrew " upon the walls of the Sistine Chapel. 
 
[ No. 28 ] 
 
 "PORTRAIT OF A YOUNG GIRL" 
 
 DOMENICO GHIRLANDAJO 
 
 A young woman is represented a little less than half length and two-thirds life 
 size. She leans forward from behind a stone balustrade. The eyes are chest- 
 nut, the hair is light, parted on the forehead, with a head-dress thrown over 
 it. A transparent veil covers the bare shoulders. She wears a low bodice of a 
 bright red color tied with strings, through which a dark-blue chemise is visi- 
 ble. Over her shoulder is a mantle of a light yellow color. The background 
 is light blue in tone. The portrait is supposed to be that of the painter's sec- 
 ond wife, to whom he was married in 1488. 
 
 Panel, izj^ in. long by i(>}£ in. high. 
 
[ No. 29 ] 
 
 JAN VAN GOYEN 
 2Dutcf> £ci)ool 
 
 Born at Leyden, January 13, 1596; died at The Hague, 1656. Became pupil of 
 Esaias Van de Velde, in Haarlem, about 1616. He made a tour through France in 
 161 8. Settled in Leyden, and married in 1631. Removed to The Hague, where, in 
 1640, he was president of the Guild. 
 
 The date, 1657, on the picture which he left unfinished at the time of his death was 
 added by his son-in-law, Jan Steen, who painted in the figures. 
 
[ No. 29 ] 
 
 "ON THE RIVER" 
 
 JAN VAN GOYEN 
 
 A quiet stream running through a landscape and crossed by a rustic bridge 
 is here shown. To the right is an old cottage with a colossal tree standing be- 
 side it. A man is fishing near by, and a woman stands watching him. A short 
 distance away two men in a boat are making preparation to cast their net, and 
 still others are rowing in the distance. Cut off" at the corners so as to fit a 
 round frame. 
 Signed on the bridge abutment: "V. G., 1653." 
 
 Panel, circle, 1 5 y 2 in. diameter. 
 
[ No. 30 ] 
 
 JAN VAN GOYEN 
 2Dutcf) £d[)ooI 
 
[ N °- 3° ] 
 
 "VILLAGE ON THE RIVER" 
 
 JAN VAN GOYEN 
 
 The river fills the entire foreground of the picture. To the left in the fore- 
 ground are two boats, one of which, evidently a ferry-boat, is laden with people 
 and a pair of horses with a wagon. Two rowboats are in the stream. Four 
 cows are on the bank to the left, and a milkmaid sits beside one of them. On 
 the other bank of the stream is the village, with a church, the spire of which 
 rises above the trees and the houses. To the left in the background are boats 
 proceeding down the river. 
 Signed on the bank of river to the right of centre : "J. V. G." 
 
 Panel, z 8 in. long by 1 8 in. high. 
 
[No. 3 i] 
 
 JAN VAN GOYEN 
 Dutcli School 
 
[No. 31 ] 
 
 "LANDSCAPE BY THE RIVER" 
 
 JAN VAN GOYEN 
 
 A small bridge spans a part of the stream which runs under it towards a house 
 on the right. Trees overhang the bridge, and a barn or storehouse stands at 
 the end of it. A small boat with two men in it is lying against the bank. In 
 the distance to the left is another house partly hidden by the trees, and there 
 are two boats in the river with some men standing on the bank beside them. 
 Signed on the right-hand side of the bridge: "V. G., 1638." 
 
 Panel, 1 7 in. long by I 2 in. high. 
 
[No. 32] 
 
 JEAN BAPTISTE GREUZE 
 f rcnct) £cf)ool 
 
 Born at Tournus, near Macon, in Burgundy, August 21, 1725; died in Paris, March 
 21, 1805. Pupil of his maternal grandfather, Grandon of Lyons. Also studied in the 
 Academy at Paris. He amassed a large fortune only to lose it. 
 
[No. 32] 
 
 "REVERIE" 
 
 JEAN BAPTISTE GREUZE 
 
 A young girl is shown sitting at a small table, supporting her head with her 
 left hand. A quill pen and letter are lying beside her. A blue ribbon is around 
 her head, and her hair falls to the front over her shoulders and right arm. She 
 wears a light white garment, which falls unrestrained across her bosom. 
 From the collection of the Duchess of Penthievre ; from the family of the 
 Due de Montebello ; and later from the collection of Count Daupias. 
 
 Canvas, 20 in. long by 24 in. high. 
 
[ M- 33 ] 
 FRANCESCO GUARDI 
 
 Bertctian School 
 
 Born in Venice 1712 ; died 1793. Architect and landscape painter; pupil of Canaletto, 
 whom he succeeded in surpassing. While hardly as precise in perspective detail, his work 
 shows much more readily the hand of a master than Canaletto 's. 
 
[ No - 33] 
 
 "GRAND CANAL AT VENICE" 
 
 FRANCESCO GUARDI 
 
 The scene is the Grand Canal at Venice. Many gondolas and boats with mer- 
 chandise cover the portion of the canal which fills the foreground. The houses, 
 so varied in architecture, that line the Grand Canal are to be seen at right 
 and left. In the distance, a little to the right of the centre, may be seen the 
 spire of a church, while in the central background is the Rialto, crossing the 
 canal. 
 
 Panel, 34^ in. long by 251^ in. high. 
 
[ No. 34 ] 
 
 FRANCESCO GUARDI 
 
 Venetian ^c^ool 
 
[ A&. 34 ] 
 
 "WEDDING OF THE DOGE" 
 
 FRANCESCO GUARDI 
 
 In this picture the Nova Fondamenta is shown with a large number of regal 
 looking barges and represents a fete day. Two large buildings (one a church) 
 are seen near a bridge which crosses a small canal. A number of houses to 
 the left in the far distance. The stern of a large barge is seen in the fore- 
 ground to the left. Another large barge is moored in front of one of the 
 covered passageways leading from the water side to the church door. 
 
 Panel, I 8 in. long by I 5 in. high. 
 
[ No. 35 J 
 
 FRANS HALS 
 BDutcf) £cf)ool 
 
 Born in Antwerp, 1584; died in Haarlem, August 26, 1666. Dutch school; pupil of 
 Karel van Mander. A founder of the national style and a portrait painter to be ranked 
 with the greatest masters. He excited the admiration of Van Dyck and other painters. 
 In 1664 he was reduced to sheer want, and was supported by the municipality and 
 pensioned. 
 
[ No. 35 ] 
 
 "PORTRAIT OF A WOMAN" 
 
 FRANS HALS 
 
 An old lady in a black silk dress with embroidered waist is shown sitting in a 
 high-backed chair. She wears a stiff white ruff (which was common to the 
 period in which the artist lived and flourished), and also the conventional cap. 
 In her left hand she holds a book. The hand shows signs of rheumatism, 
 which was very prevalent among the Hollanders in ancient times. The back 
 of the chair is ornamented at each corner with lions' heads. Just above the 
 corner of the chair, to the left, is the inscription : — 
 
 MTAT SVAE 56 
 AN° 1535 
 
 Canvas, 351^ in. long by 45 in. high. 
 
[No. 3 6] 
 
 FRANS HALS 
 SDuttf) £cf)ool 
 
[ No. 36 ] 
 
 « THE SINGERS " 
 
 FRANS HALS 
 
 The head and shoulders of a boy and half length of a girl are shown in the 
 picture. The children are singing, the boy looking up and smiling and the girl 
 looking down at the music which the boy holds in his two hands and which 
 she supports with her left hand. Her right hand is placed gently upon his 
 shoulder. A brown jug hangs on the wall at the upper left-hand corner. 
 Signed to the left of the centre on wall : " F. H." 
 
 From the sale of Coupry-Dupri, Paris, 181 1. From the collection of S. A. S. 
 Monseigneur le Due d'Arenberg. 
 
 Canvas, 25 in. long by 28 in. high- 
 
[No. 37] 
 
 FRANS HALS 
 SDutcl) School 
 
[No. 37] 
 
 "THE VIOLIN PLAYER" 
 
 FRANS HALS 
 
 A little boy, wearing a fur cap, is playing a violin. He has a black jacket, 
 under which is a red waistcoat and a white frilled shirt. His face is turned 
 upward, and his eyes, cast to the left, look in the same direction. He is 
 singing, and his face betokens with great power the feeling which is thrown 
 into his actions. 
 Signed on the left in monogram : " F. H." 
 
 Panel, diamond-shape, 7'< in. each side. 
 
[No. 3 S] 
 
 FRANS HALS 
 
 Dutrt) School 
 
[No. 38] 
 
 "THE SINGING GIRL" 
 
 FRANS HALS 
 
 A young girl with high forehead and black hair, ornamented with a narrow 
 ribbon, is holding a book in her left hand, while her right is upraised as 
 though keeping time. She is singing, and intently watching the pages of her 
 book. A yellow dress is seen at the shoulders, also a part of a green bodice 
 which she wears over a white frilled chemisette. 
 Signed to the right in monogram : " F. H." 
 
 Panel, diamond-shape, T 1 /, in. each side. 
 
[No. 39] 
 
 GEORGE HENRY HARLOW 
 <£ugligi) £ri)ool 
 
 Born in London June 10, 1787; died there February 4, 1819. Portrait painter and 
 pupil of De Cort Drummond and Sir Thomas Lawrence. First exhibited at the Royal 
 Academy in 1805. In 18 18 he visited Rome, was introduced to the Pope by Canova, 
 and through him made a member of the Academy of St. Luke. 
 
[ No. 39 ] 
 
 "PORTRAIT OF A BOY" 
 
 GEORGE HENRY HARLOW 
 
 The boy sits on a chair with his hands folded in his lap, his left hand grasping 
 his right thumb. He is a rosy-cheeked little fellow with black eyes full of 
 mischief, and looks as though he had but little interest in posing for his por- 
 trait. He wears a little ruffle around his neck, and his clothes are of a dark 
 brown color. 
 
 Canvas, 25 in. long by 30 in. high. 
 
[ No. 40 ] 
 
 JAN VAN DER HEYDEN 
 SDutcfj £ri)ool 
 
 Born at Gorinchem, in 1637; died in Amsterdam, September 28, 1712. His forte 
 was architecture and landscape painting. Views of buildings show a feeling for the pic- 
 turesque, warm and transparent tone, accurate perspective, and fine touch. Ranks first 
 among those who represented exteriors of buildings. His figures were generally painted 
 by Adriaen van de Velde, Eglon van der Neer, and Lingelbach. 
 
[ No. 40 ] 
 
 "MARKET DAY IN ROTTERDAM" 
 
 JAN VAN DER HEYDEN 
 
 The scene is located in a broad street. The rear of a church, surrounded by a 
 wall, is shown to the left. Against the wall are several figures — there are a 
 great number in the picture — all painted by Adriaen van de Velde. Conspicu- 
 ous among the figures is a blind man receiving alms from a woman and a lit- 
 tle child. Further on is a large pump, from which a woman has just been 
 drawing water. At the end of the wall, on a small platform, a man is talking 
 to a crowd of people, while a boy beside him attracts attention by beating a 
 drum. On the left side of the street are women with vegetables and wares 
 of various kinds, which they offer for sale. In the distance are throngs of 
 people. 
 
 Collection Count Soltikof. 
 Signed in lower left-hand corner: "V. Heyden." 
 
 Canvas, 20 i/± in. long by 17 in. high. 
 
[No. 41 ] 
 JAN VAN DER HEYDEN 
 
[No. 41 ] 
 
 " THE VILLAGE " 
 
 JAN VAN DER HEYDEN 
 
 A group of thatched cottages is here presented. In the doorway of one of 
 them an old woman stands gazing on the quiet scene before her. To the left, 
 near an open gateway, a peasant girl is conversing. In the foreground a stream 
 of water is shown in which ducks are swimming, while on the banks chickens 
 are wandering contentedly about. Perched on the top of a pole is a dove 
 house. To the right is an old shed. In front of it stands the stump of a tree, 
 and a wooden bench rests at the edge of the water. The sky is overcast with 
 grayish white clouds, and joins the background. In the distance the spire of a 
 church is shown. 
 Signed at the right, on one of the boards of the old house : " V. Heyden." 
 
 Canvas, 22 ^£ in. long by 18 *4 **. high. 
 
[ No. 42 ] 
 
 JAN VAN DER HEYDEN 
 SDutcf) £cf>ool 
 
[ No. 42 ] 
 
 "THE OLD HOUSE" 
 
 JAN VAN DER HEYDEN 
 
 A portion of an old brick house with a tiled roof is represented on the right 
 of the picture. A woman stands in the doorway, and there are several figures 
 both in the foreground and in the distance. Two large trees are in the centre, 
 and to the left is open country. Signed (name indistinct), 1668. 
 
 Panel, I 3 in. long by 9 in. high. 
 
[2ft. 43] 
 MEINDERT HOBBEMA 
 
 Dutcfi School 
 
 Born at Amsterdam, 1638 ; died at same place, 1709. Pupil of Jacob van Ruisdael. Fig- 
 ures and animals in his pictures were painted by Berghem, Van de Velde, Lingelbach, 
 and Wouwerman. Most of his pictures were bought by Englishmen. He was much 
 neglected in his lifetime and little esteemed. He now takes rank as one of the greatest 
 masters of landscape art, thanks to the initiative of England. 
 
[ No. 43 J 
 
 "A VIEW IN WESTPHALIA" 
 
 MEINDERT HOBBEMA 
 
 This picture is described in Smith's Catalogue Raisonne, Part VI. No. 18, as 
 " A view in Westphalia, representing a richly wooded country, distinguished 
 in its composition. On the right are the ruins of a house, beyond which is a 
 large clump of trees, surrounded in part by a stream of water, which is crossed 
 by a rustic bridge. A little way off stands a cottage among trees, and still 
 further to the right is seen a spire in the adjacent hamlet. The opposite side is 
 rendered picturesque by a little lake fringed with weeds and foliage. The 
 figures which animate the scene consist of a man angling, another crossing the 
 bridge, and a man and woman in conversation. 
 
 " Now in the collection of William Wells, Esq., Redreaf." 
 
 Panel, 34 in. long by 24 in. high. 
 
■i^^HMflM 
 
[ No. 44 ] 
 
 MEINDERT HOBBEMA 
 SDutd) =£>cf)ool 
 
[ No. 44 ] 
 
 "THE MILL" 
 
 MEINDERT HOBBEMA 
 
 An old mill stands in the centre of the picture, the sun shining on it brightly. 
 One large tree is at the right and three other trees at the left. The mill is 
 reflected in a stream of water which flows in front of it. A woman and a little 
 child and a man are in the foreground. It is said that the sky in this picture 
 is not quite finished, and that it was the last work of the master. The rest 
 of the picture is painted with the utmost care and is evidently one of his best 
 works. " This picture belonged to an old family, and hung in the same place 
 since it was relined in 1830 or earlier. Its frame was falling to pieces and the 
 painting was becoming so black with age and dirt that the subject could 
 scarcely be deciphered. Durand-Ruel purchased the picture and had it cleaned, 
 when its great beauty was discovered." 
 Signed in the lower right-hand corner: " M. Hobbema." 
 
 Canvas, 47 x / 2 in. long by 36 in. high. 
 
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[No. 45] 
 
 MEINDERT HOBBEMA 
 2Dutcf) £cf)ool 
 
[ No. 45 ] 
 
 « THE FORD " 
 
 MEINDERT HOBBEMA 
 
 This picture represents an old mill on the left, located on a stream of water. 
 In the back centre is a house, and in the front two large trees and several small 
 ones, with a group of smaller trees on the right. A man in a red jacket with a 
 package on his back is sitting on a log. In the foreground is a shepherd talk- 
 ing to a woman. They are driving some sheep and a cow to the stream. A 
 dog is swimming across the water. In the left background is a man with a 
 flock of sheep, also a group of trees. 
 Formerly in the possession of Mrs. Whatman. 
 The two large figures in front are by A. Van de Velde. 
 
 Canvas, 52 in. long by 39 in. high. 
 
[ No. 46 ] 
 
 MEINDERT HOBBEMA 
 2Dutd) <£>d[)ool 
 
[ No. 46 ] 
 
 "THE OLD MILL" 
 
 MEINDERT HOBBEMA 
 
 An old mill is in the foreground to the left beside a running stream, and a 
 woman is seen in front of it. On the right are two men extending their hands 
 to each other. One is dressed in red and the other in dark colors. They are 
 surrounded by a group of large trees. In the background is a house, and a wo- 
 man looks out from the doorway. The lower part of the Dutch door is closed. 
 There is also a man walking beside the stream which divides the foreground 
 from the house. The light color so familiar in Hobbema's works illumines 
 the background. 
 Signed in the lower right-hand corner : " Hobbema." 
 
 Panel, 29 in. long by zi^ in. high. 
 
L No. 47 ] 
 ATTRIBUTED TO MEINDERT HOBBEMA 
 
 Dutrti ^riiooi 
 
[ No. 47 ] 
 
 « THREATENED STORM IN SUMMER " 
 
 ATTRIBUTED TO MEINDERT HOBBEMA 
 
 A summer afternoon, with gathering clouds, is here represented. In the fore- 
 ground a man and woman are shown. The former is driving a cow along the 
 road ; the latter is accompanied by a dog. Beyond is a woman, and cattle ; to 
 the right a man, woman, and child are hastening along the road; and to the 
 left is a cottage, in the door of which stands a woman. A pond is in front of 
 the house. The animals and figures are by Nicholas Berghem. The picture 
 was once in the possession of the Empress Catherine, who presented it to 
 Prince Vorong. 
 Signed in lower right-hand corner : " M. Hobbema." 
 
 Panel, 43 in. long by 30 in. high. 
 
[ No. 48 ] 
 
 ATTRIBUTED TO MEINDERT HOBBEMA 
 
 EDutcf) <§>cf)00l 
 
[ No. 48 ] 
 
 "THE ROAD TO THE COTTAGE" 
 
 ATTRIBUTED TO MEINDERT HOBBEMA 
 
 A rough road winds its way to the cottage, which is discernible on the left, 
 though partly hidden by foliage. A large clump of trees is also shown beside 
 the road. Two men are standing under them, and another man is seen beyond. 
 To the right are two men some distance apart. 
 Signed on log in lower right-hand corner : " Hobbema." 
 
 Panel, 33 in. long by 24 in. high. 
 
[ No. 49 ] 
 
 PIETER DE HOOCH 
 
 Dutrh School 
 
 Born in Rotterdam; baptized December 12, 1632; died in Haarlem, 1681. Worked 
 at Delft, where he entered the Guild in 1655. One of the most original artists of the 
 Dutch School, and painted domestic scenes in such a manner that a bright light was 
 thrown from one side. 
 
[ No. 49 ] 
 
 "THE SOCIAL GLASS" 
 
 PIETER DE HOOCH 
 
 A table is shown in the centre of a modestly furnished room, and at it a man 
 is sitting holding a glass from which he has been drinking. He wears a 
 broad-brimmed hat, and has flowing locks which fall upon his shoulders. A 
 woman stands opposite, her left hand grasping the handle of a beer pitcher, 
 while her right is extended toward an empty glass in the man's hand. The 
 man, with his left hand outstretched, seems to be asking permission to help 
 himself. On the table lies a handsome Turkish rug, the folds of which fall 
 over the side. On the right of the room is a red-covered chair, and on the 
 left a window draped with a pink curtain. The open courtyard can be seen 
 in the rear of the house, and further on is a building through which is a 
 passage into the open landscape beyond. 
 
 Panel, 18% in. long by zoy^ in. high. 
 
[No. S o] 
 
 PIETER DE HOOCH 
 2Dutdj ^tfjool 
 
[ No. 50 ] 
 
 "THE MUSIC PARTY" 
 
 PIETER DE HOOCH 
 
 In the foreground, a woman is shown attired in a blue satin dress, which is 
 handsomely trimmed with gold lace. She stands beside a violoncello, the neck 
 of which she grasps with her left hand, while in her right she holds a bow, 
 and seems ready to commence playing. Another woman, holding a music 
 book in her left hand, sits by an open casement, with her right elbow sup- 
 ported by the window sill. The position of her hand would indicate that 
 she had been resting it against her head. A man stands behind her and is 
 intently looking at her music. To the right of the musician another man is 
 tuning a lute. A dog stands in front of him. To the extreme right, through 
 an open doorway, a courtyard can be seen, in which there are three persons, 
 and which is surrounded by buildings. A bright light gleams through the 
 window from the left, and is reflected with beautiful effect on the two women. 
 From the Schall collection at Baden. 
 
 Canvas, 41^ in. long by 35^2 '"■ high. 
 
[No. S i] 
 PIETER DE HOOCH 
 
[No. 5 i] 
 
 "AN INTERIOR" 
 
 PIETER DE HOOCH 
 
 The light coming through a window on the left falls on a woman sitting in 
 a chair holding a pair of tongs in her right hand, with which she is reaching 
 towards the fire. In her lap she holds a basket of pears, which she is peeling 
 and placing in a dish at her side. A little child stands beside her reaching into 
 the basket for one of the pears. It is holding one in its right hand. To the 
 left a woman with a red dress is at a cupboard. There is a fire on the hearth 
 on the right-hand side of the picture. A plate of bread and a blue jug are on 
 the table to the left. 
 Signed at the bottom of window : "P. D. Hooch." 
 
 Canvas, 25 in. long by 28 in. high. 
 
[ No. 52 ] 
 
 HANS HOLBEIN (the Elder) 
 4Berman dbrfjool 
 
 Born in Augsburg about 1460; died there, 1524. History painter. In his later works 
 he came under the influence of the Italian Renaissance. 
 
[No. 52] 
 
 "THE FOOL" 
 
 HANS HOLBEIN (the Elder) 
 
 The bust of a man is shown wearing a cap with long ears and two little horns 
 coming from the top of the cap. He wears a leather jacket laced on the 
 shoulders, and in his hands is a mug, from which he has been drinking. He 
 also holds a knife and a prong. 
 From the collection of Julius Boekler, Munich. 
 
 Panel, 13^ in. long by 17% '"■ high. 
 
[No. S3] 
 
 HANS HOLBEIN (the Younger) 
 
 German School 
 
 Born at Augsburg, 1497. Died in London between October 7 and November 29, 
 1543. History and portrait painter. Son and pupil of Hans Holbein the elder. He 
 served as journeyman under Herbster, Koch, or Dig. He matriculated in 1 5 1 9, when 
 he joined the Painters' Guild. His frescoes in the City Hall at Basle were painted in 
 1 52 1 and 1522. After visiting Antwerp to see Quinten M assy s, he went to England, 
 where Sir Thomas More lodged him in his own house near London. After living in 
 Basle until 1532 he returned to England, where he remained, except with occasional visits 
 to Basle, during the rest of his life. He became Painter to Henry VIII. and received a 
 quarterly salary from the King. 
 
[No. S3] 
 
 "PORTRAIT OF A LADY" 
 
 HANS HOLBEIN (the Younger) 
 
 A half-length portrait of a lady dressed in the style of the fifteenth century 
 
 is shown. She wears a white head-dress, a thin piece of veiling covering her 
 
 chin and neck. Her dress is of black material trimmed with a fur collar. 
 
 She carries her gloves in her right hand. On the forefinger of the same hand 
 
 she wears a ring with a dark stone. 
 
 From the Quasnika Collection at Lyon. 
 
 Signed in the upper right-hand corner: " H. H. 1575." 
 
 Panel, 1 2 in. long by 1 6 in. high. 
 
[M. 54] 
 
 HANS HOLBEIN (the Younger) 
 
 German £cf)ool 
 
[No. 54J 
 
 "PORTRAIT OF A CHIEF MAGISTRATE OF 
 
 AMSTERDAM " 
 
 HANS HOLBEIN (the Younger) 
 
 ( Early part of sixteenth century. ) 
 
 The magistrate is dressed in a black gown, which designates his official posi- 
 tion. The large lapels are thrown back, disclosing an inner coat, which is 
 buttoned at the throat. A white lace collar is about his neck, and he wears a 
 broad-brimmed hat, with low crown. 
 From the collection of Horace Walpole, Strawberry Hill. 
 
 Canvas, 6% in. long by 7 in. high. 
 
[ No. SS ] 
 
 THOMAS DE KEYSER 
 
 2DutcJj £rf)ool 
 
 Born in Amsterdam in 1596 or 1597 ; died there and buried November 19, 1679. His- 
 tory, genre, and portrait painter. His small pictures are very characteristic. His portraits, 
 which are truthful and of warm, clear coloring, appear to have influenced Rembrandt 
 when the latter came to Amsterdam in 1631. 
 
[ No. 55 ] 
 
 "PORTRAIT OF A GENTLEMAN" 
 
 THOMAS DE KEYSER 
 
 He is dressed in black velvet short clothes and a large black hat. He wears a 
 ruff around his neck and broad lace cuffs on his arms. Over his left arm and 
 shoulder is thrown a cloak. On his left hand he wears a leather glove, and 
 holds his other glove in the same hand. In his right hand he holds a walking 
 stick. He has a light mustache. He is standing at the top of a flight of stone 
 steps, on a platform which evidently is the entrance to the building back of 
 him ; a corner, showing ornamental architecture, is seen in the picture. In the 
 background is a large stone building. 
 
 Sold in the collection of J. D. Bosch, Amsterdam, 1812, and J. H. Cremer, 
 in Brussels, in 1868. 
 
 Panel, 1 1 % in. long by \i>% in. high. 
 
[ No. 56 ] 
 
 SIR EDWIN HENRY LANDSEER 
 (English <§>c&ool 
 
 Born in London, March 7, 1802 ; died there October 1, 1873. He was the third son 
 and pupil of John Landseer, engraver. Began to draw animals when very young, some 
 of his sketches made when five, seven, and ten years old being preserved at South Ken- 
 sington. When fourteen he became a student of the Royal Academy, and exhibited the 
 next year " Heads of a Pointer Bitch and Puppy." He soon won an unrivaled repu- 
 tation as an animal painter, and became A. R. A. in 1826, and R. A. in 1830. In 1850 
 he was knighted, and in 1855 received at the French exhibition the large gold medal, and 
 in 1873 tne me dal at the Vienna exhibition. 
 
[ No. 56 ] 
 
 "THE PETS" 
 
 SIR EDWIN HENRY LANDSEER 
 
 A portrait of Lady Rachel Russell, with her favorite fawn, " Harty," is here 
 given. On rising ground, which is very light and clear, the little girl stands 
 holding a plate of food with which she intends to feed her fawn. Great 
 anxiety is depicted on the child's face lest some of the food should be spilled. 
 The manner in which she bends her knees to bring the plate even with the 
 fawn's nose gives her a most charming pose. Her shoulders, face, and blonde 
 hair are bathed in full light, and wild flowers fall from her reddish dress, which 
 is raised about her waist. Beneath a yellow petticoat her red stockings can be 
 seen. A cat is under the table playing with the end of a piece of blue ribbon 
 tied around the fawn's neck. Two large trees stand out against a beautiful 
 background of foliage of a warm, harmonious green. 
 
 Engraved by W. H. Watt. Painted and exhibited at the Royal Academy in 
 1834. Formerly in the possession of Rev. Lord Wriothesley Russell. 
 
 Canvas, 21 in. long by 26 in. high. 
 
[ No. 57 ] 
 BERNARDINO LUINI 
 Hom&art^jftilanege £c|)ool 
 
 Born in Luino, 1475-80 or 1460-70; died in Milan after 1533. Called, by Vasari, 
 del Lupino ; pupil of Civerchio and of Leonardo da Vinci. His most important works 
 in Milan are the frescoes in the Monastero Maggiore. 
 
[ No. S7 ] 
 
 "THE MYSTIC MARRIAGE OF ST. CATHERINE" 
 
 BERNARDINO LUINI 
 
 The Virgin appears near the middle of the picture holding the Child Christ in 
 her arms. Over her head and shoulders is thrown a dark green cloak. The 
 Child has a ring in its right hand and a ball in its left. The ring is being 
 placed upon the second finger of the right hand of St. Catherine, which is held 
 toward the Infant. To the right is another female figure. On the neck of 
 the dress of the figure to the right is the following inscription : " S. Doratea 
 Ora — " 
 From the collection of Comte Casali of Mantua. 
 
 Panel, 2 2j/£ in. long by 28*^ in. high. 
 
[ No. 58 ] 
 JAN VAN MABUSE 
 
 Born at Mabeuge about 1470; died in Antwerp about 1541. Real name Jan Gossart 
 or Gossaert. History painter. Admitted in 1 503 to Guild in Antwerp, where he prac- 
 ticed until 1507, when he went to Italy and was the first artist of the Netherlands who 
 visited that country. He was in Rome from 1508 to 1 5 13 in the service of Philip, 
 natural son of Philip the Good. Before he went to Italy he painted chiefly religious 
 subjects. 
 
[ No. 58 ] 
 
 "MADONNA AND CHILD" 
 
 JAN VAN MABUSE 
 
 This is a bust of the Madonna with the Christchild in her arms. She has 
 reddish blond hair, which falls over her shoulders. Over her head is a lace 
 covering. A blue cloak thrown open at the neck envelops her form, and the 
 one arm shown discloses a red sleeve. 
 
 Panel, 7^ in. long by 9^ in. high. 
 
[ No. 59 ] 
 HANS MEMLING 
 
 Born at Mayence (?) about 1425 ; died at Bruges on August 1 1, 1495. Pupil of Rogier 
 Van der Weyden. 
 
 According to a popular legend Memling was admitted as a sick soldier into the Hospital 
 of St. John at Bruges after the Battle of Nancy, and in gratitude for the care bestowed 
 upon him painted a celebrated wooden shrine to St. Ursula before October 29, 1489, 
 with miniatures representing six scenes from the legend of the saint. 
 
[ No. 59 ] 
 
 "VIRGIN AND CHILD ENTHRONED" 
 
 HANS MEMLING 
 
 The Virgin rests on a seat at the right-hand side of the picture. She wears a 
 red dress, and over her shoulders is a blue cloak. Her hair is of a reddish color. 
 St. John, wearing a red cloak, is to her left, with the book, the cross, and the 
 lamb. Landscape with a city in the distance. 
 From the collection of Rajicevitch, Beyamo, near Milan. 
 
 Panel, 1 4 y± in. long by \lY^ in. high. 
 
[ No. 60 ] 
 GABRIEL METSU 
 SDutct) £ri)ooI 
 
 Born in Leyden in 1630; died in Amsterdam, buried October 24, 1667. Genre por- 
 trait painter. Son of, and probably first instructed by, Jacob Metsu. He was married in 
 1658, and took the freedom of the city of Leyden in 1659. He painted chiefly scenes 
 from the upper classes of society. 
 
[ No. 60 ] 
 
 "THE LETTER" 
 
 GABRIEL METSU 
 
 A young woman, richly dressed in silk and velvet, and jeweled earrings, is 
 seated at a table. Her jacket is edged with ermine, and the covering of her 
 head — which is so arranged as to show a part of her front hair — is a soft, 
 white drapery. The table is covered with a red embroidered cloth, and an 
 inkstand and sheet of paper are before her. She slightly inclines toward the 
 table, and her right arm and left hand are resting upon it. In her right hand 
 she holds a quill pen, and seems ready to continue the interrupted letter. Her 
 eyes have an amused yet interesting expression, contemplative of what she is 
 writing. To the right is a spaniel looking up, as if waiting recognition. 
 From the collection of the Marquis Da Foss of Lisbon. 
 Signed in the upper left-hand corner : " G. Metsu." 
 
 Panel, 1 3 in. long by 1 5 y A in. high. 
 
[No. 6 1 ] 
 GABRIEL METSU 
 
[No. 61 ] 
 
 "WOMAN CLEANING CARROTS" 
 
 GABRIEL METSU 
 
 This picture represents a woman sitting at a table where she is cleaning carrots. 
 A wooden pail stands in front of her with some carrots in it. Two carrots are 
 lying on the table and one is in the woman's hand. There is a dish in front 
 of her with three fishes. 
 Signed in the lower right-hand corner : " G. Metsu." 
 
 Panel, 9^ in. long by II in. high. 
 

 
 
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[ No. 62 ] 
 
 FRANS VAN MIERIS 
 2Dutri) £cf)ool 
 
 Born at Delft, 1635 ; died at Leyden, 1681. He was one of twenty-three children of 
 his father, who was a lapidary. In early youth he was apprenticed to a glass painter, 
 Abraham Torenvliet, whose studio he abandoned for that of Gerard Dou, who called 
 him the prince of his pupils. 
 
[ No. 62 ] 
 
 "BOY BLOWING BUBBLES" 
 
 FRANS VAN MIERIS 
 
 A boy blowing bubbles is looking out of a window, and a woman is standing 
 back of him. On the window-sill is a red hat with a feather, also a vase in 
 which is a sunflower. Hanging up on the right-hand side is a bird cage. The 
 painting is round at the top. 
 Signed inscription under window: " M.DC.LXIII." 
 
 Copper, 71^ in. long by 10 in. high. 
 
[No. 63] 
 
 FRANS VAN MIERIS 
 SDutrij £cf)ool 
 
L No. 63 J 
 
 "PORTRAIT OF A LADY" 
 
 FRANS VAN MIERIS 
 
 Before a mirror stands a lady in evening costume apparently selecting the 
 jewels she shall wear from the casket which an Ethiopian serving-maid holds 
 in her hands. The lady's right hand is raised to her shoulder, and she studies 
 the effect of the jewel which she holds in it. A rich wrap of crimson cloth 
 and fur hangs over the chair in front of her, and a rich cloth or rug covers 
 the table, on which are another casket and a letter. The face of the servant 
 is raised as if expecting some directions. Through an arched doorway in 
 the background a man is seen sitting at a table reading. 
 Signed in upper right-hand corner : " Mieris, 166." 
 
 Panel, 9^ in. long iy ufy in. high. 
 
[ No. 64 ] 
 
 ABRAHAM MIGNON 
 
 Smtcl) School 
 
 Born at Frankfort, in June, 1640. Died at Wetzlar, in 1679. Taken to Holland in his 
 twentieth year by Jacob Marrel, who placed him with J. Davidsz de Heem,who perfected 
 him in the painting of flowers and fruits. 
 
[ No. 64 ] 
 
 "FRUIT" 
 
 ABRAHAM MIGNON 
 
 To the right of this subject is the stump of a small tree covered with moss. 
 Around the bottom of it two snakes are entwined, and near by is a canteloupe, 
 fastened to which is a snail. On top of the canteloupe is a bunch of grapes, 
 and beside it are two lizards, one of which is on its back; also, a cucumber, 
 an ear of corn, several peaches, and a quantity of citron and nuts. To the left 
 are two mice. On a pedestal are grapes, citron, plums, and apricots ; and at 
 the top of the picture are a butterfly and three birds. 
 From the collection of Baron Pret, Antwerp. 
 
 Canvas, 28 y z in. long by 35^ in. high. 
 
[ No. 65 ] 
 
 AERT VAN DER NEER 
 2Dutclj c§>cljool 
 
 Born at Amsterdam, 1603 ; died there, November 9, 1677. Landscape painter. Was 
 a friend of Cuyp, who occasionally supplied the figures in his landscapes, and an 
 admirable painter of moonlight and twilight scenes. He represented for the most part 
 canals with towns on their banks, lighted by the moon, and no other painter has depicted 
 the lights and shadows incident to such scenes with so much truthfulness and clearness. 
 He painted conflagrations also with equal truth. 
 
[ No. 65 ] 
 
 "DUTCH CHANNEL BY MOONLIGHT" 
 
 AERT VAN DER NEER 
 
 A dark strip of ground, near the water-edge, introduces the foreground of this 
 picture, and on it two fishing-nets are stretched, held by stakes. Between the 
 nets is a withered tree, which forms a wonderful contrast with the reflection of 
 the moon in the water. The river, bordered right and left with small houses, 
 gardens, and a church, reaches out in the distance. The entire scene has the 
 horizon for its background, where another church with steeple looms up. The 
 moon shines brilliantly in the sky, and the artist has surrounded it with golden 
 light and gold-fringed clouds, all of which are reflected in the eddying river 
 near its banks. Numerous boats are sailing on the water. 
 Signed in lower right-hand corner : " A. V. N." 
 
 Panel, 16^ in. long i>y iz}4 '«• fyh- 
 
[ No. 66 ] 
 
 AERT VAN DER NEER 
 Dutch School 
 
[ No. 66 ] 
 
 "TWILIGHT" 
 
 AERT VAN DER NEER 
 
 A soft, red tone covers this landscape. In the centre is a river winding its 
 crooked way inland, with small towns on either side. In the foreground a 
 man, woman, and little boy are shown ; the former is arranging a net on 
 stakes. To the left is a clump of large trees, and to the right several houses 
 are seen, while cows and horses are shown in the distance. 
 From the Gervier collection ; also from the Million collection. 
 Signed in the lower right-hand corner : " A. V. D. N." 
 
 Panel, zgy^in. long by l<)*4 in. high. 
 
[ No. 67 ] 
 
 EGLON HENDRICK VAN DER NEER 
 
 Durrh School 
 
 Born in Amsterdam, 1643. Died in Dusseldorf, May 3, 1703. Genre, portrait, and 
 landscape painter. Pupil of his father, Aert van der Neer ; then pupil of Jacob van 
 Loo. His favorite and most successful subjects were elegantly attired ladies. He went 
 to France in 1653, and later to Rotterdam, Amsterdam, and Brussels, and in 1687 to the 
 Court of the Elector of the Palatinate, to whom, as well as to Charles II. of Spain, he 
 was court painter. 
 
[ No. 67 ] 
 
 "LADY AND CHILD" 
 
 EGLON HENDRICK VAN DER NEER 
 
 A lady dressed in white satin, her dress decollete, occupies the centre of the 
 picture. She has light hair, and holds her dress slightly raised with her left 
 hand, while with her right she takes an ostrich plume of red color from her 
 Ethiopian servant. Around her neck she wears a string of pearls. A little 
 child has hold of her left hand, and is dressed in a blue gown which opens 
 below the waist, showing the skirt beneath. Her neck is adorned with a coral 
 necklace, and her head with a blue ostrich feather. A little spaniel runs play- 
 fully before them. In the background is shown heavy drapery over the en- 
 trance to the house, and a marble terrace with trees beyond. 
 
 Copper, 1 9^4 '"• l° n Z h 22 '"■ high- 
 
[ No. 68 ] 
 
 ADRIAEN VAN OSTADE 
 
 2Dutrf) £d)ooI 
 
 Born in Haarlem; baptized December 10, 1610; died in Haarlem, April 27, 1685. 
 Pupil of Frans Hals, and after 1640 developed under Rembrandt's influence. His 
 family took the name of Ostade from a village now called Ostedt, in the environs of 
 Eindhoven, whence his father, a weaver, removed to Haarlem, 1605. Adriaen at a 
 very early age became the favorite pupil of Frans Hals. He married twice, and died a 
 widower. He had many pupils, one of whom was the famous Jan Steen. He was not 
 only an inimitable painter of rustic scenes, but also an excellent etcher. 
 
[ No. 68 ] 
 
 "THE OLD TOPER" 
 
 ADRIAEN VAN OSTADE 
 
 The subject is sitting by a rough, wooden table, and presents a mature appear- 
 ance. His pipe and a pewter jug of liquor, together with a bowl, are beside 
 him. He holds a glass in his left hand, and with his right points to it as 
 though discoursing upon its merits. He wears a soft black hat, and from his 
 general dress one would readily conclude that he belonged to the peasant 
 class. 
 
 Smith's Catalogue Raisonne, Supplement, page 81, No. 6. 
 Collection, Goll van Frankenstein ; also, collection, Pereire. 
 Signed in lower left-hand corner: " Ostade, 165 1." 
 
 Panel, 71^ in. long iy 8y£ '"■ n 'g n - 
 
[ No. 69 ] 
 
 ADRIAEN VAN OSTADE 
 2Dutcf) £d)ool 
 
[ No. 69 ] 
 
 « THE SKITTLE PLAYERS " 
 
 ADRIAEN VAN OSTADE 
 
 On the outside of a small inn a number of peasants are sitting around a table 
 drinking. In the doorway of the inn stands a woman, with a child in her arms, 
 in conversation with a man with a jug in his hand, who is sitting beside the door. 
 A man with a high soft white hat stands talking to one in a red jacket near the 
 centre of the picture, and to the left a peasant is playing at skittles, while 
 another watches him. In the background are a number of figures seated at a 
 table under a tree by the side of the inn, and in the distance are other figures, 
 a horse and cart beside a large tree, beyond which the church spire rises. 
 Signed in the lower right-hand corner on bench : "A. V. Ostade." 
 
 Panel, 27^ in. long by 25^ in. high. 
 
[ No. jo ] 
 
 ADRIAEN VAN OSTADE 
 Dutch £cbooi 
 
[ No. jo ] 
 
 "DANCING TO MUSIC" 
 
 ADRIAEN VAN OSTADE 
 
 This scene exhibits a large grange or barn, in which eleven persons are assem- 
 bled, two of whom are seated at a table in the centre. One of them, wearing 
 a green jacket and cap, sits with his back to the spectator, and has his arm 
 resting on the back of his chair. The attention of the gathering is directed 
 to two musicians, one of whom is an old man playing a " hurdy-gurdy," and 
 the other, a boy, playing a fiddle. On the opposite side of the group a 
 half-tipsy individual is seated, leaning forward to light his pipe. Another 
 man at the table faces to the front and wears a blue jacket ; and still another 
 stands with his hat raised in his hand. A dog, a pipe, and a variety of objects 
 are introduced to give picturesque effect. 
 
 Collection Peter Loquet, Amsterdam, 1783; Collection Calonne, 1788; 
 Collection Montaleau, 1802; Collection Van der Schrieck-Louvain, 1861; 
 Collection Viardot, 1872; engraved by P. Le Rat; also, by Gilbert, for the 
 Gazette des Beaux Arts; exhibited at the Royal Academy, 1880; Smith's 
 Catalogue, Supplement No. 57. 
 Signed in lower right-hand corner: "A. van Ostade, 1643." 
 
 Panel, 23^ in. long by 17% in. high. 
 
[ No. 71 ] 
 
 ADRIAEN VAN OSTADE 
 Dutch School 
 
[No. 71 ] 
 
 "DANCING IN THE BARN" 
 
 ADRIAEN VAN OSTADE 
 
 The picture here presented is the interior of a large barn, in which is gathered 
 a bevy of merry-making boors. A man and woman are dancing to the music 
 of a bagpipe, which is being played by a musician who occupies an elevated 
 position to the right. In the foreground a man, wearing a blue coat, is hold- 
 ing a jug in his left hand, and offering a glass of beer to a companion, who 
 raises his hat as he accepts it. A woman, partly hidden, stands beside them. 
 She wears a red dress and white cap. A chair is also shown in the foreground, 
 and beside it a little boy, wearing a large hat, is sitting. To the left, and near 
 the wall, are three men, drinking and smoking. In the doorway, through 
 which can be seen the landscape, three figures are shown. 
 From collection of Prince Demidoff. 
 Signed in lower left-hand corner : "A. Ostade, 1652." 
 
 Panel, 24 in. long by 25*^ in. high. 
 
[ No. 72 ] 
 
 ADRIAEN VAN OSTADE 
 Durrli School 
 
[ No. 72 ] 
 
 "INTERIOR OF ROOM WITH MEN DRINKING" 
 
 ADRIAEN VAN OSTADE 
 
 The picture shows the interior of a room with six figures, — three in the 
 foreground to the left and three in the background to the right. Two of the 
 men in the foreground are sitting. One of them is smoking, and the other, who 
 is without a hat, holds up a glass of wine in his left hand ; the third leans 
 over a bench or table, and is evidently in conversation with him. Four of the 
 men wear hats. A window is shown in the rear, and a cage with a black bird 
 in it hangs in the middle of the room. A door opens to the left. 
 Signed in the lower left-hand corner : " A. Ostade." 
 
 Panel, 10 in. long by 1 1 y 2 in. high. 
 
[No. 73] 
 
 ISACK VAN OSTADE 
 Dutch School 
 
 Born in Haarlem, baptized June i, 1621 ; died there, buried October 16, 1649. Genre 
 and landscape painter. Brother and pupil of Adriaen. His pictures which are of most 
 value are his landscapes, with figures, in which his individuality found scope. 
 
[No. 73] 
 
 "INTERIOR OF A STABLE" 
 
 ISACK VAN OSTADE 
 
 A large rustic stable, with a fully saddled bay horse as a central figure, is here 
 presented. Near the horse is a rack containing fodder, and a little to the rear 
 is a servant at work with a shovel. In the background, to the left, a peasant's 
 cart is shown against the wall ; also a goat on a beam of wood lying on the 
 ground. Around are a number of accessories, including a pitchfork, a tun, a 
 bucket, and a basket, etc. 
 
 Collection, Alb. Levy, London ; also, collection, Baron de Beurnonville, Paris. 
 Signed in lower centre: " Isack van Ostade, 164." 
 
 Panel, 2 3 in. long by 15^ in. high. 
 
[No. 74] 
 
 ISACK VAN OSTADE 
 SDutcf) ^tfjool 
 
[ No. 74 ] 
 
 "THE ITINERANT MUSICIAN" 
 
 ISACK VAN OSTADE 
 
 In this picture the artist has presented a number of peasants congregated 
 around the door of their cottage home, waiting for their frugal meal. They 
 are supposed to have returned from a day's work, and noticing a passing 
 musician with a flute, they stop him. He seeks to entertain them with the 
 melody of his instrument, and they seem to listen attentively. In the fore- 
 ground is a little boy wearing a green coat and a large hat. In front of him 
 is another boy with a pink coat ; to the left a man sits upon the ground and a 
 woman stands in the doorway of the cottage. Two chickens are feeding in 
 the vicinity, and a horse is drinking at a water-trough behind the group. In 
 the distance a horse, cart, and several men are shown. A large tree stands 
 in the centre of the picture. 
 Signed in lower left-hand corner: " Isack van Ostade, 1648." 
 
 Panel, 26 in. long by 18 in. high. 
 
[No. 7S ] 
 
 JOACHIM DE PATINIR 
 $ lenrigi) £djooI 
 
 Born either at Dinant or Bouvignes, on the opposite bank of the Meuse, about 1490; 
 died before the 5th of October, 1524, and after 15 19. He has been called the inventor 
 of landscape painting so far as the North is concerned, but that is an exaggeration. It 
 would be truer to say that he was the first Fleming to make his landscapes distinctly 
 more important than the figures with which they are peopled. 
 
[No. 75] 
 
 "THE APOSTLES AFTER THE CRUCIFIXION 
 WORSHIPING IN A CAVE" 
 
 JOACHIM DE PATINIR 
 
 The picture represents the apostles after the crucifixion worshiping in a cave. 
 There are five within and seven without the cave. To the right, one of them 
 is seen sitting on a rock, while beside him another dressed in a yellow gown is 
 seen to weep. On the left are four in a group and one about to enter the cave. 
 On the top of the picture the Ascension is represented. Christ is robed in a 
 blue gown, the shoulders of which are supported by angels. Angels also sur- 
 round and support him from beneath. In the top part of the picture sits God, 
 the Father, robed in white and red, and Christ, the Son, in a garment of light 
 red. In the distance is a landscape with a river flowing through it on the right. 
 In circles at the upper left-hand and right-hand corners the Birth and Resurrec- 
 tion are depicted. 
 
 In the lower right-hand corner is a crest with the following inscription : 
 " Istz Gvot So Gebs Go." 
 
 Panel, 23 in. long by 24*4 in. high. 
 
[ No. 76 ] 
 
 BERNARDINO DI BETTI (PINTURRICCHIO — Little Painter) 
 
 ftmbrian £tf)ooI 
 
 Born in Perugia, supposedly about 1454; died at Sienna, December 11, 1513. His 
 real name was Bernardino di Betti Biagi, sometimes also called Lo Sordicchio, on ac- 
 count of his deafness and the insignificance of his personal appearance. He almost 
 always painted in distemper, and worked in the spirit of the Umbrian painters. He was 
 all his life, says Charles Blanc, what Raphael was at twenty years old. In 1484 Pintur- 
 ricchio became the partner of Perugino at Rome and worked with him in the Sistine 
 Chapel. 
 
[ No. 76 ] 
 
 "PORTRAIT OF C^SAR BORGIA" 
 
 BERNARDINO DI BETTI (Pinturricchio — Little Painter) 
 
 It is a portrait painted in half size, showing the bust of a man with long wav- 
 ing locks drooping on his shoulders. His jacket is of red stuff bound with 
 black at the top, and above a white undergarment tied with a small cord. A 
 fur cape rests upon his shoulders. On his head is a black hat turned up at the 
 edge, with a white feather in it. Through the window is seen a landscape in 
 the distance. 
 
 From the collection of Baron Lazzaroni in Rome. 
 Signed in the upper right-hand corner: " iETATF SVJE XXXII." 
 
 Panel, 8 x / 2 in. long by 1 1 y^ in. high. 
 
[ No. 77 ] 
 PAULUS POTTER 
 2Dutri) ^rtjool 
 
 Born at Enkhuysen, 1625; baptized November 20, 1625; died in Amsterdam, and 
 buried January 17, 1654. Animal and landscape painter. Son and pupil of Pieter 
 Potter. Family settled at Amsterdam in 163 1, and in the following year Paulus went to 
 study painting at Haarlem, under Jacob de Wet, the Elder. 
 
[ No. 77 ] 
 
 "THE RED BULL" 
 
 PAULUS POTTER 
 
 A young bull, standing a little obliquely from the front, with head turned 
 aside, is the central figure. In the distance, and a little to the right, is a vil- 
 lage, the church spire of which is the most prominent object. On the back 
 of the panel is a writing in black, which is almost obliterated, but so much of 
 it as can be distinguished, after translation, conveys the idea that this picture 
 is the model of a bull which was painted for the Prince of Orange by P. 
 Potter, 1648. 
 
 From the Hecht Collection, Paris. 
 Signed in the lower left-hand corner : " P. Potter." 
 
 Panel, ioj4 in. long £y 5*4 '"• high- 
 
[ No. 78 ] 
 PAULUS POTTER 
 
[No. 78] 
 
 "LANDSCAPE WITH CATTLE AND FIGURES" 
 
 PAULUS POTTER 
 
 To the right are two cows lying down, and in the middle foreground a red 
 cow drinking from a pool of water. Two other cows are on the hill to the 
 left. One stands grazing ; the other is lying down. A man and a woman are 
 seated on the grass, and to the left a woman carrying a jug is coming down 
 the hill. A row of five trees to the left on the middle background. 
 This picture is mentioned in Smith's Catalogue, part 5, page 144, number 64, 
 as follows : " A Dutch gentleman and his wife enjoying the air of a fine 
 summer evening. The view represents a hilly meadow with a pond in front at 
 which a red cow is drinking. A row of tall elms adorn the summit of the hill, 
 near which are seated the probable owner of the farm and his wife (these are 
 supposed to represent the artist and his wife). On the right is a cow grazing, 
 and behind them is another cow on the farther side of the pond. A peasant 
 woman bearing a pitcher in her hand is approaching in front. At the bottom 
 of the hill, at the opposite side, are seen two cows lying down together. A 
 gleam of sun from a partially overcast sky evinces by the lengthened shadows 
 the decline of day. Formerly in the celebrated collection of M. Lormier. Col- 
 lection of Earl of Radstock, 1826. Exhibited in the British Gallery, 1821. 
 Now in the possession of Messrs. Woodburn." 
 Signed in the lower right-hand corner: " Paulus Potter f. 1650." 
 
 Panel, 16 in. long by 14 in. high. 
 
[No. 79 ] 
 
 ANDREAS PREVITALI 
 Benetian £cfjooI 
 
 Born at Bergamo about 1480 (?) ; died there (?) about November 7, 1528. At the close 
 of the fifteenth century he was known in Venice as Andreas Cordeliaghi or Cordelia. He 
 assumed the name of Previtali about 151 5. His works are frequently confounded with 
 those of Catena and Basaiti. 
 
[ No. 79 ] 
 
 "VIRGIN AND CHILD" 
 
 ANDREAS PREVITALI 
 
 The Virgin is sitting in the centre of the picture with the infant Christ on her 
 left knee. She is looking towards her right, where the donor is kneeling in an 
 attitude of supplication to the Christchild. The Virgin touches the top of the 
 donor's head with the ends of her fingers, as if she were bestowing a blessing. 
 In the background there is a landscape and part of the tower of an old castle ; 
 mountains in the distance. The Virgin wears a richly figured cloth over her 
 head, and the color of the dress is deep red. A dark cloak is thrown over her 
 person. To the spectator's right are the following words and letters : " An- 
 dreas. C. A. Disci. Iovanis Belini P." This picture was formerly in the pos- 
 session of Count Picho Antonio Porto. 
 
 Panel, 30^ in. long by 23^ in. high. 
 
[ No. 80 ] 
 
 RAPHAEL SANZIO 
 Umbrinn anti Hainan ^ctioolg 
 
 Born at Urbino, April 6, 1483 ; died in Rome, April 6, 1520. Pupil of Timoteo Vite. 
 Early in the year 1500, was apprentice to Perugino. He was the second son and third 
 child of Giovanni Santi and his wife, Magia Ciarla. His name of Sanzio is italianized 
 from Sanctius, which in its turn was latinized from the patronymic Santi. His family 
 name was Sante, Santi, Sanctius, or Sanzio. He went to Florence in 1504 and remained 
 there perhaps a year, during which he painted a number of important pictures. In 1506, 
 at the time when Leonardo da Vinci and Michelangelo were engaged upon their cele- 
 brated cartoons for the great hall of the Palazzo Vecchio, Raphael studied both, but 
 especially those of Leonardo, who, together with Fra Bartolommeo, exercised great influ- 
 ence over him during his two years' residence in that city, which, with the exception of 
 a short visit to Urbino and Bologne, lasted until the summer of 1508. During the 
 twelve years of his life at Rome in the service of Julius II. and Leo X. Raphael 
 accomplished a prodigious amount of work as painter, architect, sculptor, and archaeolo- 
 gist. Leo X. made him inspector of all marbles dug up at Rome, commissioned him to 
 make plans and elevations of her ancient edifices, and on the first of August, 15 14, 
 appointed him to succeed Bramante as head architect of St. Peter's. 
 
[ No. 80 ] 
 
 "THE HOLY FAMILY AND THE SPARROW" 
 
 RAPHAEL SANZIO 
 
 The infant Christ is here typified sitting on the lap of the Virgin mother, 
 looking with fear at the bird which the infant St. John, who is being held by 
 St. Elizabeth, is holding up to him. The sparrow seems possessed of a war- 
 like temperament, and the infant Saviour appears intuitively to shrink from it. 
 Both infants are nude. The Virgin is attired in a red, sleeveless dress, with 
 white underwaist. A blue robe is thrown around her from her waist down. 
 One bare foot shows from under the robe. St. Elizabeth is in a half-kneeling 
 posture, and has a light brown robe about her. The right landscape shows a 
 ruined temple, with trees, houses, and a church in the distance. 
 Belonged to the family Crossibili de Ferrare. From the collection of Prince 
 Paskewitch. 
 
 Panel, 7^3 '"■ to"g h 9H '"• ^'gh- 
 
[ No. 8 1 ] 
 
 REMBRANDT VAN RIJN 
 SDutctj M>tfyool 
 
 Born near Leyden, July 15, 1607; died at Amsterdam, October 8, 1669. Pupil of 
 Jacob van Swanenburch, Pieter Lastman, and Jacob and Jan Pinas. His father, Har- 
 men Gerritsz, a miller, and his mother, Neeltgen Willems van Suyddtbroek, daughter 
 of a baker, lived in a house situated in the Weddersteeg, near the Witte Poort, and 
 there Rembrandt was born. Having little taste for books and a strong natural love of 
 art, he naturally took to his work. He never left Holland, and in it visited only Dord- 
 recht, Friesland, Gueldres, and perhaps Cleves. With his first wife, Saskia van Ulen- 
 burgh, whom he married in 1634, and who died in 1642, he lived very happily, and 
 the portraits of her at Cassel, Dresden, and Berlin are among his finest works. They 
 lived in a house at Amsterdam in the Breedstraat, where he collected many fine Italian 
 and Dutch pictures, glass, armor, porcelain, etc. For fourteen years after Saskia's 
 death, Rembrandt and his son Titus lived in this house, at the end of which time — as 
 his affairs were hopelessly involved — it was sold by auction with its contents. For the 
 remainder of his days the great artist lived in comparative poverty. 
 
[No. 81 ] 
 "PHILEMON AND BAUCIS" 
 
 REMBRANDT VAN RIJN 
 
 This subject was doubtless taken from the works of Dryden by the master ; 
 but Dryden, no doubt, had access to Ovid, where the suggestion was first found. 
 The story of the picture is that Jupiter and Mercury were one day wandering 
 through Phrygia, asking for shelter among the natives, but, as foreign intruders, 
 they received very little attention. Only a poor old couple, Philemon and 
 his wife Baucis, hospitably invited them into their humble dwelling, where 
 they served the finest fruit they could find and their only goose — which 
 they had fattened with so much care — with great promptitude. During the 
 repast the gods made themselves known to their hosts, and asked them what 
 reward they wished for their excellent reception. The old couple knelt down 
 and begged that they both should die at the same time. Their wish was 
 granted, and Baucis was metamorphosed into a linden and Philemon into an 
 oak. Posterity has preserved their names coupled together as the symbol of 
 matrimonial affection. In treating the subject, Rembrandt has presented the 
 scene almost entirely in clare-obscure. A single light brightens the interior of 
 the peasants' cottage, the head of Mercury being in the dark and forming a vivid 
 contrast. On the left a fire is burning on the hearth in the background. Jupiter's 
 face is brilliantly illuminated ; the light also falls on his dazzling dress. 
 Mentioned by Dr. Bode in his catalogue of certified genuine pictures by Rem- 
 brandt. Also in Smith's Catalogue, vol. vii. No. 1 94. 
 Mezzotinted by Thomas Watson, London, 1 772. 
 Signed in lower left hand corner: " Rembrandt f., 1658." 
 
 Panel, 27% in. long by 24^ in. high. 
 
[ No. 82 ] 
 
 REMBRANDT VAN RIJN 
 2Dutcf) £cfjooI 
 
[ No. 82 ] 
 
 « PORTRAIT OF A RABBI " 
 
 REMBRANDT VAN RIJN 
 
 The Rabbi's face is turned a little to the left. His eyes are bluish gray, and 
 the eyelids show the pinkish tint of old age. His nose is prominent, and his 
 lips compressed. A heavy, full gray beard surrounds his face, and he also 
 wears a mustache. A turban of black velvet, ornamented in front with a 
 brooch, adorns his head, and around his neck a medallion is suspended. A 
 dark cloak, trimmed with brown fur, hangs from his shoulders. His breast, 
 which is partly covered with a crimson vest, ornamented with gold braid set 
 with jewels, is also adorned with a fine linen tunic. His complexion is florid 
 and shows perfect health. This picture is from the collection of Prince Demi- 
 dofF, and was purchased by him at sale of Sir Philip Miles, Leigh Court, 1884, 
 in whose possession it was for many years. Mentioned in " Catalogue His- 
 torique et Descriptif des Tableaux et Dessins de Rembrandt," by Eugene Du- 
 tuit, p. 47. 
 
 Panel, 20 in. long by 24 in. high. 
 
[No. 83] 
 
 REMBRANDT VAN RIJN 
 SDuttf) £tf)ool 
 
[Afc.8 3 ] 
 
 "RESURRECTION OF ST. LAZARUS" 
 
 REMBRANDT VAN RIJN 
 
 The saint is represented as rising from his sepulchre. The priests and attend- 
 ants grouped about him seem to manifest great surprise at the sight. A young 
 girl is kneeling in the foreground, while in the background the heads of five 
 figures are shown in a group. The artist has thrown a bright light from the 
 left of the picture, which strikes full upon the saint, and the reflection from it 
 is apparent on several of the surrounding figures. The wall is hung with a 
 hat, sword, a quiver with arrows, and a bow. 
 
 Panel, 14% in. long iy J?}{ in. high. 
 
[ No. 84 ] 
 
 REMBRANDT VAN RIJN 
 SDutcfj <&rf)ool 
 
[ No. 84 ] 
 
 "PORTRAIT OF JORIS DE COULERY" 
 
 REMBRANDT VAN RIJN 
 
 This picture presents a captain in the Dutch navy at two-thirds length, with 
 florid face surrounded by bushy dark hair. His eyes are brown, and he wears 
 a dark mustache turned up at the ends, and an imperial. His coat is yellowish 
 brown, and around his neck is a metal collar and shoulder-plate. His sword- 
 belt is over his right shoulder, passing diagonally across his breast. In his right 
 hand he carries an arquebuse, while his left rests upon his hip. It is spoken 
 of by C. Vosmaer, of The Hague, in his book entitled, " Rembrandt, His 
 Life and His Works," page 427, as follows : " Dr. A. Bredius, director of 
 the Mauritshuis — the museum of old art at The Hague — found a will 
 signed by Joris de Coulery, dated 1640, in which this picture is willed to 
 his son." 
 
 It belonged to the Chevaliers Quarles van Uffbrd, of The Hague, for over a 
 century, who received it into their halls through the marriage of an old and 
 noble family of Dordrecht, who were heirs of the De Coulery family. For 
 charitable purposes it was exhibited in 1867 in Amsterdam ; at Arti et Amicitia, 
 in 1 88 1 ; at The Hague, with the collection of H. H. MM., the King and 
 Queen of Holland, in their palace; and in 1882, in the exposition Neer- 
 landaise de Beaux Arts Organisee au benefice de la Societe Neerlandaise de 
 Bienfaisance de Bruxelles. 
 Signed on the right-hand side: " Rt. van Ryn, 1632." 
 
 Canvas on panel, 33^ in. long by 40^ in. high. 
 
[ No. 85 ] 
 
 SIR JOSHUA REYNOLDS 
 <£ttffttgf) £cl)ool 
 
 Born at Plympton, Devonshire, July 16, 1723 ; died in London, February 23, 1792. 
 Son of the Rev. Samuel Reynolds, master of the Grammar School at Plympton, St. 
 Mary's, Plymouth. Went to London in 1741 as a pupil of Thomas Hudson, and after 
 less than two years' study returned home and painted many portraits at a low price. In 
 1746 he began to practice in London, and in 1749 accompanied Commodore, afterwards 
 Lord Keppel, in the ship Centurion, to the Mediterranean. At Rome he caught a 
 cold while working in the Sistine Chapel, which made him deaf for the rest of his life. 
 He returned to England in October, 1752, and settled in London, first in St. Martin's 
 Lane. In 1768, on the establishment of the Royal Academy, he was chosen its first 
 president and was knighted by George III. Upon the death of Allan Ramsay, 1784, 
 he became principal painter in ordinary to the king. He died unmarried, and was buried 
 in St. Paul's Cathedral near Sir Christopher Wren. 
 
[No. 85] 
 
 "PORTRAIT OF LADY O'BRIEN" 
 
 SIR JOSHUA REYNOLDS 
 
 Sitting on a terrace or balcony, with her elbow resting on an immense urn, 
 and her head on her right hand, Lady O'Brien seems to be looking into the 
 future. She has a troubled expression, as if all did not go well with her. 
 Her left hand falls on her right arm, and her hair, which is loose behind, has 
 entwined her neck and fallen over her bosom. The drapery which rests on 
 her shoulders partly covers the urn. In the right-hand background are folds 
 of heavy dark red curtains, and the sky is seen to the left. The turrets of a 
 castle rise in the distance. 
 
 Canvas, 39^ in. long by 49^ in. high. 
 
[ No. 86 ] 
 GEORGE ROMNEY 
 
 Born at Dalton-le-Furness, Lancashire, England, December 15, 1734; died at Kendal, 
 November 1 5, 1 802. After acquiring a little knowledge of painting from Steele, a painter 
 at Kendal, he supported himself by painting portraits in the north of England at two 
 guineas a head until 1762, when he went to London. In that year and in 1763 he gained 
 premiums from the Society of Arts for his pictures of " The Death of Wolfe " and 
 "The Death of King Edward." In 1773 he visited Italy, and after a two years' absence 
 established himself in London, where until 1797, when he removed to Hampstead, he 
 divided public patronage with Reynolds and Gainsborough. His famous model was the 
 notorious but beautiful Lady Hamilton, whose face he reproduced under many disguises. 
 
[ No. 86 ] 
 
 "PORTRAIT OF MRS. RALPH WILLETT" 
 
 GEORGE ROMNEY 
 
 This is a half-length portrait of Mrs. Willett sitting in a chair. She is dressed 
 in a reddish brown gown with a white yoke, and a black lace fichu is thrown 
 over her shoulders. A black band is around her neck. She wears a lace cap 
 closely drawn and fastened under the chin. The countenance is quite severe, 
 showing great determination in its possessor. 
 
 Canvas, 25 in. long by 30 in. high. 
 
[ No. 87 ] 
 
 PIETER PAULUS RUBENS 
 f lemigfj £cf)ool 
 
 Born at Siegen, Westphalia, June 29, 1577 ; died at Antwerp, May 30, 1640. Pupil of 
 Adam van Noort, Tobias Verhaegt, and Otto van Veen. From 1596 to 1600 he studied 
 in Venice. In July, 1601, the Duke of Mantua, Vincenzo Gonzaga I., sent him to Rome 
 to copy pictures for his gallery. He returned to Mantua in 1603. In March he was 
 sent to Spain with presents from the duke to the king. In 1605 he went to Rome to 
 continue his studies. In 1608 he returned to Antwerp on account of the death of his 
 mother. October 13, 1609, he married Isabella Brandt, who died in 1626. On Decem- 
 ber 6, 1630, he married Helena Fourment, who was his niece by marriage. His two 
 wives were the models for many of his paintings. Besides being a painter, Rubens was 
 also a great diplomat. He acted as ambassador for negotiating between his own and 
 other countries. 
 
 In 1633 his protectress, the Archduchess Isabella, died. This entailed much trouble 
 upon him and greatly afflicted him. He also suffered much from the gout, but continued 
 to paint with the same wonderful facility and power. The works of this great artist, 
 many of which were wholly or partially painted by his scholars, after his designs, are 
 between two and three thousand. 
 
f No. 87 ] 
 
 "IXION AND HERA" 
 
 PIETER PAULUS RUBENS 
 
 Ixion and the phantom of Hera are seated on clouds at the right of the pic- 
 ture, while the goddess herself stands nude in the front with a peacock (the 
 symbol of majesty) at her feet. Her back is toward the deluded king, and 
 her manner expresses the pleasure she feels at the deception. Behind her a 
 winged female with a fox's skin over her shoulder is raising the drapery to 
 reveal the pair. Zeus, seated on Mount Olympus, is seen on the opposite side 
 in the background, surrounded by light, while Amor with his flaming torch 
 is hastening toward him. 
 
 Ixion was pitied by Zeus, but proved treacherous. He had a meeting planned 
 with the wife of Zeus, but instead of Hera came a cloud similar to her, and 
 deceived Ixion. This moment is represented by the picture. See Smith's 
 Catalogue Raisonne, No. 846, page 249. The picture was also described in 
 Wauter's " La Peinture Flamande," and is known as the best picture of all 
 Rubens's mythological subjects. 
 
 The picture was till 1722 in the collection of Van de Amory, afterwards in 
 that of Sir George Page, and also of Welborne Ellis Agar, Esq. Since 1806 
 it has been the principal piece of the Earl of Grosvenor's (Duke of Westmin- 
 ster's) collection, for whom it was bought by Stephen Bourgeois, and from 
 whom it was in turn purchased by Mr. Yerkes. 
 
 Canvas, 98 in. long by 65 in. high. 
 
[ No. 88 ] 
 JACOB VAN RUISDAEL 
 2Dutcf) £cf)ooI 
 
 Born in Haarlem about 1625 ; died there in March, 1682. Pupil of his father, Izack, 
 and also of his uncle Solomon van Ruisdael. Joined the Guild of St. Luke at Haarlem, 
 1648. The figures and animals introduced in his paintings are by Berchem, Adriaen van 
 de Velde, Wouwerman, Lingelbach, Vermeer, and Eglon van der Neer. 
 
[ No. 88 ] 
 
 "LANDSCAPE" 
 
 JACOB VAN RUISDAEL 
 
 A river runs between two hills, one in the foreground and the other in the 
 centre of the picture. Beyond to the right the hills are seen rolling to the 
 horizon. On the right-hand side of the picture is a woman driving a laden 
 mule, while behind her follows a small dog. To the left is seen the river 
 with sailboats, and on the farther bank the roof of a church and the spire are 
 seen above the trees. 
 Signed in the lower right-hand corner: "J. Ruisdael." 
 
 Canvas, 43 in. long by 32 in. high. 
 
[ No. 89 ] 
 
 ANDREAS DE SOLARIO 
 HomfearD School 
 
 Born at Solario near Milan about 1458. Died about 1530. He and his brother, a 
 hunchback and a great sculptor, frequently finished their different works of art together. 
 He went about 1490 to Venice. 
 
[ No. 89 ] 
 
 "THE ANNUNCIATION" 
 
 ANDREAS DE SOLARIO 
 
 The Virgin is kneeling by a table covered with a green cloth, the angel 
 kneeling in the foreground to the left of the Virgin. Through the open win- 
 dow a landscape can be seen. In the back of the room there stands a couch 
 with large columns and curtains. 
 From the collection of Mr. Alcott Kay, Glasgow. 
 
 In a catalogue of the Burlington Fine Arts Club for an exhibition in 1898, 
 the picture is described as follows : " On the right is seen the Virgin full face, 
 kneeling at a table, her left hand resting on an open book ; on the left the 
 angel seen in profile kneeling on one knee and bearing a branch of lilies. 
 Behind the Virgin a large canopied couch with green curtains. On the left 
 a landscape seen through the opening. Lent by Arthur Kay." 
 Signed in the lower right-hand corner: "Andreas de Solario P 1506." 
 
 Panel, 3 1 y^ in. long by 30% in. high. 
 
[ No. 90 ] 
 
 JOHAN ADRIAENSZ VAN STAVERN 
 Dutct) .^rtjooi 
 
 Born at Leyden. Date not known. Died there after 1668. Genre painter, painted 
 hermits, old men, and women in a highly finished style like that of Gerard Dou, whom he 
 closely imitated. 
 
[ No. 90 ] 
 
 "THE HERMIT" 
 
 JOHAN ADRIAENSZ VAN STAVERN 
 
 The scene here presented is the entrance to a rocky cave, and an old hermit 
 sits near the entrance studying a book, which is resting upon a large boulder. 
 Beneath the book a skull is shown, and beside it a lantern is lying on its side. 
 The subject has his hands clasped, and is pursuing his studies intently. His 
 flowing beard and white locks give him a saintly appearance. 
 
 Panel, 12 in. long by 14% in. high. 
 
[ No. 91 ] 
 
 JAN STEEN 
 2Dutcfj £cfjool 
 
 Born at Leyden, 1626; died there February 3, 1679. Pupil of Knupfer, Adriaen 
 Brouwer, Jan van Goyen. Lived for some time in Haarlem before 1648, when he was 
 received into the Guild of Leyden. Went to the Hague in 1649, lived there until 
 1653, then again at Leyden, 1658 or 1659. Said to have kept a brewery at Delft, where 
 he lived a short time, probably between 1650 and 1652. At various times from 1661 
 to 1669 he resided at Haarlem, in constant difficulties with creditors. His first wife hav- 
 ing died in Haarlem, 1669, he married a widow, Maritje Herculens, in 1673. He stands 
 foremost among the greatest Dutch painters of familiar life, which he illustrates with 
 rare mastery, lashing the follies and vices of his day with keen satire. 
 
[ No. 91 ] 
 
 "THE SIESTA" 
 
 JAN STEEN 
 
 This picture is described in Smith's Catalogue Raisonne as follows : " A man 
 and a woman seated at a table in front of a house with a vine growing against 
 it. The former is occupied reading, and the latter is reclining her head on the 
 table, asleep. A servant stands beside her, and a dog is seen under the table." 
 Dr. Waagen, in his "Art Treasures in Great Britain," vol. N., page 391, 
 gives the following description : " A man and his wife seated in a bower of 
 vines before a house ; they have dined, and the dessert is on the table. While 
 the woman is nodding, the man has taken a book, and a maid is about to clear 
 the table. The background is a landscape. The liveliness and characteristic 
 point of the representation, the transparency of coloring, and equable and care- 
 ful execution, place this among the choicest works of the master." 
 Collection of M. Smith van Alpen, Rotterdam, 18 10; collection, Everett, 
 1886; and Royal Academy, 1886. 
 
 Canvas, 30^ in. long iy 23 in. high. 
 
[ No. 92 ] 
 
 JAN STEEN 
 
 Dutrli School 
 
[No. 92 ] 
 
 "CHRIST DRIVING THE TRADERS FROM THE 
 
 TEMPLE" 
 
 JAN STEEN 
 
 This picture contains many striking figures which illustrate the great originality 
 of the artist, as well as his keen appreciation of human nature. Christ is the 
 central object, and has just overthrown a table at which an old Israelite has 
 been sitting with his desk and parchment, husbanding a strong box that con- 
 tains his wealth. He is represented as thrown on his back on the floor beside 
 his chest of money, while his little daughter tries to save the desk from a like 
 fate. All around is confusion. The money-lenders are gathering up their 
 coin in great haste ; a woman hurries her eggs into a basket ; a man climbs a 
 ladder to get down his cage of birds ; and a woman, with a pig under her arm 
 and a jug in her hand, watches her opportunity to get out of the way. A 
 rough-looking fellow carries a basket on his shoulder with one hand ; with 
 the other he holds a dead goose, and is ready to make his escape. One of 
 the peculiarities of the picture is the manner in which Christ is portrayed 
 — so different from the Italian school. The latter uniformly pictures him as 
 of mild character, while the Dutch depict him as a master and severe ruler. 
 Collection of M. Malfait de Lille ; Duchesse de Berry, Paris ; Lemaitre, 
 Paris ; and G. Rotham, Paris. 
 
 Signed on the parchment, lying on the floor beside the money-box : " J. 
 Steen 1675." 
 
 Canvas, 43 in. long by 31 in. high. 
 
[ M- 93 ] 
 
 JAN STEEN 
 
 2Dutcfj £d[jool 
 
[ No. 93 ] 
 
 "THE FALSE PLAYERS" 
 
 JAN STEEN 
 
 This picture is called " Card Players" in Smith's Catalogue Raisonne, Supple- 
 ment, page 503, No. jy, and is described as follows : " A company consisting 
 of three women and a like number of men are assembled in a room. One of 
 the former is seated at a table with cards in her hand, and on the left is a 
 sharper, who is eyeing the cards of his adversary in a looking-glass held by a 
 woman over the head of the dupe, and the latter is too intent on the game to 
 observe it. Behind the former lady a young man sits smoking a pipe, and a 
 jolly woman stands behind him. Painted in the artist's finished manner." 
 Collection, N. Bailie, Esq., 1831; collection, Charles Brind, Esq., and from 
 the Odiot collection, Paris. 
 
 Panel, 19^ in. long by 14^ in. high. 
 
[ No. 94 ] 
 
 JAN STEEN 
 2Dutrf) J>cJjool 
 
[ No. 94 ] 
 
 "BOORS MERRYMAKING" 
 
 JAN STEEN 
 
 Smith's Catalogue Raisonne, A, part ix., page 496, number 59, mentions this 
 picture as follows : " A Village Fete." " This capital picture shows a rendez- 
 vous of about thirty villagers assembled in front of a small rustic ale-house in 
 the vicinity of a Dutch town ; the artist, nothing loath on such occasions, has 
 introduced himself, with his wife and child, on the right of the foreground ; 
 the former, a jovial good-humored man, is seated on the ground, evidently jok- 
 ing with an old man of whom he is buying some shrimps; his wife, dressed in 
 a crimson gown, sits on his left with a fine chubby boy at her breast, and behind 
 them is their eldest son, quite delighted with his hat full of cherries. Between 
 these are several couples dancing in a ring to the music of a hurdy-gurdy and 
 a fiddler, the former played by a droll old fellow and the latter by a youth. 
 The view here is bounded by a house in front of which are several peasants 
 enjoying their pipes and pot. Over near a large tree in the centre may be 
 noticed a well-dressed man shaking hands with a young woman. He is accom- 
 panied by an elderly woman and a portly gentleman, and the latter is raising 
 his hat to salute him. In addition to these may be mentioned a gentleman on 
 a gray horse in conversation with a lady on foot, accompanied by a child and 
 a youth. Other groups are distributed in sections over the scene, extending to 
 the entrance gate of the town. The effect is that of a fine evening." 
 This picture was painted in the zenith of the master's talents, and abounds 
 with that variety of characteristic humor which yields so much entertainment 
 to the curious observer. 
 
 Imported by Mr. Chaplin, who bought it in 1 836 of a gentleman near Leyden, 
 in whose family it had remained from the time it was painted. Bought by 
 Mr. Arteria for Edmund Higginson, Esq., of Salt Marsh Castle. 
 Signed in the lower centre: "J. Steen." 
 
 Canvas, 70 in. long by 44 in. high. 
 
[No. 9S ] 
 LAMBERT SUSTERMANN 
 
 Born at Liege in 1 505 ; died there in 1 566. His real designation was Lambert Lombard. 
 He was a pupil of Mabuse, and afterwards traveled with Cardinal Pole to Italy, where he 
 studied the pictures of Andrea del Sarto. On his return from Liege he opened a school 
 which was largely attended, and was the means of diffusing his style through the Nether- 
 lands. He was also professor of architecture, engraving, numismatics, archaeology, and 
 poetry. 
 
[No. 95 ] 
 
 "PORTRAIT OF A MEDICI PRINCESS" 
 
 LAMBERT SUSTERMANN 
 
 The picture is life size, three-quarter length. The princess is dressed in the 
 conventional style of the fifteenth century, with the long pointed bodice and 
 voluminous skirt. She wears a pearl necklace and ear-rings, with strings of 
 pearls on her wrists. The large lace collar is characteristic of the period. In 
 her right hand she carries a fan, and on her second finger wears a ring. Her 
 left hand rests on the edge of a table. 
 
 Canvas, 35 in. long by 45^ in. high. 
 
[ No. 96 ] 
 
 DAVID TENIERS (the Younger) 
 f lemigfj ^djool 
 
 Born at Antwerp 1610; baptized in the Church of St. Jaques, December 15 ; died at 
 Perck, near Brussels, April 25, 1690. Pupil of his father. Was made court painter 
 to Archduke Leopold Wilhelm, Governor of the Netherlands, and settled between 1648 
 and 1652 in Brussels, where he was received into the Guild in 1675. He was the prime 
 mover in the foundation of the Antwerp Academy in 1663. Equally favored by Leo- 
 pold Wilhelm's successor, Don Juan of Austria, who is said to have studied under him. 
 He received important commissions from Philip IV. of Spain, and marks of esteem 
 from Queen Christina of Sweden, and the great people in England and other countries. 
 
[ No. 96 ] 
 
 "THE LESSON ON THE FLUTE" 
 
 DAVID TENIERS (the Younger) 
 
 A group of three persons — two men and one woman — is here shown. 
 The woman is dressed in a pink bodice, dark petticoat, and light apron, and 
 sits on a rock, holding a flute in her hand, while a man, with his left arm 
 around her shoulder, instructs her in the manner of placing her ringers on the 
 instrument. Sitting at her feet on the ground is a man holding a sort of a 
 bagpipe. His red staff and cap are beside him, and his head is turned toward 
 the pupil. Sheep are grazing in the distance, and farther on the village 
 church rises above the shrubbery. 
 Signed in the lower right-hand corner: " D. T." in monogram. 
 
 Copper, 8 in. long iy g}4 '"■ high. 
 
[ No. 97 ] 
 DAVID TENIERS (the Younger) 
 
[ No. 97 ] 
 
 « THE GUARD ROOM " 
 
 DAVID TENIERS (the Younger) 
 
 A young man with long auburn hair, dressed in gray vest and breeches, blue 
 stockings, and yellow shoes, is conspicuous in the foreground. He is leaning 
 toward a drum, which he is in the act of beating with a stick held in his right 
 hand. His smiling face is turned a little to the right. His right stocking 
 and shoulder, as well as his face and white cravat, are vividly illumined. On 
 the right, in front of a large, delicate gray wall, a panoply of steel breastplates, 
 helmets, and gauntlets is shown. To the left is a brown howitzer, mounted 
 on a little chariot. In the background five soldiers are smoking near a 
 vast chimney, and two others, with muskets on their backs, are directing 
 their steps toward an outlet to the left. Doctor Waagen, in his " Art Trea- 
 sures in Great Britain," Vol. N., page 387, describes this work as follows: 
 " Teniers, interior of a guard-house. In the foreground a soldier trying to 
 drum. A good picture, slightly but spiritedly treated in his scale of cool 
 harmony." 
 
 Collection of Lord Heytesbury. 
 Signed in lower left-hand corner: " D. Teniers, F., 1643." 
 
 Copper, 2oJ/£ in. long by 16% in. high. 
 
[ No. 98 ] 
 
 DAVID TENIERS (the Younger) 
 f Iemi£f) £cf)ooI 
 
[ No. 98 ] 
 
 « TEMPTATION OF ST. ANTHONY " 
 
 DAVID TENIERS (the Younger) 
 
 This picture is described in Smith's Catalogue Raisonne, Part III. page 392, 
 No. 500, as follows : " The saint is represented in the interior of a large cave, 
 kneeling at his devotions, from which he appears to be diverted by a hag with 
 horns, who is directing his attention to a pretty female with a glass of liquor 
 in her hand. A crucifix, skull, book, and an hour-glass are on a table, and 
 several other books lie on the ground. On the opposite side are two elfs sing- 
 ing, and a third is riding a grotesque animal. Many imaginary creatures are 
 flitting about the place or crawling on the floor. Painted with admirable 
 spirit and freedom of hand. Collection of Due de Deux-Ponts, 1778 ; col- 
 lection of N. Lapeyriere, 1824; now in collection M. Perigeau-Lafitte." 
 Engraved by Baron and Houston. Collection of twenty-two masterpieces, Gal- 
 lery St. Donata, 1868 ; collection, Princess de Sagan. 
 Signed on the shoulder of cape of St. Anthony: "T." 
 
 Copper, 30*4 in. long iy 2$y£ in. high. 
 
[ No. 99 ] 
 
 GERARD TER BORCH 
 
 SDutcf} ^tljool 
 
 Born at Zwolle, between 1613 and 1617; died at Deventer, December 8, 1681. Pupil 
 of his father. Painted in Amsterdam, and also in Haarlem, where he entered the Guild 
 in 1635, under the influence of Frans Hals. Traveled through Germany, Italy, Spain, 
 England, and France, and painted everywhere portraits and genre pieces. In 1646-48, 
 at Munster, he became, through the favor of the Spanish envoy, the painter of the 
 Diplomatic Circle. He followed the Spanish envoy to Madrid, where he painted the 
 king and many courtiers and ladies. He returned via England and France to his 
 native country, and settled at Deventer, where he obtained a citizenship in 1655. He 
 afterwards became burgomaster. He was the inventor of the satin gown so much used 
 by Mieris and Metsu. 
 
[ No. 99 ] 
 
 "THE GLASS OF LEMONADE" 
 
 GERARD TER BORCH 
 
 This production is simple in its arrangement, and interesting in its conception. 
 A lady dressed in a yellow satin gown is the principal figure. She holds a 
 glass of lemonade in her hand, and presents an air of expectancy. She wears a 
 loose jacket trimmed with swan's-down, an ordinary dress, and a black covering 
 for her head. A man with long flowing red hair sits opposite her, stirring the 
 lemonade with a knife. The other prominent figure is a woman, who rests 
 her hand on the shoulder of the younger woman. To the right is a table, 
 upon which is a dark water-bottle and a dish. 
 
 Canvas, 24^ in. long by 29 in. high. 
 
[ No. ioo ] 
 ARTIST UNKNOWN 
 
[ No. ioo ] 
 
 « LANDSCAPE " 
 
 UNKNOWN 
 
 A landscape is shown with a brown and white cow lying down in the fore- 
 ground, while another stands behind. To the right are two pigs and some 
 chickens. A woman is also seen milking a black cow. In the background is 
 a wooden shed, and behind it a brick building with a tower. Trees are to the 
 left. 
 
 Canvas, 26^ in. long by 19^ in. high. 
 
[ No. i o i ] 
 
 ADRIAEN VAN DE VELDE 
 2Dutd) £djooI 
 
 Born in Amsterdam, 1635 or 1636; died there January 21, 1672. Pupil of J. Wynants 
 and Philips Wouwerman. Was employed to paint figures and animals in landscapes by 
 Hobbema, Van der Heyden, Hakkert, Wynants, Verboom, and Moucheron. Showed 
 even as a boy eminent talent, and after having left his master Wynants, studied figure 
 drawing and further developed under the influence of Paulus Potter. He is almost 
 equally important as a painter of figures in the landscapes of famous contemporaries. 
 
[ No. 101 ] 
 
 "LANDSCAPE WITH FIGURES AND CATTLE" 
 
 ADRIAEN VAN DE VELDE 
 
 This is one of Van de Velde's choicest works. A light brown cow is shown 
 in the foreground to the right, standing in shallow water. Behind her is a dark 
 brown cow with a light mottled head, rubbing it against a large tree. A 
 woman with a blue dress and a red and white waist is seated on the ground 
 holding a baby, while beside her sits a child in a red dress holding a little 
 dog. To the left are two sheep lying down. A shed is also to be seen at 
 the left. White clouds in the distance. 
 
 Panel, 1 8 in. long by I 5 in. high. 
 
[ No. 102] 
 
 ADRIAEN VAN DE VELDE 
 SDutd) £>cfyool 
 
[ No. 1 02 ] 
 
 "NOON-DAY REST" 
 
 ADRIAEN VAN DE VELDE 
 
 The picture shows a man sitting, while a woman with a basket in her hand is 
 standing beside him. A red cow with a white face is lying on the ground, 
 and another cow behind it near a large tree. There are also two sheep, two 
 goats, and a dog lying on the ground. Hills in the distance. 
 
 Panel, 1 2 y 2 in. long by 1 5 in. high. 
 
[No. 103 ] 
 
 WILLEM VAN DE VELDE (the Younger) 
 SDutcfj J»cfjooI 
 
 Born in Amsterdam in 1633 ; died at Greenwich, April 6, 1707 ; buried in St. James' 
 Church, Piccadilly. In 1674 Charles II. granted him a salary of ^100, for painting sea 
 fights, which, with an equal pension granted his father, was continued by James II. He 
 was the greatest marine painter of the Dutch School. 
 
[No. 103] 
 
 "CALM ON THE BAY" 
 
 WILLEM VAN DE VELDE (the Younger) 
 
 A large brig — with sails set waiting for a breeze — which is shown at the 
 right, has been employed by the artist to emphasize his painted story. The em- 
 bellishments embrace a small boat with a single sail ; two fishermen in a boat, 
 one of whom is about drawing in his net ; two vessels with a single sail each, 
 which lie close together, and four men in a fishing-boat rowing across the bay. 
 From the collection of N. Steinmeyer, Cologne. 
 Signed on the buoy : "W. V. Velde." 
 
 Canvas, 26 in. long by 20 in. high. 
 
[ No. 1 04 J 
 WILLEM VAN DE VELDE (the Younger) 
 
[ No. 104 ] 
 
 « FIRING A SALUTE" 
 
 WILLEM VAN DE VELDE (the Younger) 
 
 A man-of-war lies in the foreground with the saluting cannon protruding from 
 her side ; some officers in a pinnace are being rowed ashore. Merchant vessels 
 are lying in the foreground. The sea is calm, and the whole scene suggests a 
 soft and still atmosphere. 
 Signed in lower right-hand corner : " W. V. Velde, 1654." 
 
 Panel, 26^ in. long b\ 19'^ in. high. 
 
[No. 105 ] 
 
 ANDREA DEL VERROCCHIO 
 f lorcnttne <£>cf}ool 
 
 Born in Florence, 1435 5 died in Venice, June 25, 1488. Pupil of Donatello. His real 
 name was Andrea da Michele di Francesco de' Cioni. Besides being a painter, he was a 
 sculptor and a goldsmith. Among his pupils were Leonardo da Vinci and Pietro Peru- 
 gino. He died while at work on the statue of Colleoni on the Piazza San Giovanni e 
 Paolo, of which he is generally conceded to be the sculptor. 
 
[No. 105 ] 
 
 "MADONNA AND CHILD" 
 
 ANDREA DEL VERROCCHIO 
 
 On a background of flowers is shown the Madonna holding the Child on her 
 knee. She wears a red dress, over which is thrown a black velvet cloak. Her 
 right hand is extended around the little Christ, and her left hand rests on his 
 right leg. In his hand he holds a bird. 
 
 Panel, ^lY\ **■ l° n £ h z "i^A '*■ high. 
 
[No. 1 06 ] 
 
 ANTHONIE WATERLOO 
 SDutcl) £djooI 
 
 Born at Lille about 161 8; died at Amsterdam after 1673. Landscape painter, whose 
 works are distinguished for facile treatment and faithful representation of nature. His 
 aerial perspective is always good, trees and plants correct in color and of great variety. 
 His pictures are not often seen out of museums. 
 
[No. 106] 
 
 "IN THE FOREST" 
 
 ANTHONIE WATERLOO 
 
 A grove of trees, with massive trunks and dense foliage, which tell of their 
 age, impresses the casual beholder. Looking beyond, one can see the adjacent 
 fields, bathed in the soft light of a summer day, which present a beautiful perspec- 
 tive. In the foreground is a pool of water, upon the edge of which a number 
 of cows have come to drink. The man in charge of the animals stands by 
 and is talking with a woman mounted on a mule. In the upper left-hand 
 corner a little of the sky is visible. The animals were painted by Weenix. 
 From the gallery of Prince Galitzin. 
 Signed in lower right-hand corner : " A. W." 
 
 Canvas, 39^ in. long by 28 in. high. 
 
[ No. 107 ] 
 
 ANTOINE WATTEAU 
 f rcnclj cSdjool 
 
 Born at Valenciennes, October 10, 1684; died at Nogent-sur-Marne, near Paris, July 18, 
 1 72 1. He entered the studio of Gillot, at Paris, in 1702, and was apprenticed to the 
 decorative painter, Claude Audran III. Was received into the Academy, 1717. Mean- 
 while he had continued his studies in copying the masterpieces of Rubens and Paolo 
 Veronese. His great reputation rests on his series of pictures of conventional shepherds, 
 shepherdesses, dancers, and comedians. Painted with unrivaled freshness, grace, and 
 charm. Many pictures were engraved by Thomassin, Cochin, and Cardon. 
 
[ No. 1 07 J 
 
 "THE GARDEN PARTY" 
 ANTOINE WATTEAU 
 
 The scene presented in this picture is the entrance to a vast palace, where a 
 large party of cavaliers and ladies are assembled. To the right is a continua- 
 tion of the front archway, which is supported by columns of white and blue 
 marble laid in blocks. Two statues of female figures, draped from the waist 
 down, holding vases above their heads, are shown to the right. A number of 
 people are seated to the right and left, engaged in conversation, and watching 
 a lady and gentleman dance. The gentleman dancer faces to the front, and 
 wears blue satin short clothes and a red hat ; the lady is facing in the opposite 
 direction, and is dressed in pink silk of the time of Louis XIV. Two youths 
 are reclining on the marble floor to the left ; a dog is in the foreground to 
 the right, and a little spaniel is sporting at the feet of one of the ladies. A 
 small greyhound is shown playing with two children near the dancers, and a 
 fountain is made conspicuous in the background. 
 
 Canvas, 26^ in. long by 21 in. high. 
 
 Note. — This picture was engraved by Scotin, and painted by Watteau for Mr. Glucq, Counsellor at the French 
 Parliament. It was lost sight of for a number of years, and later we find it in the collection of Duke de Morny, 
 the prime minister of Napoleon III., in whose possession it remained until his death. On June 3, 1865, it was 
 sold, with the balance of Duke de Morny's collection, and afterwards went into the collection of Count Daupias. 
 From there it went into the collection of the present owner. 
 
[No. 108 ] 
 
 PHILIPS WOUWERMAN 
 SDutcl) £cl)ool 
 
 Born in Haarlem ; baptized May 24, 1619; died May 19, 1668. Instructed by his 
 father, also Jan Wynants. His first style in the brown tone, — his horses are heavy ; 
 his second style is distinguished by the pure golden tone and the slender build of his 
 horses ; and his third by the prevalence of a dull silvery tone. 
 
[ No. 108 ] 
 
 "THE WATERING PLACE" 
 
 PHILIPS WOUWERMAN 
 
 The foreground of this production presents a number of horses, conspicuous 
 among which is one of light roan color, which is being led into a river by a 
 man mounted on another horse, which is drinking. To the right, one of the 
 horses has slipped sideways, and his mount is being thrown into the water ; 
 and still another, carrying a rider wearing a red cap, jumps out of the way, 
 as also does a man bathing. To the left a man and a boy are astride of the 
 same horse, and another horse is shown rearing, which gives life to the scene. 
 Several mountains, a castle, trees, and an arched bridge adorn the landscape. 
 Described in Smith's Catalogue, vol. i. page 268, No. 240. 
 From collection of Holderness, 1802; collection of Earl of Breadalbane ; 
 from collection of the Imperial and Royal Chancellor, G. Preyer of Vienna. 
 Signed in lower left-hand corner : " Phis, (in monogram) W." 
 
 Panel, zoy 2 in. long by 15^ in. high. 
 
[ No. 109 ] 
 
 JAN WYNANTS 
 2Dutrfj £cl)ool 
 
 Born in Haarlem about 161 5; died about 1680. Landscape painter whose pictures are 
 characterized by a certain prosaic truthfulness, fine aerial perspective, silvery-toned back- 
 ground, and careful execution of detail. • 
 
[ No. 109 ] 
 
 « LANDSCAPE" 
 
 JAN WYNANTS 
 
 To the right are sandbanks which rise from the edge of the river. In the 
 
 foreground are two men and a woman. One of the former carries a gun 
 
 across his shoulder. Two men are fishing from the bank in the centre of the 
 
 picture. 
 
 Signed in the lower right-hand corner: "J. Wynants." 
 
 Panel, 1 3 )/ 2 in. long by I o in. high. 
 

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