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 With an IntroducfHon by Wilhelm R- Valcntiner, and Biograph- "Ap- 
 
 ical and Descripcive Notes by C. Hofstede dc Gr<^t and i> r. 
 Wilhelm R.Valeminct. Philadelphia: Privately Printed, 1913 
 
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Pidures in the Colledion 
 of P. A. B. Widener at 
 
 Lynnewood Hall, Elkins Park, Pennsylvania 
 
 Early German 
 Dutch & 
 Flemish 
 Schools 
 
 With an Introduction by Wilhelm R. Valentiner, and Biograph- 
 ical and Descriptive Notes by C. Hofstede de Groot and 
 Wilhelm R. Valentiner. Philadelphia: Privately Printed, 1913 
 
TWO HUNDRED COPIES HAVE BEEN PRINTED FOR 
 PRIVATE CIRCULATION ONLY 
 
 No. 
 
 Ns 9^ 9^0 
 
 c,\ 
 
CONTENTS 
 
 INTRODUCTION 
 
 I 
 
 EARLY FRENCH, GERMAN AND FLEMISH MASTERS 
 
 1 
 
 Hans Maler zu Schwaz 
 
 3 
 
 Franfois Clouet (attributed to) 
 
 2 
 
 Gerard David 
 
 4 
 
 Corneille de Lyon 
 
 
 II 
 
 
 
 
 DUTCH MASTERS 
 
 
 OF THE SEVENTEENTH 
 
 CENTURY 
 
 5 
 
 Nicolaes Berchem 
 
 21 
 
 Meindert Hobbema 
 
 6 
 
 Abraham van Beyeren 
 
 22 
 
 Pieter de Hooch 
 
 7 
 
 Esaias Boursse 
 
 23 
 
 Pieter de Hooch 
 
 8 
 
 Quirin van Brekelenkam 
 
 24 
 
 Karel du Jardin 
 
 9 
 
 Jan van de Cappelle 
 
 25 
 
 Willem Kalf 
 
 lO 
 
 Aelbert Cuyp 
 
 26 
 
 Nicolaes Maes 
 
 1 1 
 
 Aelbert Cuyp 
 
 27 
 
 Michel Jansz Mierevelt 
 
 12 
 
 Aelbert Cuyp 
 
 28 
 
 Adriaen van Ostade 
 
 13 
 
 Frans Hals 
 
 29 
 
 Isack van Ostade 
 
 H 
 
 Frans Hals 
 
 30 
 
 Paulus Potter 
 
 15 
 
 Frans Hals 
 
 31 
 
 Rembrandt Harmensz van Rijn 
 
 i6 
 
 Frans Hals 
 
 32 
 
 Rembrandt Harmensz van Rijn 
 
 17 
 
 Frans Hals 
 
 33 
 
 Rembrandt Harmensz van Rijn 
 
 i8 
 
 Jan van der Heyden and Adriaen 
 
 34 
 
 Rembrandt Harmensz van Rijn 
 
 
 van de Velde 
 
 35 
 
 Rembrandt Harmensz van Rijn 
 
 19 
 
 Meindert Hobbema 
 
 36 
 
 Rembrandt Harmensz van Rijn 
 
 20 
 
 Meindert Hobbema 
 
 37 
 
 Rembrandt Harmensz van Rijn 
 
CONTENTS 
 
 II 
 
 DUTCH MASTERS 
 
 OF THE SEVENTEENTH CENTURY 
 
 (CONTINUED) 
 
 38 
 
 Rembrandt Harmensz van Rijn 
 
 44 
 
 Jan Steen 
 
 39 
 
 Rembrandt Harmensz van Rijn 
 
 45 
 
 Adriaen van de Velde 
 
 40 
 
 Rembrandt Harmensz van Rijn 
 
 46 
 
 Willem van de Velde 
 
 41 
 
 Jacob van Ruisdael 
 
 47 
 
 Jan Vermeer 
 
 42 
 
 Salomon van Ruysdael 
 
 48 
 
 Jan Weenix 
 
 43 
 
 Jan Steen 
 
 
 
 
 III 
 
 
 
 
 FLEMISH MASTERS 
 
 
 
 
 OF THE SEVENTEENTH CENTURY 
 
 49 
 
 Anton van Dyck 
 
 54 
 
 Anton van Dyck 
 
 50 
 
 Anton van Dyck 
 
 55 
 
 Anton van Dyck 
 
 51 
 
 Anton van Dyck 
 
 56 
 
 Anton van Dyck 
 
 52 
 
 Anton van Dyck 
 
 57 
 
 Peter Paul Rubens 
 
 53 
 
 Anton van Dyck 
 
 
 
I 
 
 EARLY FLEMISH, GERMAN AND 
 FRENCH MASTERS 
 
 S OME remarkable examples of northern Renaissanee art, mostly belonging to the early years 
 of the sixteenth century, prepare the way for the Dutch and Flemish seventeenth-century 
 schools which form the most prominent part of the Widener Colleftion. The earliest of these 
 examples, belonging to the period of transition from Gothic to Renaissance, is Gerard David’s Altar 
 of St. Anne, the most ambitious work of the greatest of the late fifteenth-century Bruges masters. 
 The figures of St. Aime on the centre panel, and of St. Nicholas of Bari and St. Anthony of Padua 
 on the two wings respeftively, are depi<fted with supreme simplicity in attitudes of priestly 
 dignity. This altarpiece was discovered in 1886 in the colledion of Count Montenegro at Palma 
 on the island of Majorca, and, in the opinion of its discoverer, Carl Justi, was designed originally 
 for the Church of St. Nicholas in that town. It is a well-known fait that, during the fifteenth 
 century, Flemish artists were commissioned by Spanish churches to execute a number of important 
 akarpieces. Seven additional panels of smaller dimensions originally belonged to this triptych, 
 and were still at Palma in 1886. Six of these depided scenes from the lives of St. Anthony and 
 St. Nicholas, and are now in the possession of Lady Wantage, Lockinge, Berks; the seventh — 
 The Virgin Weeping over the Body of Christ — is in the colledion of Mr. von Nemes in Budapest. 
 Various surmises have been hazarded as to the manner in which these smaller panels were 
 connetked with the large triptych. It is probable that the small paintings were arranged one 
 above the other on the outer side of the wings in such a manner that, when the shrine was closed, 
 scenes from the lives of the two saints, whose portraits adorn the open altarpiece, became visible. 
 The seventh panel must have been placed in the centre underneath the figure of St. Anne. 
 
 David was at his happiest in depifting the quiet and conventional. He lacked passion and 
 sense of the dramatic. Consequently the portrayal of these figures, with their solemn, rigid atti- 
 tudes, lay exactly within the sphere of his talent and afforded him the opportunity to elaborate the 
 detail of the work, and linger with rare art over the workmanship of the brocades and hangings, 
 the stone carvings of the throne and the landscape background. If the whole impression created 
 is somewhat cool and remote, this must be attributed to the unusual dimensions of a work planned 
 to be viewed from a distance, and which, consequently, presented unsuspeded difficulties to a 
 Flemish artist of that period. One must remember that Flemish painting developed from the art 
 of miniature, and that from its early beginnings to Gerard David’s time, hardly more than a dozen 
 akarpieces of the compass of the St. Anne triptych have been preserved. 
 
INTRODUCTION 
 
 Among the paintings of the succeeding period we have an example of early German portraiture 
 which wasfperhaps, the best and clearest expression of the art of Germany at tbs ttme^ We re er 
 To tb port ait of a Woman Wearing a White Coif, from the brush of the Ulm painter Hans Ma er 
 “ Sehwaz, executed about 15.5. This artist, whose work as was the case with tbs example, 
 Tas frequemly confounded with that of Holbein, has only of late years, and primarily through Dr. 
 Friedlander’s agency, been recognized as one of the best of the South German portrait painters 
 In his power of charaderization he sometimes ranks hardly second to Holbein himself, although 
 differing substantially from him in a less plastic modelling, and in his drawing, which is harder 
 and more influenced by the manner of Diirer. Maler showed a prediledion for strong color con- 
 trasts, and in the portrait the green background is contrasted pleasingly with the sitter s white 
 head-dress with its pendant ends embroidered in gold, and with the yellow sleeves. 
 
 In contrast to the German school of portraiture, the French artists of the period laid no stress 
 on the expression of their model’s individuality or soul. Theirs was the art, however, of giving 
 an outward air of charm and an unmatched atmosphere of elegance, which rendered them particu- 
 larly fitted for the portrayal of an artistic society. In fail, the most eminent artists, such as the 
 Clouets and Corneille de Lyon, worked mostly for the Parisian court, and filled their numerous 
 commissions in a somewhat superficial, yet always charming, manner. One of the two small por- 
 traits in the Widener Colledion beats the traditional name of Franqois Clouet, whose works, until 
 the present time, have not been accurately distinguished from those of his contemporaries. The 
 second portrait, with its charaSeristic green background and fine, enamel-like technique, can with 
 safety be attributed to Corneille de Lyon. Both are good examples of their authors’ work. The 
 Corneille de Lyon portrait in particular is remarkable for its expressive charaderization and pains- 
 taking execution. 
 
II 
 
 DUTCH MASTERS OF 
 THE SEVENTEENTH CENTURY 
 
 U NEXPECTED as the supremacy of the great Dutch masters Frans Hals and Rembrandt 
 appears after a hasty survey of the feeble work of their predecessors, a closer study reveals 
 isolated paintings which worthily presage these great masters. Mierevelt’s Portrait of 
 Maria Breman is an example in kind by an artist whose fertile brush seldom yielded works of more 
 than average merit. In this portrait he rises above the mere copying of nature and achieves a 
 strongly charaaerized portrayal, lacking only in style and individual conception to rank its author 
 with the masters of the Rembrandt period. The brushwork still retains the yellowish, opaque 
 tone of most sixteenth-century paintings, such as Moro’s, Key’s and others, but the placing of the 
 figure in the composition is more skilful, and its direa simplicity makes a more intimate appeal. 
 
 Artistic development proceeds generally in extremes. As contrasted with the impersonal con- 
 ception of the transitional artists of the sixteenth to the seventeenth century— Mierevelt, Jacobus 
 Delff, Ravesteyn and others — Frans Hals appears and celebrates in his art the triumph of the painter’s 
 personality. Hals is represented in the Widener Colkaion by no fewer than five paintings, all 
 portraits belonging to the ripest period of his art — the forties and fifties of the seventeenth century. 
 If one should seek to choose the masterpiece among them, the decision would doubtless fall on the 
 portrait of Isabella Coymans, the “ Lady with the Rose,” which may perhaps be called the most 
 charming of all Hals’s portraits of young women. It is the companion piece to the portrait of 
 Stephanus Geraerdts in the Antwerp Museum. The pose of the young woman, who holds a rose in 
 her right hand, corresponds to that of her husband in the companion pifture, who holds out his 
 hand to receive the flower. It is charadteristic of Hals’s artistic daring to bind together, through 
 a dramatic motive, two separately framed portraits without thereby sacrificing their separate 
 individuality. This pose, too, has been made use of by the artist in his charadferization of his 
 sitters. The angular, jerky motion of the young woman’s arm is thoroughly Dutch; the hesitating 
 attitude, roguish smile and coquettish yet naive charm, which pervade her portrait, are altogether 
 feminine. This arresting of a momentary poise is justified by the free and spirited technique with 
 which it is carried out. The light plays over the figure portrayed against a simple gray background. 
 Silvery lace shimmers on the edge of her black dress. Two little red bows peep out beside her 
 ear. The face, with its masterly, almost shadowless modelling, is painted with mellow, softly 
 blended brush-strokes. The place of the missing companion portrait is filled in the Widener 
 
INTRODUCTION 
 
 Colkaion by an excellent three-quarter-length masculine figure, formerly in Lord Amherst s 
 gallery, and which belongs to a somewhat later period-the fifties. At that time Frans Hals was 
 more than sixty years old. The smile observed on the faces of his earlier models has disappeared. 
 The pose is simpler, more natural and more reserved, with a suggestion of world-weariness 
 hovering around the lips. The brushwork is liquid, and the color scale cooler and darker in the 
 shadows. A twenty years’ development in Hals’s art is admirably illustrated by a comparison of 
 these two paintings, around which the artist’s three smaller works in the Widener Colledlion may 
 be grouped in point of date. 
 
 The oval head of a girl is one of the charming genre-like studies painted by Hals in the 
 twenties and thirties, when he was inspired by the observation of his two young children. It is an 
 unusual theme, too, for this artist, as he generally selefted boys as his models. The bust of a 
 young man was probably painted in the forties. It is a true masterpiece of characterization, 
 executed in transparent gray tones with brilliant freedom of technique. This head, with its 
 strong chin, absently gazing eyes, and tangled, disordered hair, a remarkable combination of energy 
 and dreaminess, leaves an impression not easily effaced. The little portrait of the painter Frans 
 Post belongs to the artist’s late period, and must have been painted about the same time as, or 
 perhaps a little later than, the Portrait of a Man from Lord Amherst’s colledion. It is one of Hals’s 
 most authenticated works, as it was formerly in the well-known eighteenth-century Dutch collec- 
 tion of J. v. d. Marck, and was engraved by J. Suyderhoef, one of the most noted of contemporary 
 engravers. Further, the personality of its subjed lends unusual interest to the portrait. Post was 
 a painter of foreign landscapes, a type of artist to be found only in Holland in those early days. 
 He travelled to Brazil with Count Johan Maurits von Nassau, and, upon his return, painted 
 Brazilian landscapes, which are among the earliest artistic nature-studies of non-European lands. 
 
 Painters of the Frans Hals school other than the master himself achieved little worthy of note. 
 It was the following generation that, inspired by Rembrandt, in the short space of time between 
 1640 and 1670 reached the highest point of achievement in all spheres of the painter’s adivity. 
 Mr. Widener, therefore, whose objed has been to colled only works of art of the first merit, has 
 wisely restrided himself in his choice of Dutch paintings to those of the Rembrandt period. 
 
 Rembrandt’s masterpieces, and those of Maes, de Hooch, Vermeer, Adriaen and Isack van 
 Ostade, and Steen, the great Dutch genre painters, belong to this period ; to this epoch also belong 
 the landscapes of the two Ruisdaels and Hobbema, and the famous cattle and still-life paintings. 
 The Widener Colledion affords a remarkable and almost complete survey of this phase of Dutch 
 Art. Rembrandt, of course, stands foremost. The ten works in the gallery afford us the oppor- 
 tunity of following the master’s development from the first years of his marriage to Saskia until 
 the period of The Syndics of the Drapers,” Few, if any, of the great private colledions can offer 
 greater opportunities for the study of Rembrandt’s many-sided art; for it not only contains studies 
 and completed portraits, but one of his rare Biblical scenes and his masterpiece of landscape 
 painting are embraced in the colledtion. 
 
 The portrait of Saskia is the earliest pidure. Like all her portraits, its execution betokens 
 more love and care than the artist generally bestowed on portrait commissions during this time. 
 The semitones under the veil, the red-gold curls on the forehead, and the amiable expression of the 
 bps are especially charming, and the poise of the head is well calculated to display to the utmost 
 advantage the somewhat heavy features. The whole conception is very similar to that of the well- 
 known dravvmg in Berlin, executed, according to Rembrandt’s own inscription, three days after 
 eir etrot a in June, 1633. We now pass over a considerable period in the artist’s career — that 
 
INTRODUCTION 
 
 of his greatest worldly success. Most of the paintings in the Widener Colledion belong to that 
 later phase during which, from our modern viewpoint, he achieved his finest work. The little 
 Study of an Elderly Man and The Philosopher already show the broad, powerful brushwork and 
 deep, thoughtful expression which characterize the artist’s later style. The Philosopher was in all 
 probability a portrait of one of those Portuguese Jews who, in the tolerant Dutch towns, played a 
 characteristic part in the street life of the period — a Spinoza type, with keen, observant eyes, dome- 
 like forehead and hollow cheeks, a model well to the taste of the profoundly meditative master. The 
 artist’s Portrait of Himself, dated 1650, shows him at forty-four years of age, with a forehead already 
 deeply lined, melancholy, almost despondent of asped:, indicating how early he had experienced 
 the tragic side of life. This portrait hangs between The Philosopher and the Portrait of Saskia 
 in the little Rembrandt room in the Widener Gallery. The Mill hangs in the centre of the 
 opposite wall, with the Apostle Paul and a Portrait of a Man, two splendid paintings of the late 
 period, from Lord Wimborne’s colledion. 
 
 The Mill is Rembrandt’s greatest landscape — one of the noblest landscapes of all time, a com- 
 position at once intimate and stupendous, of the utmost realism, yet full of poetic charm. Like 
 all that is truly great in art, the finished work appears supremely simple, although a closer inspec- 
 tion reveals the world of experience that alone could produce a work of such high inspiration. 
 One could not conceive a more simple composition. A landscape is built around the silhouette of 
 a single, rather insignificant building — a windmill on a wall by the waterside — a motive that seem- 
 ingly any child could draw, yet what overpowering depth of expression has been brought to bear 
 upon it! It is the twilight hour, when peace steals over even the unquiet spirit. Light reddish 
 clouds tinge the heavens with color, the dying sun is refledred on the sails of the mill, behind which 
 the arching heavens melt into the far distance. The peaceful, harmonious atmosphere is empha- 
 sized by some figures in the foreground, who seem attuned in mood to the pleasant evening hour. 
 A woman with a child advances toward the water’s edge, where a second woman is drawing water. 
 An old man leaning on a staff is climbing the hill, while the great wall, crowned by the motion- 
 less mill, looms protedingly behind them all. Not a breath of air is stirring. The trees across 
 the river are mirrored clearly in the still water. Only the gently moving boat, manned by an 
 oarsman, supplies a suggestion of quiet movement which fits in well with the prevailing mood. 
 Rembrandt’s landscapes are generally filled with small figures. They are either drawn direftly 
 from nature, like his etchings of the Dutch countryside, or represent more imaginative composi- 
 tions filled with strange ruins or churches. In The Mill he has adopted the golden mean between 
 these two conceptions. He chose a simple Dutch theme, such as met his eye every day, then 
 illumined it by his inspired interpretation of light and depth. 
 
 The thoughtful figure of St. Paul at the Writing-desk is well attuned to the dreamy mood of 
 The Mill, beside which it hangs. In his earlier years Rembrandt had several times painted 
 pi(fiures of this Apostle. With an experience ripened by twenty years, he no longer depid:s him 
 with strained, fantastic expression, capable seemingly of wielding the sword that hangs by his 
 side. He now surrounds him with a mild, veiled radiance, and shows him seated in an easy, 
 somewhat weary attitude, his head resting on his hand. It is the picture of a thinker lost in deep 
 reverie over the lot of mankind. The Portrait of a Man, which forms the companion piece, is quite 
 in the manner of The Syndics in Amsterdam, executed with the same breadth of technique and 
 largeness and depth of conception. Like many of Rembrandt’s portraits of this period, it was 
 probably not totally completed, as the position of one arm strikes one as somewhat inexplicable. 
 Rembrandt’s patrons seem to have been frequently displeased at this unusual style. In later years 
 
■sett 
 
 INTRODUCTION 
 
 he concerned himself but little with the portrayal of outward resemblances, and his patrons 
 sometimes refused to accept delivery of their portraits. 
 
 This splendid series of Rembrandt’s works closes with a magnificent study for the head of 
 the St. Matthew, the finished painting of which is in the Louvre, and with the Circumcision of 
 Christ, both painted in 1661. Like all the artist’s later works, the arrangement of this composition 
 is simple. The central group, consisting of the Virgin, Child and High Priest, forms a triangle 
 with a line of spedators in the background. This simplicity of grouping, with a technique 
 which seems to limit itself to essentials, is balanced by that corresponding depth of feeling which 
 reveals itself so poignantly in all of Rembrandt s later works. In the figure of the Virgin, which 
 combines an almost classic beauty with luminous sweetness of expression, and in that of the old 
 Priest, who, though full of dignity, bows his head with reverence before the Child, sublimity and 
 human simplicity touch hands. 
 
 Rembrandt’s immediate pupils, Bol, Flinck, de Gelder, Maes, Eeckhout, and others, achieved 
 only occasionally works of the first order. Their imitation of the master was too close to 
 encourage originality of conception, while the deep-lying inspiration that illumined his works 
 was, of course, denied them. Maes approached high achievement most closely, and this only in 
 the early years after his studies with Rembrandt, and only so long as he was clever enough to confine 
 himself to a field which the master had only touched in passing — that of genre painting. His pic- 
 ture in the Widener Colleftion, The Market-woman, belonging to this period, shows how cleverly 
 the artist adapted the methods he had learned in Rembrandt’s studio to the portrayal of simple 
 scenes drawn from the life around him. The strong cinnabar red is reminiscent of Rembrandt’s 
 compositions painted in the forties, during which time Maes was his pupil ; but the latter, by the 
 further introduflion of white, blue and black, lends a brighter, gayer charadter to his color scheme. 
 As Dr. Hofstede de Groot has pointed out, Maes has reproduced an a<ftual scene for us in his 
 background — the market-place at Nymwegen. This is a further proof of the pupil’s more realistic 
 spirit, for in none of Rembrandt’s paintings can an adual reprodudtion of contemporary architec- 
 ture be recognized. 
 
 The more remote circle of artists who may be grouped around Rembrandt’s name, and who 
 were only indiredly under his influence, have, on the whole, far greater works to their credit than 
 his immediate pupils. This circle is represented in the Widener Colleftion by Pieter de Hooch, 
 Quirin van Brekelenkam, Esaias Boursse, and, in a certain sense, Jan Vermeer, who was a pupil 
 of Karel Fabritius, himself a pupil of Rembrandt, although, through his exceptional achievements, 
 Vermeer occupies a prominent place of his own in the history of Dutch art. 
 
 Pieter de Hooch is represented by a charming interior, entitled The Bedroom, formerly in 
 the Adrian Hope Colledfion, and by one of his rare outdoor scenes. Both belong to the artist’s best 
 phase the short middle period between 1655 and 1665. In his early years de Hooch painted 
 somewhat conventional military scenes, and during his last phase, under the influence of the 
 French School, portrayed the aristocratic social life of the period. During the middle period 
 Rembrandt’s example seems to have direded him to a field of expression peculiarly his own— the 
 portrayal of his domestic surroundings. Like Rembrandt, he loved to depi<ft his wife and children, 
 and reveals thereby his happy domesticity, with all the simple, poetic feeling that was his to 
 command. We meet again in the two pidures types of his wife and little girl, already familiar- 
 ized to us through others of his best works. In the outdoor scene, the mother, with some linen 
 under her arm, is going toward a spring, followed by the child carrying a bird-cage, doubtless to 
 refresh its little inmate with water. In the second pifture, the mother is making the bed, while 
 
INTRODUCTION 
 
 the child, irradiated by the morning sunlight, stands waiting by the open door. In both pid:ures 
 the artist would seem to have reproduced with some accuracy his own surroundings. The interior, 
 with the built-in bed on the right, the walls inlaid with tiles to half their height, occurs in other 
 works painted by him. In the outdoor scene, the steps leading to the wall in the background, and 
 through a door to rising ground beyond, suggest the neighborhood of the town wall of Delft, where 
 de Hooch lived, as is witnessed by other pictures from his hand. These simple themes, which 
 he illumined by a poetic play of light, especially in his rendering of middle and background, were 
 sufEcient for the achievement of masterpieces. 
 
 In V ermeer’s paintings the warm red and golden tones, that distinguished the work of the masters 
 direftly influenced by Rembrandt, have disappeared. Only in his early works — those now in the 
 Dresden, Hague and Glasgow galleries — can we find some suggestion of the pupil of Rembrandt. 
 His picture inthe Widener Colleftion, A Woman Weighing Gold, belongs to the artist’s ripest period, 
 after his adoption of a cool color scale in which blue and citron yellow were the predominating 
 tones. This was a natural readion responding to the taste of the generation following Rembrandt, 
 weary of the contemplation of warm red tones. Even in Vermeer’s own time this painting was 
 reckoned one of his masterpieces. At the audion after his death in 1696 it occupied the first 
 place and brought the highest price. No less an artist than Pieter de Hooch, too, as Dr. Bode has 
 pointed out to us, was inspired by it to the achievement of a similar composition. The history of the 
 painting until our own times, when it was rediscovered by Dr. Hofstede de Groot, remains known 
 to us, which speaks well for the appreciation it excited even during a period when the artist was 
 almost totally overlooked. It is, in fad, one of Vermeer’s most perfed works, and its unusually 
 good state of preservation enhances its charm. The theme, unstudied as in most of Vermeer’s 
 work, and little calculated to distrad one from the technical perfedion of its handling, is a com- 
 bination of portraiture and genre painting. The gold scales divert the spedator’s attention from 
 the face of the model, which, in any case, is too abstrad in treatment to achieve the reality of a 
 portrait. Yet the light turn of the woman’s hand and the poise of her head lend an especial 
 charm to her asped. The intrinsic beauty of the pidure, however, lies in the incomparable 
 efFediveness of the color scheme, and the reprodudion of the stream of light which trembles on 
 the wall and veils the figure in a fine mist. Seen close at hand, the face and hands of the model, 
 the pearls and gold upon the table, seem to melt into the ether, and through this veil of mist the 
 colors shine out with extraordinary luminosity. The blue of the little jacket tones exquisitely 
 with the ermine and the white coif, and again with the crimson lining which shows where the jacket 
 is thrown back. This blue, partly shadowed, is repeated in the table cover, and contrasted with the 
 yellow of the window curtains, while the fine gray tone of the walls constitutes a neutral background. 
 
 Another painting in the Widener Colledion, The Sleeping Serving Maid, which formerly 
 belonged to Burger-Thore, the rediscoverer of Vermeer, was for a long time attributed to that 
 artist. Esaias Boursse, to whom, in all probability, this work may be ascribed, was brought 
 back to general notice only a few years ago through the instrumentality of Dr. Bode and 
 Dr. Bredius. His works, until that time, were often attributed to Pieter de Hooch, Vermeer and 
 others. Boursse belonged to that group of genre painters, influenced by Rembrandt, which 
 included Brekelenkam and Karel Fabritius. Until now not many more than a dozen paintings 
 from his brush have been discovered — mostly interiors with one or two figures, of which the 
 finest example hangs in the Wallace Colledion, and one or two street scenes. He seems to 
 have taken a peculiar pleasure in the delineation of carefully executed white sheets, which are 
 conspicuous in the pidure in the Widener Colledion. His clearly defined outline differs materially 
 
INTRODUCTION 
 
 from that of de Hooch. His color scheme, too-a juxtaposition of red and blue or gray and red- 
 brown-is somewhat unusual for the period. The Sleeping Serving Maid, which J in Ac rnanner 
 of the Strassburg interior, A Woman Peeling Apples, ranks with The Country Maid m the Wallace 
 
 Colkaion as one of his best works. , . . , . i i . i. 
 
 The work of Brekelenkam has been known longer, but it is only of late years that he has 
 received his due meed of appreciation. He, too, warmed himself in the sun of Rembrandt’s 
 genius, always retaining, however, something of the provincialism of Leyden, where he smdied 
 under Dou, Rembrandt’s first pupil,— a provincialism which the Amsterdam artists had shaken 
 off. At his best, he is one of the finest painters of Dutch interiors, little inferior to Adriaen 
 van Ostade, or, at times, to Metsu. In the Widener exemplar, which has rightly been called one 
 of his masterpieces, he is reminiscent of the latter painter, with whom he competes favorably in 
 his fine silvery tone and his exceptional delineation of costume. 
 
 The work of the two Ostades has since the eighteenth century outstripped in favor that of the 
 above-mentioned artists, and they may be termed the greatest delineators of Dutch peasant life. 
 In England, especially, where was obtained the painting by Adriaen van Ostade in the Widener 
 Colledion, the work of these brothers has always been fully represented and highly prized. The 
 earlier of our two pi<3;ures, a street scene by Isack van Ostade, of which there is a replica in the 
 Wallace Colle<9:ion, belongs to that period during the middle forties when the preference for 
 warm brown and gold tones was universal. The play of the afternoon sunlight beneath the trees 
 and among the groups of people on the village street is reproduced with fine fidelity, shedding 
 a poetic glamour over the rough figures and poor surroundings. Adriaen van Ostade’s Peasant 
 Family in a Courtyard — the famous painting from the Adrian Hope Collection — is of later date, 
 being painted during the seventies, when, following the general trend of taste, he substituted 
 cooler color harmonies, with bright local touches, for the earlier golden tones. The naive 
 attitudes of the children and the genial aspeCt of the older folk reveal the artist’s own simple, 
 friendly nature — a nature which understood and knew how to depiCt the happiness that lies often 
 in the humblest surroundings. 
 
 Jan Steen’s works betray quite another temperament. He is less kindly, finds entertainment 
 in the weaknesses of mankind, and sweeps everything along with him in the stream of his mad 
 merriment. The Dancers, formerly in the Hope Collection, is the earlier and finer of the two 
 large pictures which represent him, and was painted during the early sixties — the period of pro- 
 duction of his greatest works, such as The Grace Before Meat of the Morrison Collection, and 
 The Oyster-cellar of the Neumann Collection in London. The second picture. The Merrymakers, 
 an unusually elaborate composition, is of later date, pitched in a cooler color scale, and some- 
 what mannered in its delineation of laughing faces. Both paintings, though full of humorous 
 details, prove the artist to have been nowise lacking in poetic feeling. The singing youth on the 
 ladder, and the cithern player seated carelessly on the balustrade, are figures which stand out in 
 pleasing contrast to the wildly hilarious youths, with their satanic laughter, which Steen so often 
 depifted. 
 
 The study of Dutch genre painting always brings us back to the Rembrandt influence, 
 which betrays itself either in theme or coloring. It is otherwise with Dutch landscape, which 
 developed quite independently of the great master. With the exception of a few pupils, such 
 as Philip Koninck, one would not realize, in studying the landscapes of the great Dutch masters — 
 those of Jacob Ruisdael and Meindert Hobbema, for instance — that they lived comparatively 
 near Rembrandt and were his contemporaries. Even his friend Jan van de Cappelle lent no 
 
INTRODUCTION 
 
 more of the warm brown tones to his pidures than did any other artist instindively following the 
 taste of his period. His little snow scene in the Widener Collection is more reminiscent of Jacob 
 Ruisdael and Aart van der Neer — with whom he brought the delineation of winter landscape to 
 its highest perfe<9:ion — than of Rembrandt. Ruisdael’s and Hobbema’s splendid landscapes 
 show quite another, more realistic conception of nature, widely separated from the poetic fantasy 
 of Rembrandt’s art. While Rembrandt, with arbitrary creative genius, built a picture around 
 a motive of light or coloring which had seized his fancy, these other artists built up a scheme 
 of composition from carefully studied details. Construction is achieved with so intimate an 
 understanding of nature that the paintings of this period are among the greatest landscapes of 
 all times. 
 
 Jacob Ruisdael is represented in the collection by one of those splendid, somewhat melan- 
 choly forest scenes which seem to illustrate this master’s peculiar gifts — largeness and earnest- 
 ness of conception, with a fine observance of detail. Ruisdael’s pupil Hobbema, less melan- 
 choly, but less gifted with imagination, is even better represented by three splendid landscapes, 
 all variants of his favorite theme — an open wooded countryside, traversed by sunlit paths and 
 dotted with occasional habitations. Hobbema’s best works were, with few exceptions, painted 
 before he was thirty years of age. The only one of his three pictures bearing a date — The Trav- 
 ellers — is undoubtedly the earliest and was painted in about his twenty-second year; the other 
 two were probably painted four or five years later. The first work displays the artist’s genius 
 at its height. The deep, warm brown tones are still reminiscent of Ruisdael, though Hobbema’s 
 picture is brighter and sunnier in mood than those of the earlier artist. The figures in the 
 landscape, which are not the work of another hand as was frequently the case in Hobbema’s com- 
 positions, are costumed in tones of red and yellow, which harmonize excellently with the prevail- 
 ing color scheme. The Village by the Pond, probably the next in date, is an unusual composition 
 for Hobbema. He rarely used more than one or two houses in his landscapes, but in this 
 instance the view of a village is the principal motive, and the strong sunlight falling on the roofs 
 introduces a stream of light into the pid:ure. The third painting, formerly in the Ashburton 
 Collection, and the cool green tones of which determine its somewhat later date, depicts, on the 
 other hand, a more lonely forest scene. This composition, which is hardly more than the juxta- 
 position of tree by tree, typifies the extreme simplicity reached by this great artist. The charm of 
 the picture lies in the varied green of the trees and the play of light between the trunks. 
 
 Aelbert Cuyp is the third of the great Dutch landscape artists. Although he numbers portraits, 
 historical scenes and still-life compositions among his works, his real forte lay in landscape. He 
 generally gave cattle a prominent place in his compositions, but, unlike those of Potter or Adriaen 
 van de Velde, who were primarily cattle painters, Cuyp’s cattle are always subordinated to the 
 landscape and to the enveloping golden atmosphere of his paintings. In this conception, which 
 subordinates the detail to the whole, he approaches more nearly to the Rembrandt idea than did 
 Ruisdael or Hobbema, although confining himself for the most part to a realistic reproduction of 
 Dutch scenery. His three paintings in the Widener Collection are excellent examples of his art 
 — an art very diverse in subjeCt, but always similar in conception. The Halt at the Inn is one of 
 the smaller figure-filled compositions of his middle period, in which his style is somewhat akin to 
 that of Wouvermans, without sacrificing, however, the warm afternoon atmosphere which is his 
 peculiar characteristic. The large and remarkable painting formerly in the Hope Collection 
 demonstrates his ability to combine portraiture and landscape, for the two mounted figures are 
 undoubtedly portraits, probably those of the lord of the castle (seen in the background) and of his 
 
INTRODUCTION 
 
 daughter, who, with retinue and hounds, are setting forth to the hunt. This pidure, judging from 
 the costumes and the gentleman’s flowing wig, must have been painted about 1670, a period when 
 Dutch art was already midway in its decline. The pidure, however, with its clever arrangement 
 of figures receding into the far background, and the blending of the blue and white of the 
 daughter’s costume with the brown of her father’s-an unusual color scheme for Cuyp-demon- 
 strates how long he maintained himself at the high point of his achievement. The third large 
 painting, formerly in the Ashburton Colledion, forms a splendid contrast to the foregoing pidure. 
 It is one of Cuyp’s most perfed renderings of the atmospheric elFed of late afternoon sunlight. 
 The pervading golden tones and the gleam of an occasional red costume prove that it must have 
 been painted at least ten years prior to its more coolly hued companion, and fix its execution 
 during those last ten years of the Golden Age of Dutch Art-the sixties of the seventeenth century. 
 It is, in reality, a painting of sunlight, in which individual life and contour are absorbed by the 
 trembling rays. The cattle seem relatively unimportant, disappearing in fleeting motion, or in 
 the shade of the trees. 
 
 The name of Paul Potter is frequently linked with that of Cuyp, owing to an occasionally 
 similar choice of subject, although their conceptions are vitally different. Potter painted animal 
 portraits, and depicted in detail, in clear, silvery daylight, the characteristics of his models, 
 with a close observance of the lighting effeCts under which these details presented themselves to 
 him. He was, consequently, happier in pictures of smaller compass than in such gigantic com- 
 positions as the equestrian portrait in the Six Colledion, or the famous Bull at The Hague, where 
 he lost himself in a too minute and photographic reproduction of detail. Mr. Widener’s Smithy, 
 painted by the artist in his twenty-third year, shows him already at the zenith of his art. The 
 rather uncouth subjeCt — a dental operation on a horse — shows the artist to have been somewhat 
 lacking in poetic feeling. One loses sight of this, however, in admiration of the masterly hand- 
 ling of the coats and the reproduction of the artificial light of the smithy and the cool, shimmer- 
 ing daylight on the meadows in the distance. 
 
 Potter’s close disciple, Karel du Jardin, is somewhat less spontaneous in his lighting effeCts. 
 He was of those Dutch artists who felt the spell of Italy, and loved to place his northern cattle in 
 a southern landscape and under Italian skies. His painting in the Widener Collection, simple in 
 subject, proves him an admirable draughtsman, and is effective in its lively color contrast of red- 
 brown and white animals, with the glimpse of deep blue sky seen between dark clouds. 
 
 The wonderful art of the Dutch cattle painters is admirably illustrated in two other pictures in 
 the Widener Collection — the charming landscape with cattle by Adriaen van de Velde and the 
 Church at Marsen by Jan van der Heyden, to which Adriaen van de Velde has added some 
 charmingly painted figures and animals. Artistic collaboration has seldom yielded such happy 
 and harmonious results as in the case of Jan van der Heyden and Adriaen van de Velde, the work 
 of both being distinguished by a careful and delicate technique. 
 
 Adriaen’s brother, Willem van de Velde, chose quite another field of expression— that of ma- 
 rine painting, of which he and Jan van der Capelle are the foremost exponents. It is the more for- 
 tunate that the Widener Collection contains one of his paintings, as Jan van der Capelle is repre- 
 sented only by a winter landscape. The Van de Velde marine is attuned to a quiet mood. A 
 calm sea, dotted with large vessels and smaller boats, lies beneath a clouded sky — an aspeCt more 
 akin to the artist’s temperament than the ocean’s stormier moods. 
 
 In the study of Dutch Art it is repeatedly impressed on one that these painters are invariably 
 at their best in the portrayal of quiet scenes corresponding to the phlegmatic Dutch temperament. 
 
INTRODUCTION 
 
 with its gift for slow and penetrating observation. These national characteristics seemed pecu- 
 liarly adapted to the portrayal of still-life, and Holland has given us more artists of distinction in 
 this field than any other nation. 
 
 Willem Kalf and Abraham van Beyeren are more appreciated now by collectors than any other 
 of the Dutch still-life painters, and both are represented in the Widener Colledion by character- 
 istic works — studies of plates and fruits. The art of Jan Weenix, celebrated in the eighteenth 
 century for his paintings of game, is shown in a small picture of a white cock, which illustrates 
 a more pleasing aspeCt of his work than his large decorative pieces. 
 

Ill 
 
 FLEMISH MASTERS OF 
 THE SEVENTEENTH CENTURY 
 
 T here is hardly another private colledion in which the art of Van Dyck is so adequately 
 represented, and, the quality of the pictures considered, there are not many public ones 
 which compare in this resped: with the Widener Colleftion. With the exception of one 
 admirable example of his later English phase, all these paintings belong to the master’s Genoan 
 period, during which he undoubtedly painted his most splendid and fascinating portraits. Among 
 them are two of his rare full-length pidures of ladies of the Genoese aristocracy, which form the 
 chief ornament of the room specially designed to house the pidures by Van Dyck. Before studying 
 these pidures, however, we must turn to a painting by Van Dyck’s master, Rubens, which forms a 
 sort of introdudion to them. It is one of those rather large studies, entirely by the master’s hand, 
 which he executed during his last years — about 1635. It represents The Rape of the Sabines, and 
 with a second study, now in Mr. Johnson’s colledion in Philadelphia, were used as preliminary 
 sketches for two larger paintings executed by Rubens with the help of his pupils, probably for 
 the Spanish Court. Mr. Alfred de Rothschild has similar compositions in his Paris colledion, and 
 two more pidures depiding the same subjed, and executed largely by pupils, are respedively 
 in the Munich Pinakothek and in the National Gallery in London. The Rape of the Sabines 
 is a free and inspired composition pitched in a glowing color scale. The perfed balance of 
 movement and countermovement in the undulating groups corresponds with the rhythmic harmony 
 of the coloring. The gleaming white of the horse, and of the robe of the woman in the centre of 
 the pidure, is framed in bright colors. Paler color masses then melt into the distance on either 
 side toward a background of architedural strudures and landscape. Other glowing figures flash 
 out in the corners, notably the two women in the left, fearful, yet hesitating in their flight, whose 
 costumes shimmer with the bluish-red and orange-brown tints of the master’s later style. All this 
 is thrown upon the canvas with free and masterly brushwork, in transparent tones, and with an 
 extraordinary feeling for the ordering of the masses, which are curiously entwined like some 
 splendid ornament, yet express the spirit of the scene in all its living details. 
 
 Van Dyck’s only scenic work in the Widener Colledion, an Ascension of the Virgin, from 
 the Hope Colledion, lends itself to comparison with the Rubens study. It, too, is pitched in 
 light tones, principally in white, and its flowing lines stamp it as the work of a pupil of Rubens. 
 It is one of the most charming of the sacred pidures painted by Van Dyck, who was seldom as 
 happy in his delineation of such subjeds as his great prototype. Already steeped in the golden 
 
INTRODUCTION 
 
 atmosphere which Van Dyck, influenced by the Venetian School, lent to those of his works that 
 were painted in Italy, it still retains the youthful verve which gave so much freshness and rhythm 
 to his earlier piAures executed in Antwerp. 
 
 Van Dyck spent the period between the end of the year 1621 and 1627 in Italy. After a stay 
 of several months in Genoa and Bologna, he went in 1622 to Florence and Rome, and later to 
 Venice, whence he returned to Rome in 1623 and painted the celebrated portrait of Cardinal 
 Bentivoglio, now in the Pitti Palace. He returned to Genoa for a short period the same year, 
 interrupting his stay there to undertake a voyage to Sicily in 1624. During 1625 and 1626 he 
 appears to have resided principally at Genoa, and there to have painted the greater number of his 
 portraits of Italian aristocrats. The two portraits of the children of the Marchesa Grimaldi in the 
 Widener Colledion are dated 1623. It is probable, therefore, that the portrait of the Marchesa 
 herself was executed the same year, during Van Dyck’s second sojourn in Genoa, shortly after he 
 had completed his famous portrait of the Roman Cardinal. The three other portraits — of the Pre- 
 fer Raphael Racius, of Vincenzo Imperiale, dated 1625, and of Paola Adorno, his second full- 
 length female portrait, which, in its somewhat cooler coloring and in other characfleristics, 
 betrays the clear-cut style of the later Genoan period — were probably painted during the artist’s 
 third stay in Genoa between 1625 and 1626. The young painter had developed an aristocratic taste 
 through his intercourse with the Genoese nobility, and the peerless Paola Adorno herself, wife of 
 the Marchese di Brignole-Sala, is supposed to have been the objed: of his devotion. It is true he 
 painted her more frequently than any other woman of the Genoese nobility, and certainly not with 
 less enthusiasm, so the tradition may not be without foundation. Mr. Widener’s pidure is one 
 of the most beautiful of this group of portraits. The Marchesa is shown, enthroned in queenly 
 fashion, between pillars, her little son beside her in the guise of a page. One notices the artist’s 
 desire to lend to his subjed more of majesty and beauty of form than was adually hers. The 
 exaggerated height of the figure, further accentuated by trailing garments, corresponds to the 
 period’s ideal of beauty. The framing of the cool, transparent face by vertical architedural lines 
 lends a statuesque appearance to the figure, which is shown in severest profile. There is some- 
 thing almost unearthly in this lofty apparition, and one feels no link between her and the boy at 
 her side, with his expression of precocious self-consciousness. During this period of Van Dyck’s 
 devotion to the aristocratic ideal he but seldom evinced appreciation of the charm of childhood. 
 When he painted the Genoese ladies accompanied by their children, the latter are used merely as 
 foils to accentuate the stature and intelligence of their elders. In the portrait of Paola Adorno, 
 the boy, in his gorgeous costume of red and yellow velvet, forms a color contrast to the deep black 
 of the Marchesa’s satin gown. 
 
 By some fortunate chance. Van Dyck did not paint the Marchesa Cattaneo and her children 
 on the same canvas, but chose to represent the Marchesa attended by a servant. The boy and girl 
 are depided by themselves, and, consequently, with more sympathy and understanding of child- 
 hood than is displayed in most of Van Dyck’s Genoese portraits. These two pidures of her children 
 form charming companion pieces to the glowing masterpiece— the Marchesa Cattaneo— hanging 
 between them, to which their discreet amber tones seem a fitting prelude. This latter work is 
 justly considered one of the master’s incomparable achievements; in fad, one of the masterpieces 
 of the art of portraiture. Nature and art have combined to do honor to the queenly model, and 
 everything is arranged to enhance her charm. Life-size, full-length portraits nearly always 
 create an impression of dominance, but the physical and spiritual supremacy of his model has 
 seldom found such convincing portrayal at an artist’s hands. The Marchesa, haughtily swaying 
 
INTRODUCTION 
 
 from her Olympic height, casts a cool glance on the spectator below. The long garment covering the 
 feet, the somewhat restrained attitude, the position of the little negro servitor and of the uplifted 
 parasol, which, as it were, elongates the figure, — everything combines to lend increased height and 
 majesty. Her slenderness measures itself against the soaring lines of the palace behind her. 
 The clear-cut lines of her dark robe, in its distinguished simplicity, stand out in contrast with the 
 golden-yellow garments of the servant and the red of the parasol. The head, with its expectant 
 expression, emerges from a background of deep, glowing color. The flashing eye, sharp nose, 
 and nervous mouth all betray a consciousness of noble origin. The stage setting does not seem 
 too elaborate for the presentation of such a model, for the artist realized that the portrayal of these 
 aristocratic subjects demanded not only an appreciation of their charafter and nature, but also a 
 proper understanding of their fitting milieu. The model and her surroundings are in complete 
 harmony. The very flowers and gardens in the foreground have an aspect of elaboration, and 
 glowing, veiled tones stream from the sky and create a witching atmosphere. 
 
 Mr. Widener’s Van Dyck Room is further enriched by two masculine portraits presenting 
 characfleristic types of the Italian nobleman of the period, and forming splendid contrasts to the 
 feminine portraits described above. Vincenzo Imperiale is a pompous and dignified figure. His 
 massive and imposing build, and his simple costume, designed on large lines, form an impressive 
 ensemble. The portrait of Raphael Racius represents a fiery and youthful warrior, who wins our 
 hearts by his poetic and romantic appearance. 
 
 What a contrast to pass from the warm, temperament-steeped atmosphere of Van Dyck’s 
 Genoese portraits to the cool, pale tones noticed in the portrait of Catherine Howard, Lady 
 d’Aubigny, executed toward the end of the painter’s career! Lady d’Aubigny is painted in a rose- 
 colored silk dress, with pearl ornaments at ear, throat and shoulder. A tired, indifferent smile 
 is on her lips. The pale, transparent countenance and self-conscious expression, the easy elegance 
 of her outstretched arm, the fingers which seem scarcely to clasp the flowers — everything suggests 
 a last flickering of the artist’s genius. The brushwork is mere play for him; the technique easy 
 and unostentatious ; the color scale of the utmost simplicity — the figure, in its robe of solid color, 
 standing before a background of solid black. The rendering of distinction has become second 
 nature to this artist, whose art is dominant but no longer inspired as in the days when he painted 
 those unforgetable Genoese portraits. 
 
 W. R. VALENTINER. 
 
HANS MALER ZU SCHWAZ 
 
 ■W 
 
 Portrait of a Woman 
 

HANS MALER ZU SCHWAZ 
 
 FI. c. 1519-1529 
 
 Born at Ulm; worked at Schwaz; at Tyrol in 1500— I 5 i 0 ’ His pictures date from 1519 ^ 5 ^ 9 - Influenced 
 
 by Bernhard Strigel. South German School. 
 
 Portrait of a Woman 
 
 Half length, slightly turned to the left. She wears a costume with deep, white collar and 
 yellow sleeves. The head is enveloped in a white scarf, with gold stripes at the end, 
 that hangs down on her right side. Behind her, a dark green curtain. 
 
 Panel: 18x14 inches. 
 
 Originally attributed to Hans Holbein. The correft attribution was made by M. J. Friedlander. 
 
GERARD DAVID 
 
 
 The St. Anne Altarpiece 
 

GERARD DAVID 
 
 c. 1460-1523 
 
 Born at Oudewater in Holland about 1460; died at Bruges in 1523. Pupil of the Haarlem masters, and in- 
 fluenced in Bruges by MemUng. Member of the guildin Bruges in 1483; of the guild in Antwerp in 1513. 
 The most important artist of the Flemish School of the end of the fifteenth century. 
 
 The St. Anne Altarpiece 
 
 In the centre panel, St. Anne seated on a throne and holding on her right knee the Virgin, 
 who is supporting the Child. She holds a book with her left hand, the leaves of which 
 are turned by the Child, and wears a gray robe, long red mantle, and white head-dress. 
 The Virgin is clothed in a lilac dress with blue mantle. On the base of the throne is an 
 Asia Minor rug with geometrical pattern. In the left panel stands St. Nicholas in a chas- 
 uble of red Italian velvet brocade and wearing a jewelled mitre. He is blessing, and holds in 
 the left hand his pastoral staff. In the background, a landscape with a castle. In the right 
 panel stands St. Anthony of Padua in his friar’s habit, the cross in his right hand and in 
 his left hand an open book on which the infant Christ is seated. In the background are 
 a landscape and the tower of Notre Dame in Bruges. 
 
 Panel : Centre : H. 94 inches ; W. 38 inches. Sides : H. 94 inches ; W. 28 inches. 
 
 Painted about 1300-1510. The six predella pieces belonging to this altar are in the possession of Lady 
 Wantage and represent stories of the lives of St. Nicholas and St. Anthony. 
 
 Mentioned by C. Justi in “Zeitschrift fur bildende Kunst,” 1886, p. 137; by M. J. Friedlander in 
 “ Repertorium fur Kunstv^issenschaft,” 1901, p. 249, and 1902, p. 22 ; by G. Hulin in “ Catalogue critique 
 de I’Exposition Bruges,” 1902, p. 32 ; described by E. v. Bodenhausen in “Gerard David,” 1905, p. 168, 
 No. 31. 
 
 Exhibited at the Nev7 Gallery, London, 1 899. 
 
 Exhibited at the Universal Exhibition, Paris, 1900. 
 
 Exhibited at Bruges, 1902. 
 
 From the collection of Cardinal Despuig, Palma (Isle of Majorca). 
 
 From the collection of Gaston de Somzee, Brussels ; sold 1902. 
 
^ - 
 
 Vi 
 
 GKRARD DAVID 
 
 m IJ^iJiTrir in Ho|b<u) tUitu i^C**: «c B. • *i rr,^. i • .« . . >• 
 
 I jari fi f-Ttr- ^ M*«w c< tb* inWtr K.r' •« ■*'^: ■-*:v...r;-. . 
 
 The St. Anne Altarpiece 
 
 In i)» crntTT Si. Anfw le^icii «o a thru,ve aivl hoUIinR <» ^ rie^t knee ihe Vitpn. 
 wl«> ii •iiwxjrtJinf rtw: <^iIA She bokb a book with her left band, Ac Icarra of which 
 Mr tvinrd I'T the CkiiA, ami wi-ar* a t»)r n»hc. i»in; reil mamlc, am! white head-Aesa. 
 1 Tb VogtR u cbxabl-in « ii:>. drew wirh bW rnamU. On the base of the Arone ia an 
 Aai» .VRnai mb witb.ceqnHimal j'atteni. In the Uh panel nands St. Niclvjlaa in a ehaa- 
 uhleof red lulianvctret^xacW an<I weariiyj a jewelled mitre. Heia H< >jiiiic, and bolda in 
 the Ith harnl hu paatcaal aaH. lo the I'aektpvtind. a landicapc with a castle. In the rijbt 
 panel itaoda 8l. Anthony n! Padua in hia fiiir’i habit, the cross in his right' hand aiai in 
 - o '.efl hand an open hook u« which 'he infant (.'hrnt » seated. In the background are 
 - ' . djcapc and Ae tower of Notre Dame in Bruces. 
 
 . C«nij»: H.i^incbM; W. ioefaM - H.>4.iacKe«, 
 
 ftbQtft tjar>-i)]Oc Th« ui t.«kirit;in^ .to thi» litir t«'i tlkc pwh»r<ti'>r 'f L«aj) 
 
 nrj>ic««((( itoriei t^ie Li^r^ vsf iM. N«>k>Ui mad St. .‘^athou^. 
 
 ' ' tr« ijupt.«s} by C- Joiti io ’^ZwUcW^fi «'iff f.-4Jan4» Kxnrt,” p. 137' h*/ ' rnt;!U:id**r i:j 
 
 r*om Iw Kuoif»'i«eQjeS-?t.'' 14 ^ **d i^M,p.22i byC.H-i'f;' " *i tn'.-iu** 
 
 rF.hp4HMor. ) iJ'-Ji:**-’' '*^-’1. ^ Ji . d'Ncnb**! by &. V. ftoAc«Ji#u®eD ip - •n,- ! ■ ' 'cv; j 
 
 eh» iWja'.'y.l r-r.ilrafl, ; 
 
 1, aiv#<»4i k',i>.^non. . .s>p 
 
 a“a» ' - - ’■ 
 
 I* 
 
.•fN.-'. 
 

 FRAN(^OIS CLOUET {attributed to) 
 
 1516 (?)-i 573 (?) 
 
 Born probably at Tours between 1516 and 1520. Still living in 1572, and died most likely in the following 
 year. 
 
 Portrait of a Nobleman 
 
 Bust, turned slightly to the right. He wears a black coat, a white embroidered lace col- 
 lar, and a black velvet cap with a circle of ornaments about it. Similar ornaments adorn 
 the black coat. Around his neck is a chain, at the end of which is a medallion repre- 
 senting St. George and the Dragon. He wears a mustache and beard. Gray-greenish 
 background. 
 
 Panel; H. 8 inches; W. 5 finches. 
 


 FRANCOIS CLOUET {fUrihuted to) 
 
 T->tn ttd «|a^ MS )nrti^ii. j«,: j . ,i i 
 
 y^. h 
 
 Portrait of a Nobleman 
 
 r te th» toBowiuf 
 
 B«»i, turned slightly Ki ^ ^hru H« we«* » M*cfe cn^ « wliite embreudeml I«oe col- 
 Ur, «ad a black tcItcI op witb a circle o( onrairimt* akcut (t. Similar ontaments adotn 
 the Wad coat. Aroaind hi# neck ia a duin, at the «»d ol which ii a meduUam repre- 
 •enting St. George and the Dragon. He w«ai» a miatache and beard. Gray-ttrccri»h 
 backjcround. 
 
 
 Paa*tt H.|Jac)i»»2 W. 
 
 
CORNEILLE DE LYON 
 
 "W 
 
 Portrait of an Elderly Man 
 
3>\:c;syt/'BVr*?t;hVHhyrihV*VM'<!iy 
 
 CORNEILLE DE LYON 
 
 -1575 
 
 Born at The Hague, but date of birth not definitely known. Died at Lyons in 1575. 
 
 Portrait of an Elderly Man 
 
 Bust, turned slightly to the right. He is plainly attired in a black coat, a portion of white 
 shirt showing at the neck. He wears a plain black cap. Smooth face. Green background. 
 
 Panel : H. 7 inches ; W. inches. 
 Formerly attributed to Hans Holbein. 
 

m 
 
 CORNEILLE DE LYON 
 
 ■■ ' ‘ ■ 
 
 ■jtefa It Tlxf tUgafc bw.1^ cf t^h »at > » »■* IM m Ljrm « : 
 
 Portrait of an Elderly Man 
 
 K>«t. tamed alitbtjj to tW Hgbt. He » plalml; in t biaek cvai. • (Ksiiaa o/ « a . x 
 abirt blowing M’thc nedu H« <rr«n • (>Uia Ki»« It cap. Sn^nitli Kw-iignix'i 
 
 hmji H. 7iDcba<i W. iseW*. 
 P w B > »il y aettiinnad to Hua IMhaio. 
 
 ni 
 
 I . 
 
II 
 
 DUTCH MASTERS 
 OF THE SEVENTEENTH CENTURY 
 
NICOLAES BERCHEM 
 
 ■sy 
 
 View of a Mountainous Country 
 
NICOLAES BERCHEM 
 
 1620-1683 
 
 Born in Haarlem in 1620; died at Amsterdam, 1683. Pupil of his father, of Jean Baptiste Weenix, and 
 others. He probably travelled in Italy. Painter and etcher of landscapes and animals, mostly in the Italian 
 manner. 
 
 View of a Mountainous Country 
 
 A broad road and a pool of water in front. On the left, a woman, in yellow bodice and 
 blue skirt, carrying a lamb under her left arm, and a boy, with a stick, driving a red cow. 
 Four goats, a sheep, a dog, and a fifth goat also on the left. A little retired, on the op- 
 posite side, a second group, composed of a man on a dark gray horse, a boy on foot, two 
 cows and four sheep. The road winds around the base of a hillock. At the extremity of 
 the turning, two travellers on horseback. Blue mountains beyond. 
 
 Canvas : H. 23 inches ; W. 19 inches. 
 
 Smith, “ Catalogue Raisonne,” No. 56. 
 
 Sale, Randon de Boisset, Paris, 1777. 
 
 Sale, Le Bceuf, Paris, 1782. 
 
 Sale, Brondgeest, Paris, 1 827. 
 
 Sale, Sir C. Bagot, London. 
 
 CoUedion of Baron Verstolk van Soelen, The Hague, acquired as a whole in 1846 by T. Baring, 
 
 H. Mildmay, and Lord Overstone. 
 
 Sale, H. Bingham-Mildmay, London, 1893. 
 
 Sale, C. H. T. Hawkins, London, 1896. 
 
ABRAHAM VAN BEYEREN 
 
 ■Sf 
 
 Still-life 
 
ABRAHAM VAN BEYEREN 
 
 ■sy 
 
 Still-life 
 
ABRAHAM VAN BEYEREN 
 
 i 62 o (2 i )- i 675 
 
 Born at The Hague in 1620-21; died at Alkmaar in 1675. Probably a pupil of his brother-in-law, Pieter de 
 Putter. Worked at Leyden, at Delft, at Alkmaar, and especially at The Hague. Painter of still-life and marines. 
 
 Still-life 
 
 On the edge of a stone table lies a purple velvet cover on which is a chased silver dish of 
 Dutch make, with half of a peach and two oysters lying on it. A fallen tazza of silver 
 lies beside it. To the right, and on the corner of the table to the left, grapes and peaches. 
 ARhine-wine glass and a tall Venetian glass in the background; to the right, a box, on 
 top of which are a shell and some peaches. 
 
 Signed on the corner of the table : “A V B ” 
 Canvas : 37 x 32 inches. 
 

 
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 Still-iife-^S;^.. - 
 
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 _v*' ^ ^ » •S’OB* »*W« Be* « (N^pie »d»*i cover m wiucii It > dutoi (itver 4 idi of 
 
 Dutch tMic, wiili bdf air a peach oarf tiea aptma tyine o« h. A (iBen tana of aiho 
 < Uexbeddeit. ' TotIUi aa^co ibe wmer olUic lali^ «a tlac )dt. gnpea and p>oc*»« 
 ^ Ai^^winefiiaaaiMia ^Vaaetiaii(ta« tetWhacAt>«u«d, ^ ^ n«ht.a kso^aa 
 ,v- top of whidi are a Aeil and tootc haatiMa^ ?' 
 
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ESAIAS BOURSSE 
 Sleeping Woman 
 
ESAIAS BOURSSE 
 
 1631-1672 
 
 Born at Amsterdam in 1631. Died on the way to India in 1672. Pupil of Rembrandt. Painter of genre 
 pidlures and still-life. 
 
 Sleeping Woman 
 
 In the corner of a kitchen reposes a sleeping woman with her head resting on her hand. 
 She wears a blue petticoat, a red bodice, a white apron, and a white cap. The light 
 comes from the left and falls on the wall on the right, where there is a latticed window. 
 Beneath it may be seen a barrel, on which stands a jug, and on the floor a copper kettle, 
 a pan, a pail, a pitcher, and a broom leaning against the wall. Other kitchen utensils on 
 the walls. In the background a chimneypiece with a kettle hanging over the fire. 
 
 Panel : 20X 16 inches. 
 
 W. Burger, “ Gazette des Beaux Arts,” 1866 ; published as a Vermeer. 
 
 The attribution to Boursse is not generally accepted, but by a comparison of the piflure with the works 
 by Boursse at Strassburg and in the coUeflion of Mr. Johnson in Philadelphia, the similarity proves to be 
 Strong enough to attribute the pidlure to him. 
 
 Formerly in the colleddon of W. Burger -Thore, Paris; sold in 1892. 
 

 
 
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 eSaias boursse 
 
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 Sleeping Woman 
 
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 lo the coTBcr of ■ iutc)>en' reposes a iiloepiag woman with her hesa resting on her hand. 
 8l»e wean a bl»c petdooat, a red boti^ a white apron, and a while cap. The light 
 conies ft^ the left and Islls.on the' wall on the right, where there is a lattiocd winaow. 
 Beneath it toajr be sdwi^a Wrcl, on «diicb -staod« a jtag, and on the ibor a capper hattle, 
 
 a pan, a pail, a |U(ch«, sad a boom tcanins ttgaimt the walL Other kkehea wtaailb on 
 the walla. In the badtgttauid a chimncjrpiece with a kettle faaiwag over the fire. 
 
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 Hmlt aosi<EadMa. ' Ojg 
 
 W, ^(W. “ Oim^' dw Mnw Ana" tSM ; pobblMd •> s Varwr. 
 
 Tlw amibatwa m Basra* b are gsaetiJI; accapSBih lHS hr t coaipwisua ef th* pt4u>» alib «hs warks 
 
 bf Bowra a etn**boiga»l to tb^oo8«e|lfc« *1 hir; Johaam ia PfcihrlclptJa lb* «ii^ 
 
 vroog Mo«q(ii to flttibM* ^ 00 li^ 
 
 Faraudr to ih* csibatoli aiW. Bwtw-Tbofd. Pwiti add to rtpa 
 
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OUIRIN VAN BREKELENKAM 
 
 ■W 
 
 Soldier’s Courtship 
 
QUIRIN VAN BREKELENKAM 
 
 c. 1620-1668 
 
 Born at Swammerdam about 1620. Died at Leyden in 1668, where he worked before 1648. Very likely a 
 pupil of Gerard Dou and influenced by Rembrandt and Metsu. Painter of genre scenes. 
 
 Soldier’s Courtship 
 
 In the centre sits a lady, turned to the left, and offering a glass of wine to a soldier who 
 sits near her with smiling face. She wears a yellow silk dress and a crimson velvet coat 
 trimmed with white fur. The cavalier is dressed in gray, with open white sleeves and 
 knee-breeches ; he holds his black hat on his left knee. On the left near a mantelpiece 
 a kneeling woman, with red sleeves rolled up and a blue apron, is roasting oysters; a girl 
 stands near by and watches her. To the right, a table covered with an Oriental carpet; 
 on It, a white jug, oysters, and a napkin. In the background, a bed, and on the wall the 
 mantle and sword of the cavalier. A second cavalier stands behind the first. Table seen 
 from the back. 
 
 Panel: H. 1 %% inches; W. 25ji inches. 
 
 Originally attributed to G. Metsu, to whose work the central figures bear a resemblance. 
 
IT 
 

 
 
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 OUIRIN VAN KIEKELENKAm 
 
 .,'-^‘"^'i- ’■ ■-■ ■ ’It. l6»0^l6e» *■ ■* . 
 
 VacreWri 
 
 fd^ef Ownd jg^te hn a wa by R«ntm<» «rt i<n i t i. ^ ftiatM cf^inaooM. 
 
 F- 
 
 
 Soldier’s Courtship 
 
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 la lot cKBXtf tic* • ladf, tunM to the left, end oStrioK • gUet ei e^ne to e loMier who 
 nil oeatt^i^iiadHiut lacs. Sbc wean a jreQow eUk (ftcw. end a crimeon velvet eoat 
 wimiaod wjd wiu«e hfS Ths cavalier b dmaaed to pay. wiA open , white aWre* tad 
 aace>>topctftMf Mda hi) Us«k hat oa hii left Imtc. On the toft ae<o a msataliuecr 
 akanRos «oim. wtdk red ^crea rolled npaui a Use afmrwft toMhc <>mew; etW 
 Randa be«; top and watchca her. To dip riebt, a taUe'coesicd *fth fin OtttanaJ awprti 
 on h, a wh^j^ oyataia, and a napktif. to die kackcnM«l, a toal wthawafl toe 
 raaatk aadawchd of the cavaHtt. A (wcond cavaiia w»e d » hdbad A* jvic. Tabi* aan 
 
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 boat the .hack. • 
 
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JAN VAN DE CAPPELLE 
 
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 Winter Scene 
 
JAN VAN DE CAPPELLE 
 
 i624(25)-i679 
 
 Born in Amsterdam in 1624 or 1625; died there in 1679. Influenced by Simon de Vlieger. His marines 
 brought fame and riches to him. He lived in Amsterdam and had friendly relations with Rembrandt and 
 Eeckhout. Painter of marines and winter landscapes. 
 
 Winter Scene 
 
 On the left, a frozen canal leading to the distance, with skaters and men playing golf; at 
 the left, in the foreground, a man with a sled. At the right a road edged with trees leads 
 over a bridge to a distant house, in front of which a boat is moored. At the extreme 
 right, in the foreground, a partly submerged boat is frozen among the reeds. Clouded 
 winter sky. 
 
 Signed on the left : “ J. v. Cappelle 1653.” 
 
 Canvas : H. 17 inches ; W. 21 inches. 
 
 Exhibited at the Hudson-Fulton Celebration, NewYork, 1909, No. 4. 
 
JAN VAN DE^GAPPELLE 
 
 
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 Bm is A mtfgdan ia r6»4 or ^5; 4 bd cWt io i6t 9> by teon ^ Vtteger. f& awrinfit' 
 
 hn^hr Cmm «c^ rfritu «• . 1 ^- H« ttv^ Aa9M«rd«« ^ had r*l«donc with lUtnbnudc Md 
 
 ErdUhMt Pifafiir of cMtlCM tod ipIpmv isadi^^ »*"■' 
 
 
 Winter Scene . 
 
 On ( 1 m Wit, • frosen oumI leailtCLK «p the diataocc, with ekatci* sad mcii pW^n^ gnlf ; *t 
 the kit, atOtefDcqpavitd, a man with a aled. At the r^ht ■ to*d. edetd with trees laaja 
 orer a beii|Bt to a dkciel twciae, ia trout ot whiGb a boat W aooiwd. At the a a toaa a r 
 fight, b (l«;lattipouBd, a iMUtlr aubfficrged boat W irrasB Mtwair At icada. CS o f ateil 
 winter akr.; * 
 
 -«n 
 
 
 
 
 
 
 Keatioa bclaAt ’’J.r.CkffaBebsj. 
 Oa»n: B. 17 iathM; W. ti lai^ta 
 
 
 EthiUtad at tlw HadfBwTaltcaCfWifMioix NawTwIi. tt^Ma 4. 
 


AELBERT CUYP 
 
 •W 
 
 Horsemen Halting near a Castle 
 
AELBERT CUYP 
 
 1620-1691 
 
 Born in Dordrecht in 1620; died in 1691. Pupil of his father, Jacob Gerrits Cuyp. Pr im arily influenced by 
 Jan van Goyen and Pieter Molyn, later by Rembrandt. Painter of landscapes, portraits, animals, and s till -life. 
 
 Horsemen Halting near a Castle 
 
 To the left, a doorway leading to a castle, with trees before it. In the centre, a horse- 
 man in red costume on a white horse, which jumps up to the left. This figure is strongly 
 lighted. To the left of it, two other horsemen on brown horses, one pointing to the dis- 
 tance. On the right, a bay horse, held by a boy. The owner of the horse stands on the 
 left, in the shadow, with two dogs, and is questioning a man. Some people are standing 
 near him at the doorway. In the right corner, a boy playing with a dog. In the distance, 
 hills lighted by the golden evening light. Blue, partly clouded sky. 
 
 Panel: H. 155^ inches; W. 21^ inches. 
 
 Of the middle period of the master, about 1650. 
 
 Smith, “Catalogue Raisonne,” No. 230, and Suppl., No. 34; Hofstede de Groot, “Catalogue Rai- 
 sonne,” Nos. 609a, 621. 
 
 Sale, B. Ocke, Leyden, 1817, No. 23. 
 
 Sale, Dr. Ralph Fletcher of Gloucester, London, 1838. 
 
AELBERT CUYP 
 
 
 
 Bare ia X>or4f«;k Wi i4id: «< tiu£ritW.>Blife0wr^^^ PtemlrNkwocMl by 
 
 Jta^nA Opy«» witf ftsBif'Malyii.'iitar by Rembrandt. Paiaaw ti. iia^ai^pa^''pQrfrtjt», ipigW*, un* 
 
 Horsemen Halting near a Ga^le 
 
 
 ■ T®- Icft» 4 doonra; le^inc to a caadt. aifitfc tTcej before it. In tke centre, a boree- 
 maa » fed, ODatiixoe o« a vbite bone, vhkb jum^ iip to dtt left. Thia figure la ttrangly 
 ;To doe ^«{ «, two other hpra cfocn oe brawn honea, one- pointing to the dia- 
 taoce, On^e'ri{|d>ta • W boo*. feifM by » boy. The oarher of dw horse acanda on the 
 to the shadow, -with two do^ and ia ^iicatioaiing a aaaa. Sotne people arc ftMdtoe 
 scar Mm atthedoonray.' I&the ngjit cnner, a boy’pUyioK with a d<^. InthcditiaiKe. 
 hiib K^cd by the ttddM cresiftK light. Bloc, {tartly clouded aky. V 
 
 Psasli K i{ii(acfcwi Vr.>|«infisa. 
 
 Of thtasiddkywkdqf^nuath’.ab^ltin.'. ‘i . ^■ 
 
 " ayot amt betp^ Ma> Si: Hahtsfe it Ontot, "Csulogue Rsi- 
 
 Ssaklv “CwalDguc Rail 
 sewi^'' Noa data 6ti. 
 
 >' SaLaB.Ocks.Liydsa.iStyfM'o.ty. 
 
 V Rsla Or, Kdph PInebar of CHonenaar. Londuq, itjB. 
 
 
 
 
 
 
 
 ,ssr-? 
 
AELBERT CUYP 
 
 ■w 
 
 Lady and Gentleman on Horseback 
 
AELBERT CUYP 
 
 1620-1691 
 
 Lady and Gentleman on Horseback 
 
 In the foreground, on the right, two mounted figures advance toward a young lady, in 
 blue dress, with slashed sleeves and black hat with blue and white feathers, mounted on 
 a white horse with dark red saddle. A gentleman, very likely her father, is mounted on a 
 black horse, in brown dress, bareheaded, with long flowing hair. Xhree dogs are at the heels 
 of the white horse. A man following the mounted figures holds two greyhounds in leash. 
 On the left, toward the rear, two mounted figures are passing. Behind is a castle. Light 
 blue in the lower part ; gray, clouded sky. 
 
 Signed in the left foreground : “A. Cuyp ” 
 
 Canvas: H. 48^ inches; W. 67^ inches. 
 
 The lady and gentleman in the foreground are probably portraits. 
 
 Painted about 1660. A copy in the Dresden Gallery, 1905 catalogue, No. 1783. 
 
 Smith, “Catalogue Raisonne,” No. 177; Suppl., No. 48; Hofstede de Groot, “Catalogue Raisonne ” 
 No. 618. 
 
 Sale, Thomas Emmerson, London, 1832. 
 
 Sale, Edmund Higginson of Saltmarsh Castle, London, i860. 
 
 Sale, Adrian Hope, London, 1894, No. 22. 
 
AELBERT CUYP 
 
 1610-1651 
 
 Lady and Gentleman on Horseback 
 
 . In tliK bo Bjc fMjht, two mt*'tintcd fiffure« tjdvance toward a young lady, in 
 
 Hue dre^ with sinthtd atocrc* ^sd bUck'har with blue and white feather*, mounted on 
 a whitchtwae w ith dark red aaddlb. A gende'niab, very likely her father, ia mounted on a 
 black Kur»c,io btoWn drett, bareheaded, with long Hqwing hair. Three dogs arc at the heels 
 of the white horie, A mtm foilswing thejnounted figutea holds two greybouads in leash. 
 Oa. the left, towaid rise sear, two mounted figiireS are poMinjt, Behind ii a castle. Light 
 .' blue in ihe'Iowarparti gray, tloudcd.sky, 
 
 Sipasf ia eba Ml Ms ymnU -^.t'nSp" ' 
 
 CsOTsai H. fSyi'hidiBst w r.^s, 
 
 , Tbc Isdy sod vn ^iwatwioi art yrahablY rwtrtjt 
 
 ftsiolad ^ot i6«0. A piw t< iV £>»tdin G*Bw>. .r..i .. ptt. N» -<lj 
 
 • SntitK, "Ooifciy» Rw«tp^" ff« r-y; Soypl . Vi ^ -v imxK. s.Mnui' 
 
 No; 6i».. 
 
 &ii«.T hoia *t g tutn ww . >.,.iAW-. .t;i 
 
 Edma^ 'H>tl)iwus tf {«K.tunA CtaSa, Looiirti. •*<«» 
 
 8r^ Adriu Hryw lamluoi iftM. So. sa. 
 
AELBERT CUYP 
 
 ■sy 
 
 Horsemen and Herdsmen with Cattle 
 
AELBERT CUYP 
 
 1620-1691 
 
 Horsemen and Herdsmen with Cattle 
 
 In the right foreground are two cavaliers on horseback : one, in blue, is mounted on a gray 
 horse ; the other, in scarlet, rides a bay. The man in scarlet points with his whip to two 
 herdsmen who, with a flock of sheep, a cow, and a laden ass, are resting in the shade of 
 lofty trees. A third cavalier gallops toward them from the left, where another herdsman 
 stands near two cows — one standing, the other lying down. In the distance is a 
 winding river on which are ships ; farther away are buildings on lofty hills. A fine and 
 sultry summer day. 
 
 Signed in the right foreground : “A cuyp” 
 
 Canvas : H. 47^ inches ; W. inches. 
 
 Painted about 1660-70. 
 
 The companion piece was in the Slingeland Colleilion at Dordrecht in 1785. (Smith, No. ii ; Hofstede 
 de Groot, No. 448.) 
 
 Smith, Catalogue Raisonne, No. 10; Waagen, II, p. 180; Hofstede de Groot, “Catalogue Raisonne ” 
 No. 430. 
 
 In the Slingeland Colleiflion, Dordrecht, 1752. (Hoet, II, 496.) 
 
 Sale, J. van der Linden van Slingeland, Dordrecht, 1785, No. 71. 
 
 Sale, Dubois, Paris, 1785. 
 
 CoUeftion of WilHam Smith ; sold privately to Edward Gray, 1830. 
 
 Colle<5lion of Alexander Baring, London, 1834. 
 
 Colledlion of Lord Ashburton, The Grange. 
 

 
 
 
 
 
 jJa**" 
 
 > 'Albert guyp 
 
 li-’* V • tfi*P-i«9J . 
 
 
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 Horsemen and Herdsmen ^ with Gattie 
 
 ' >;> t, 
 
 hr. 
 
 , , li> Ac tHsht fotegreund are two oralicn or honeb«ck t one, io hliir, in mnwntwl /^n j pay 
 hoisc { die odi<r; i& wadet, ridc< • b»y. The man to tcail^ {khboi with hk whip to two 
 wht\ tfridt a Hock cd sheep, t cow. uid-a iadeo ass. are re^n£ in the shade o| 
 JoRt tree*. i A thini caealier gaHops toward them Irom the left, wheir aimdier heedaman 
 jtai^ near ‘two-'cotmi' — one sundine. the other lyHig down. In the distance i* a 
 winding nyer on T^di arc shi^t^ farther awajr are btuldings on lofty hills. A fine and 
 
 EKvl',^ , j, «, sultry nunaieT day. 
 
 W' • r- -"-r 'i-ai -iJ,i 
 
 
 
 
 ■ %wd «lhs i%hr'to«trooi>a ; "A e»yp" 
 
 (^iw; H.s7|i lKin: W.46fi inchn. 
 
 : AdBsMsi>outt6&ar.ya. 
 
 inw'comiMiira tiiaw «w b «k Stingshuid Cylle^Uan M I>ardts^ 
 
 u No. ti ( Ho<« 
 
 M Groot^ Noh 4^«}i 
 
 taki, Rawani" No. lo: W«g*o, II, p itoj Hobnde de Oroi, “CstskittiM 8ali«»«.'* 
 
 ?•' ,Na. 4jo, 
 
 V ** •** SBnj^lsnil <!aaed!oa, Donhsclx, lyja. CHom, II, 496.3 
 '.;n !ri[j |.'ssa 6®r Uadeo tss' ShogtlurL Docdrech*. tySt, No. yu 
 
 s 
 
 
 \ 8ib,1>sba^ Pwii, lytj. 
 
 ■ CoUsdioa of WilEam taitht teU yrintety to Edwmt Oiw. ■(>>. 
 
 Cb fc <B«n of AleaMw Barine. London, ijjs. 
 
 CaBsftSoa of Lend Ashtnmon, Gfsogo. 
 
 X' ,tS.i 
 
 
 
 
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 ■1j 
 
 

FRANS HALS 
 
 1584-1666 
 
 Born at Antwerp, 1584: died at Haarlem, 1666. Pupil of Karel van Mander. Worked mostly at Haarlem. 
 Painter of portraits and genre. 
 
 Portrait of a Man 
 
 Half length, turned to the left, facing the spectator. He has long, straight black hair. 
 His right hand is in the folds of his cloak. A square, white cambric collar. 
 
 Canvas: H. 25 inches; W. 21 inches. 
 
 W. Bode, “Frans Hals” in “Studien . . . ,” No. 122; Hofstede de Groot, “Catalogue Raisonne,” No. 
 
 311- 
 
 Exhibited at Vienna, 1873, No. 38. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 32. 
 
 Collection of Reni van Haanan, Vienna. 
 

 
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 FRANS HALS 
 
 ■~' Ij04-i6fi6 
 
 Bon ■ Aanr«||i I]ti4j <Ma> Haarlon, (Mt. Pm|A of K«rd on Moixlor. Wortod moody n Ho rtu n ' 
 P i iaw r -W ponnitt nd goan' - i. 
 
 • - • f* 
 
 Portrait of a Man 
 
 
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 V. 
 
 
 Hali length, named to the left, faciag the epcAetpr. He has W«g. Mnigtn Mack half. 
 Hi* right hand i* to the folds of hi* adcak.' A square, white cambric eaUw 
 
 
 Oums ; R x{ iatchoa; W.ai tedwt. 
 
 » ^ 
 
 -arX*. . 
 
 F«r.^ 
 
 " W. itod., "fwas Hsh" in "Stadin .. . “ Wa. saa^ Hotndc <)t Qraoc. “Oalwtw 
 
 *"• ^4 , . » • 
 
 Rrtwfci»»J «t Viwitta. 1873 , No. jl. 
 
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 Edb£bi<« 4 ttth 0 'H}((iM>ii‘'FttItoo 08 Mirviiaifc,HmrYailw< 909 ^Ho. ft* ^ . . 
 r • . • r ^ . 
 
 * CefladSoa ol JUmvto Hktna^ 
 
 '<# ir "-'t-v- .,' - 
 
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FRANS HALS 
 
 
 Portrait of a Girl 
 
FRANS HALS 
 
 1584-1666 
 
 Portrait of a Girl 
 
 Bust, turned to the right in profile. The hair is combed flat and shows a red ribbon with 
 yellow border at the back. She wears a translucent shawl around the neck, over a black 
 costume. 
 
 Signed to the right with the monogram “FH" 
 
 Panel: H. loj^ inches; W, 8 inches (oval). 
 
 E. W. Moes, Frans Hals, No. 251 ; Hofstede de Groot, Catalogue Raisonne,” No. 120. 
 
 Colledlion of Earl Spencer, Althorp. 
 
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 FRANS HALS 
 
 I 5 « 4 -i 665 
 
 L 
 
 Portrait of a Girl " > 
 
 
 L 
 
 
 Hust. ton^ to the right hi firafilc. Th* hair t* combed Ret eixl «bow« • nd ribbon with 
 yctlow at the back. She wean a uanalucctit ahawI’tXMnd the acek, over a black 
 centame.. *. 
 
 ar* ,- 
 
 1 * 2 ' 
 
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 %ii*a to dw right with th* moaeewa 'fH" 
 
 IWI: K. io}( Imdut I W .4 iachM (o«d>. 
 
 K. W. M^'Rau fbK* Ne.aji: Hntn od i ^ Cbaat. *CMil«(u« mwiml'* No. laoi 
 CotMtioa cl Eori Spcecat^ Akke^ 
 
 'It,' !i_ . 
 
 
 
 
 
 
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FRANS HALS 
 
 •w 
 
 Isabella Coymans 
 (“The Lady with the Rose”) 
 
FRANS HALS 
 
 1584-1666 
 
 Isabella Coymans The Lady with the Rose"^ 
 
 Three-quarter length. Turned slightly to the right, the face looking to the left, smiling 
 as she holds a red rose in her extended right hand. She wears a white skirt, trimmed with 
 silver lace, and a black overskirt and bodice with a white lace collar and cufFs; at her 
 right side, a ribbon bow from which hangs a watch. Around her throat and her right 
 wrist are strings of pearls, and she wears earrings tied with red ribbons. Her wavy brown 
 hair falls about her neck and is ornamented with a ribbon. In her gloved left hand she 
 holds her right glove. Her armorial bearings hang on the wall at the left. 
 
 Canvas : H. 49 inches ; W. 39 inches. 
 
 Isabella Coymans was born after 1616 and died in 1689. 
 
 The companion portrait of her first husband, Stephanus Geraerdts, is in the Museum at Antwerp. 
 
 E. W. Moes, “ Iconographia Batavia,” No. 1785; Moes, “Frans Hals,” No. 35; Hofstede de Groot, 
 “Catalogue Raisonne,” No. 181. 
 
 Exhibited at the Royal Academy, London, 1877, No. 38. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 38. 
 
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 ija4-i«66 
 
 
 Isabella Coymans i*i7ie Lady with the Rose") 
 
 « 
 
 
 'r?i* 
 
 ‘;4 ’ ThN««q<Bur(*r loigth. Turned slightljr ;o. tbe rigin, die fwi^ looidng to the left, smiline 
 u (he bold* ■ rrd ro*c in her extended -tisltt hand. She «««t« a whke ikirt, trimmed with 
 
 
 .'•iltcr kcc, and a Miclc.omakin and Mice with a white lace collar and cudii; at her 
 ; '[-T'>. > rihboa hw Irom which. hal^ 4 walGh. Around her tlnoat and her tight 
 
 wriK ai««dng;i of pcarU, aftd die weara'tiarritiei tied with red rihhtMW. Her wary fafown 
 ' hair fatlr wheut^h^ beck'and k aaaatcaeed wid> a rttihon. In har flidrrd Mi Inod ahe 
 ~ t holds her laght gioiTe. 'HM’ansiionatlieatilisslMdigoa the waSat lhc kA. 
 
 ®.,'’ .V . ' - .’ ■ v‘ .ri , ■ ■ -.rv ' /T4'’- . ■. 
 
 ' i.= • '•■- ' -■ •;-V **' ■ '■ ■ '■ - ■:= ’ 
 
 1 \V-’ 1 '’ 5:' -■ v' 
 
 Cmvw: H.49.hKh«<; W. jy^tnehn. 
 
 
 
 IwUh Cayigui im bom after aaf dW fat iMo 
 
 ^ The nuafuioa portnit of h« im laifaiidl»i>|*na 1 « Ow n w J fa a ^fanfaa Ma wiaa « Aaten^ 
 
 
 K. W. Mtm, “IcoAoenpUt Bwohl'' >f({ 1 Has*. "I 
 *rataicigiiaRs<«>>u>i”I^-a9i- - 'V 
 
 I ndk.'* Mo. Jfi Me A »«W de Otoot, 
 
 BHfa l B tsd st tlw Roy«l Atadoiay. I la lwa iSyy^ Ma. jt. 
 
 .'■f- ^ -rj. ‘ .. f*'- '■* ^ 
 
 Ezhifaned >t *h* HadMOrFalMa CAkralioa, Mow Ycrhi ifWi No. 3 I. 
 
 J* 
 
 fig; 
 
 - t 
 
 
 
 
 V .'3r.* -.- 
 
 i— * 
 
 

FRANS HALS 
 
 3? 
 
 Portrait of a Gentleman 
 
FRANS HALS 
 
 1584-1666 
 
 Portrait of a Gentleman 
 
 Three-quarter length, slightly turned to the right. He wears a small black mustache 
 and curly gray hair; black costume and black mantle, which he holds with his right 
 hand ; and high, broad-brimmed black hat. He holds a gray glove in the left hand. The 
 right arm hangs loosely, while the left is pressed against the side. 
 
 Canvas: H. 45 inches; W. 33 inches. 
 
 Painted about 1650. 
 
 E. W. Moes, “Frans Hals,” No. 162; Hofstede de Groot, “Catalogue Raisonne,” No. 294. 
 Exhibited at the Royal Academy, London, 1894 87) and 1910. 
 
 Bequeathed by Lord Frederic Campbell to one of the ancestors of Earl Amherst. 
 
 Colle<JHon of Earl Amherst, Montreal, Seven Oaks, England. 
 

 ft ‘ 
 
 
 «<-■- - 
 
 ♦ 
 
 FRANS HALS 
 
 Ij8«-i6i6 
 
 Portrait of a Gentleman 
 
 Tlirecwjuarter leoeth, »liebdy turped to ,^ He wtsu* # tmall black mustache 
 
 and curijr gray hair; .black costuoic arid black maruie, which he holds with his right 
 hat>d; W high, bm^brimmed black hat. He bold* a pay glrwe in the left hand. The 
 right arm hangs loosely, while the leh is pressed against the ride. 
 
 CutTMt H.45 iflicbw! W. pH frariiM. 
 
 tbOttC l&jCft. 
 
 £. W. Mmi;, "FnuHflk'* »6i: .r 
 
 MjchihitedK the Royxl Ach4m»j«1avAu^ 
 
 BcqaatkcdS bjr Lon! PiWwir tim m'i ■■■iw/'of At«W>t 
 Cof(»d3on of Bait A/ah*n;t, ^cuUnal^ 
 

FRANS HALS 
 
 ■Sf 
 
 The Painter Frans Post 
 
FRANS HALS 
 
 1584-1666 
 
 The Painter Frans Post 
 
 Half-length figure. He is sitting slightly turned to the right, with the right arm over the 
 back of the chair. His long curls fall on his shoulders. He wears a high black hat, 
 black costume, flat white collar, and small mustache and chin beard. Brownish-gray 
 background. 
 
 Panel : H. 1 1 inches ; W. 9 inches. 
 
 Frans Post was born at Leyden about 1615. He was a painter of Brazilian landscapes. He travelled 
 with Count Johan Maurits of Nassau to Brazil in 1637, and returned in 1644. After this he worked in 
 Haarlem, where he died in 1680. The pifture shows the painter at the age of about forty, and must have 
 been painted about the middle of the fifties, which is also indicated by the style. 
 
 W. Bode, “Frans Hals” in “Studien zur Geschichte der hollandischen Malerei,” 1883, No. 144; E. W. 
 Moes, “Frans Hals,” 1909, No. 64; Hofstede de Groot, “Catalogue Raisonne,” No. 215. 
 
 The portrait has been engraved by a pupil of Frans Hals — ^J. Suyderhoef. 
 
 Winter Exhibition, London, 1873. 
 
 Winter Exhibition, London, 1882, No. 123. 
 
 Exhibition of portraits in The Hague, 1903, No. 39. Reproduced in the publication of this exhibition 
 by Hofstede de Groot. 
 
 Rembrandt Exhibition at Fr. Muller’s, Amsterdam, 1906, No. 57. 
 
 Sale, J. V. d. March, Amsterdam, 1773. 
 
 Sale, Amsterdam, 1830, No. 142. 
 
 Sale, J. Smies, J. H. Knoop, et al., Amsterdam, 1834, No. 45. 
 
 Sale, A. Levy, London, 1876. 
 
 Colle<£tion of J. Walter, Bearwood. 
 
 CoUe« 5 tion of Jhr. H. Teixeira de Mattos, Vogelenzang (Holland). 
 
.iiiliiliii. iJiuihiiiiiiyilkdL II . LAu, ,I.L I iLlidililLiiiHjiiiiiku:^.^jtt Jilii 
 
FRANS HALS 
 
 1^ 
 
 The Painter Frans Post 
 
 He it i» «i« rigiit, with the riuht arm o»f. ■ .‘‘-• 
 
 M die ctMii. Hit ka« tun» tail m h«t'ilM > i M « n > He wean a high black 
 Mack. coititanc. tal wfcite mlttr. ttid mmU awMaekc kail chin beard, Brownitb-ei 1 1 
 bickground 
 
 Pwai; H. i.'iwiM: -- 
 
 Fnm Kdw •< ’’ i»w|»» ll^i jv«ll.d 
 
 vkfa Coiaaa |alwa Mnrib ,a 'tuMu'i • *— >h*» Iw wrvlwd m 
 
 Havlen. I'hwe tw 4W n lafe TVf •. 4‘ ' V '• ' ami m*«* >1*^ 
 
 fbcior'thtf mi' •^Z-* ‘ 
 
 W. Bodi,*'PnMK^"}t>^)KWi'.'^' < ^ P V. 
 
 Mom» K»W^ 19^9^ -;. .t - ■ 
 
 TV fi»tf ilt bii«fl ‘ t > -j i --^ ; 
 
 WW U*4 m. 
 
 VT*#» E>)«Vk> ft, i^.rtKl(SR, .**->k5 N > ' ’ ^ 
 
 ..... - - 'r • ^ * 
 
 TSo H*i-.- liapianwii* «». f**®- 
 ;.r HiWiifc ^ Oraot ' '^ 
 
 Hastaaotk aaMStiaa « FiyOlW'a AiMIBftrr. | 3 L 
 
 Sm. ; '> 4. MaA. Mmrnmtim. irji 
 SiK Aaai«»*Wk Ka. 14a 
 
 Bda J.Sattaa J. M. EaM|t««{. AMwatant t<> 
 
 OiMiWi « W i. Wwu*. (law ag. 
 
 CaOrAlM e# ,<bi M. Titnun «• Miakt. f «|^iaaaai|| (MaOMaj. 
 
JAN VAN DER HEYDEN 
 
 AND 
 
 ADRIAEN VAN DE VELDE 
 
 ■Sf 
 
 The Church at Marsen 
 
JAN VAN DER HEYDEN w 
 
 1637-1712 
 
 VAN DER HEYDEN: Born at Gorkum, 1637; died at Amsterdam in 1712. Travelled in Germany, 
 Belgium, and England. He was an engineer and introduced street lamps. Painter of landscapes with archi- 
 tedture, and of still-life. 
 
 ADRIAEN VAN DE VELDE 
 
 i635(36)-i672 
 
 VAN DE VELDE : Born at Amsterdam, 1635-36 ; died there in 1672. Pupil of his father, Willem van de 
 Velde the elder, and Jan Wynants. Worked at Amsterdam. Painter and etcher of landscapes and animals ; 
 he also frequently painted figures in landscapes by Hobbema, Wynants, Philip Koninck, Jan Hackaert, and 
 others. 
 
 The Church at Marsen 
 
 To the left of a village street, a brick house; behind it, on the same side, a church, 
 the limestone tower of which is in Romanesque style, while the nave, built of brick, has 
 Gothic windows and contreforts. Around the church, a wooden fence ; and to the right, 
 a stone gateway. In front of the house, three pigs ; and in the foreground, several dogs. 
 On the road a man is speaking with a woman in a blue dress, who is accompanied by a 
 child. Some people are entering the church. Trees in the distance on the left. Blue 
 sky with clouds rising from the left. 
 
 Canvas: H. inches; W. 16Y inches. 
 
 The pifture is mentioned in the inventory of J. v. d. Heyden. 
 The figures and animals are by the hand of A. v. de Velde. 
 Smith, “Catalogue Raisonne,” No. loi ; Waagen, II, p. 123. 
 Colledtion of Philip Henry Hope, 1834 (Smith). 
 
 CoUedtion of Lord Francis Pelham Clinton-Hope, Deepdene. 
 
r 
 
 
 
 
 JAN VAN DER HEYDEN w 
 
 **(Kr-i 7 *» 
 
 VAN tMER nsrDRKi Bara 1 Ooriwai. ftg; M « / 
 Bi%i>m, wJ Ka(lan^ H* ww u «opiK«r >04 tagmUra^ R 
 laauM, m 4 aO-lib. 
 
 m ijit- Tnrelkd bi Ottniwf, 
 
 . hSme o( lui)M>pc« with *rct<i- 
 
 ‘ 
 
 .‘ADRIAEN VAN DE VELDE 
 
 » 6 J 5 < 36 >-‘ 67 » 
 
 .-■» 
 
 
 VAN £>R vg» J> B ‘‘f tn-4 iQft mmwliilii nIas-sA : Abd tbn ia 167a. Htpit of bn fnW. WtDm ran d* 
 tbacU<d.«>d'W'VVfab%^^^«ibad at AraMerdMn. Asotn and etcher of hadiapM uul winub: 
 he abd'in^nl^ fnaud %am ^ bnaiinie* hr HoMeoa, Wyaaott, PbiKp Kooinck. Jan Hackaen. and 
 aahin. T'i • 
 
 *:*'r I 
 
 ::it -I 
 
 The dhurchlat 
 
 To Ac leit ol « TUl*gd'atte«i'«:hi&it houce; bdhinl k, W ikc aaate atd*. • cfconfh. 
 • dleJiiaeital|le'’tblrer of which k in Ronaancaitic ttjric, wUtc the Moc. fcellt ed ktirk. h»« 
 Gblhic winiowf and oonnefcit*.^ .Anuad the cfaarth, • wooden icaoe t ewd m Ac 
 - atraer ffc uofc x*' IttJtonc flrf ^c hdeBe, three *nd ih the iMIpetMad, wraetal 
 On tb«.h>ed » man .*» epdekmg with » ieooa* W a liae dlcaa. who it aoo nt|nnir 1 h> a 
 ' chtM^ SbileB ate' enhsTiBS cAupAl I’feoa iw the diwaace on the hih. Rhar 
 
 tkf with c]ou^ rising tfom thie Idt^, 
 
 ^ Ctanti H. iciitaOmi W.jAN iacbaa ^ 
 
 "Be ptftion « nwttawad lo tha ni J- *• d. Haydapn. 
 
 Tba figaiM and ahiiiMiS •« band at A. e. da Velde. 
 
 - • ,5,.. -, . _ . . 1\. " * 
 
 tebfa, ■'CnalcypwIbitaaAA' N»' lot I Wngaa. il, p. nj. 
 
 CobAios at PhlSp Homy Mufo. iSj4 (Sadfh). 
 
 CotWttno of Lard Ftaoda Patbaea CH o trw ^lopa. Daapdeoa- 
 
 
 
MEINDERT HOBBEMA 
 
 
 The Travellers 
 
MEINDERT HOBBEMA 
 
 1638-1709 
 
 Born at Amsterdam, 1638 ; died there in 1709. Educated under the influence of Jacob van Ruisdael. Worked 
 at Amsterdam (seldom after 1668). Painter of wooded landscapes. 
 
 The Travellers 
 
 A road winds from the foreground in the centre around a hillock and is lost in the middle 
 distance. To the left, a water-mill with a roof made partly of tiles and partly of 
 straw, to which a wooden bridge is leading. A large oak tree is in the foreground before 
 the mill. On the right side, and in the middle distance, trees, behind which a church 
 spire is standing out. Down the road, in the centre, approach two horsemen — one, 
 dressed in yellow, on a white horse ; the other, in red costume, on a brown horse. In 
 front of them, two dogs. A peasant is seated in the foreground to the right. Gray 
 clouded sky. 
 
 Signed to the right: “M. Hobbema, 1660” (the last figure is uncertain). 
 Canvas: 39% x 57 inches. 
 
 Hofstede de Groot, “ Catalogue Raisonne,” No. 94. 
 
 Exhibited at the Burlington Fine Arts Club in London, 1871. 
 
 Winter Exhibition in London, 1894, No. 60. 
 
 Sale, Amsterdam, July 5, 1833. 
 
 Sale, Earl of Dudley, London, 1892. 
 
MEINDERT HOBBEMA 
 
 »6a8-»709 ^#-5 
 
 1 ^ npihii i<Mn. i6jt; AiJifaftn 1709. E da cu ted aodwtlM in fl oao f W.JicobT«ii Rawdari. Wwifc>4. 
 
 «t ’kaamrhm {mUon ti»r tM). fiintvr ci ipooM kodacapw. ^ 
 
 . « :.p' 
 
 . - . " . Sri ^.. 
 
 The Travelers / 
 
 ■-i. *■’ “ . , ' 
 
 '* . 1 “ = , ■ ■ " h ^ ^ ^ 
 
 ^ road winds from tW {oreground' in dw centre around a kiUock and is lost io the midKr 
 dw a n ce. To the left, a nrater-mill with a rotd made partly of tiles and partly uf 
 straw,''M' which a wocxlca bridge W Wading. A laivt oak tree is in the foreground before 
 ■ii-- the min. On dw side, and in the middW dlNaoca, tioes, behind which a church 
 .V sp^ is standintE out. Down the toad, in the eeatre, approach two horsemen — one. 
 I ~ dressed in yellow, on a white botaet <he other, in red oretuinr, on a brown horse. In 
 '' front of them, two dogs. A peas^ Is seised in the brevnuod to the right. Clray 
 douded tky. 
 
 $%a#d to tkt ii^u« *'MeH»blM0ia, r66o*^ OUmImi aKwtMi^. 
 
 •rvi. ■ ^ 
 
 y Cum; 39JS X S7 iachM. : - ; 
 
 H o fat eA J> Oroot, **Qtokyaa lUiweoi.** Woa ^ 
 fcrhihjfwl at tha Baritoftojatfiix Qtab « Loodbe. ityt. 
 
 * WxBfcB EacUfiMon ia tofid^‘l994hH»-60h'^ 
 
 _-^SdBe AAMrikniu Jvly |( 
 
 Abb Kg< Pii^Wy, IsaaAa. 
 
MEINDERT HOBBEMA 
 Hut among Trees 
 
MEINDERT HOBBEMA 
 
 1638-1709 
 
 Hut among Trees 
 
 A winding road leads from the background to the centre of the foreground. To the 
 right, a hut with ruined straw roof in the shadow of trees. In the foreground, through the 
 whole width of the canvas, are oak trees. In the left foreground, a tall tree. In the mid- 
 dle distance, a sunny square among the trees and a house in sunlight. In the foreground a 
 woman, in red costume and dark blue coat, advances with a boy holding her hand. A 
 dog is before them. Farther back, horsemen within the shadow of the trees. Gray 
 clouded sky. 
 
 Signed in the left foreground : “ M. Hobbema.” 
 
 Canvas : H. 38 inches ; W. 42^ inches. 
 
 Smith, “Catalogue Raisonne,” Suppl., No. 28. Hofstede de Groot, “Catalogue Raisonne,” No. 181. 
 Exhibited in the Royal Academy, 1890, No. 85. 
 
 Sale, H. Hamersley, London, 1841. 
 
 Colledtion of Lord Ashburton, The Grange ; sold, 1907. 
 

MEINDERT HOBBEMA 
 
 
 
 ittS8-!709 
 
 Hilt among Trees 
 
 
 A. wiodins road !ead« from the backEroand to the ootitie of the (oteground. To' the 
 right, a but with ruined itnw roof in the shadow of trees. In the foreground, through the 
 whoic width of die ainru, arc oak trees. In the left Idiiaground, a tall tree. In the mid- 
 dle- dutance.a tumor squire among the trees and a hooae tnaunlighr. In the foreground a 
 woman, in red costume and dark blue coat, advaom with a bojr holding her hand. A 
 dog ia before them, PMher back, honeroen within the shadow of the trees. Gray 
 clouded aky. - , 
 
 ■-iSl 
 
 t- ' ' 
 
 
 
 fHfiiwI in the bh foresrouod : ^Ms Hobheme.** 
 
 Cbovee ; HejSlacheei W.4»>i BQchei. « 
 
 •‘ C mkig m Wo. it. Hetonde^GM, 
 
 the Jloftl A«deniy,Y 99 bk No. 85. 
 
 > '> ■ : 
 
 6el^ ft HeoMni*/. 1841. 
 
 CpQeffloo d toed Aifehttrton. The Ore^ ; >a >4 tft 9 
 
 r Kos ii«. 
 

MEINDERT HOBBEMA 
 
 Village near a Pool 
 
 I 
 
 I 
 
MEINDERT HOBBEMA 
 
 1638-1709 
 
 Village near a Pool 
 
 In the middle distance a village, with a church, extends around a square which is lighted 
 by the sun. Trees are standing between the houses, which are partly thatched with straw 
 and with red tiles. In front, a pool, and near it, in the foreground, a group of high 
 trees. In the right foreground, a shadowed road upon which a huntsman, in yellow cos- 
 tume, mounted on a white horse and accompanied by four dogs, is riding. A boy, hold- 
 ing a falcon ring, gives him a falcon. To the right, in the shadow, a peasant hut 
 with red roof. To the left of the pool a fisherman, with reddish-brown coat, is angling. 
 In the left distance, a view through trees ; and on a road, a peasant with a cow. Rich 
 composition in a warm golden tone. 
 
 Canvas : H. 32 inches ; W. 42 inches. 
 
 Hofstede de Groot, “ Catalogue Raisonne,” No. 47. 
 
 CoUeftion of Count Santar in Lisbon ; brought by him from England about 1850. 
 

 
 •% 
 
 Mk'Vr®^ 
 
 1.. 
 
 MEINDERT HOBBEMA 
 
 ‘ i63»-J709*" 
 
 
 Village near a Pool 
 
 s 
 
 
 
 !a the'oiii^diMaBCc • nlhfe. whli • cfaurdi. tmai* »tomd • aquire which it Ughte<i 
 br the nial - Tf^ ate tUiitfioe hatwcM h»wK«.t*id>aK panly thatched with straw 
 «~1 with f«d tile*. Ja hoot, a pooi< and jwat^it, te the lotc«raund. a poup oi high 
 tree*.,. lo^ richt iorecrouad. a ahathowed njad «|m> which a htnennan, in rcHow eoa- 
 "ttiatf, tnom^ oii a white wt >e< ia w iwai ' i«d by fadrdimt. la tiding. A boy, hold- 
 
 hig a hdeon .ting, tiirdi hi*» aiaWoii. - 'Po the ri«ht. hi the ahadww. a peasant hut 
 with red toed, To the feh of the pent a fishatosan. with t a i i dia lt - fw wn coat, it aaelinc. 
 (n the left diftaoec, a view tkroush tree* *Ati aon read, a peasant wMi a atm. Rich 
 oompoainoD in a wanii golden wale. . ■ > . 
 
 
 t'T 
 
 
 ' Ckawti H.)a3ndiat; W.sainchM. 
 
 >r, 
 
 Ratotdi <iv Oroo^ ''Qsatagoe tAoaot," No. 47- 
 
 CaStfiiaa af Com SwAr ia liibaBi tvougfat by Mm ftoas I 
 
 itbya 
 
 
 9 
 
 - (f ■-• 
 
 
 
 
 
 
 
 

PIETER DE HOOCH 
 
 ■W 
 
 Woman and Child in a Courtyard 
 
PIETER DE HOOCH 
 
 1629-c. 1667 
 
 Born at Rotterdam, 1629; died at Amsterdam soon after 1667. Said to be a pupil of Nicolaes Berchem. His 
 early works show the influence of the soldier painters of the Frans Hals school and of the pupils of Rembrandt, 
 especially Karel Fabritius. He first worked mostly at Delft, later at Amsterdam (from about 1665). Genre 
 and portrait painter. 
 
 Woman and Child in a Courtyard 
 
 A servant-girl wearing a light-brown jacket and a white apron over a red skirt is crossing 
 a courtyard with a little girl at her side. She carries a flat basket in her right hand, a 
 jug in her left, and looks at the child, who is holding a bird-cage. Both are going to- 
 ward a pump built against the wall in the left foreground. In the middle distance the 
 town wall is seen, above which are tree-tops. On the right a lady, and two gentlemen 
 wearing slouch hats, are seated in an arbor, drinking wine. 
 
 Signed in the lower left-hand : “ P. de Hooch.” 
 
 Canvas ; H. 29 inches ; W. 26 inches. 
 
 About 1600. 
 
 The scene is laid in a courtyard near the city wall at Delft. 
 
 Hofstede de Groot, “Catalogue Raisonne,” No. 294. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 54. 
 

PIETER DE HOOCH 
 
 f 6 a 9 -f. 1667 
 
 frjni tf WiniwrtBin, i#s« i. foon »het 1 M 7 . 9mi1 Co be a puj;^ U Nkf4aea Btrchrm 
 
 carir worici-tt»^W dw iiAtgiate.'^llia aoAdirr piiAMracii iha Prana H«U tchool am|o^thap<ip9«of lUmir— > 
 14^; Kir«( hm. levied stoady at D*lft« tacar at AmacenUm (from about t66$). G*« 
 
 a«i4 ptr a U puinaea. 
 
 Woman and Child in a Courtyard 
 
 i 
 
 
 t, 
 
 :y 
 
 i 
 
 r 
 
 A Mrrant>gtrl wearing a Ught'txpwo j«ck«l tni • uliK* afinm over a red akut » croaauig 
 a oouityaid wttii a little girl «l her aide. She carriea a fi« basket in ker righc.band, a 
 jug in her and looka at the child; who b boldine a ban^^age. Ikxh are goiog to- 
 ward a pump biiih a^inac the wall in th« left fac t ground. In the dia'ci.'ii the 
 
 town wall ia aeen. abdtie wbicii are tiec-top*. On the rw*i' a Iwl, •. •■ 
 
 weemg ilouch-hata, are •need in an stber. dbrinkingi «in<- . 
 
 Si(mJ i& dw Wwer : ** P> cW Hooch.^ 
 
 Ca«m: K.a9iiKlM9: W. z^uxrhet* 
 
 Aboi3t-i6orv 
 
 Th» acwM h bod ic t coartfird nc«r tb« city wall « 
 
 Hcifscede da Grpoi. **CM^>ofae IUi*oQo«,'* N«. 
 
 ExhltsUed at tha Hud»oih>F«llo& Cofabwrioit, K«w YiH. 190% .Ho s4> 
 
 

PIETER DE HOOCH 
 
 ■w 
 
 The Bedroom 
 
PIETER DE HOOCH 
 
 1629-1667 
 
 The Bedroom 
 
 A young woman in a red bodice, with a white kerchief over her head, stands on the right 
 as she takes some clothes from a wooden box-bed and throws them over a chair. She 
 stands in profile and smiles at a little girl in the open doorway on the left, who holds an 
 apple in her hand. The child’s figure is illumined by light from a high window on the 
 left and from a door in the background. This door leads from a little anteroom into the 
 open air, where walls and garden hedges are visible. In the left foreground, a table with 
 a jug. On each side of the door, a chair. 
 
 Canvas: H. 20 inches; W. 23 inches. 
 
 About 1660. 
 
 A nearly identical pidlure hangs in the Museum at Karlsruhe. Both pidlures are originals. 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 55. 
 
 Waagen, Vol. II, No. 71; Hofstede de Groot, “Catalogue Raisonne,” No. 78. 
 
 Sale, S. T. Stinstra, Amsterdam, 1822. 
 
 Sale, Lord Radstock, London, 1826. 
 
 Colledtion of Lord Stafford, London. 
 
 CoUedtion of C. Scarisbrick, London, 1861. 
 
 Sale, Adrian Hope, London, 1 894. 
 

PIETER DE HOvOC.H 
 
 The Bedroom 
 
 A younir vroraan in a nxt bortic*, wllfc a wMat Ittrcliicf over her head, stands on tnr , 
 as she ukca Sonic clothes (rum m Wc w k a bc9t>bcd and tbtows them over a chan . 
 stand* in profile. and imUe* *i a lurlc j.rl Irv rhe open doorway oM the left, who hoUls r-> 
 apple in her hand. The child’* li({'ire I* Ulummed by light Irom s high window on the 
 left end hpin a door in the bachgiouml. Tins door lead* from a little anteroom into the 
 open air. where walls and garden hedge* are vuihlc. In the left hjtcgr.n.nd, a uhle with 
 a jug. On each side ol the door, a chair. 
 
 Caovm: H. soiocHrs. W jj'* incSe» 
 a\hmK 
 
 A WirrtixW baflgi in tb« Mu»ct:m nt HarJjri'w ‘ ^ — 
 
 lock;*d»jfi 6l Ku/iH>lvF«h«‘'S OU)b'att'’:v, V .• ?r, 
 
 Vvi. *1, 71 , iJ** Oro *t. " -1 
 
 Sstlc* &. T. . S? t. 
 
 $«J*5, Lnr*l Rditjt.vc. l.a4(/«1oia, 1 & 16 . 
 
 CoP<*'y'’>p. ol Liu-J Scsifit^J^Loatioa. 
 
 of C LcMidoa, 
 
 ■89th-. 
 
KAREL DU JARDIN 
 
 "By 
 
 Landscape with Cattle and Horses 
 
KAREL DU JARDIN 
 
 1622-1678 
 
 Born at Amsterdam in 1622; died at Venice in 1678. Pupil of Nicolaes Berchem, and influenced by Paul 
 Potter. He travelled in Italy and worked mostly in The Hague and in Amsterdam (from 1659). After 1675 
 he went back to Italy, where he lived until his death. Painter of religious subje<fls, cattle pidlures, portraits, 
 and engraver. 
 
 Landscape with Cattle and Horses 
 
 A bare hilltop, on the left of which, in the foreground, stands a gray horse. On the right 
 a white cow, with black-spotted face, is browsing. In front of, and between, the two, a 
 reddish-brown cow is lying down. Heavy rain clouds are rising from the left in the 
 blue sky, giving a cool light to the landscape. 
 
 Panel: H. inches ; W. 14 inches. 
 
 Smith, “Catalogue Raisonne,” No. 119; Waagen, II, p. 121. 
 
 Colleition of Philip Henry Hope, 1834 (Smith). 
 
 Colledlion of Lord Francis Pelham Clinton-Hope, Deepdene; sold in 1898. 
 

vr: ' 
 
 
 
 '■41 
 
 KAREL DU JARDIN 
 
 ^ ">• i 6 u-i«t 6 
 
 Bon at AmmidtiB w tte*: AmIii Vtain t* ><j4. «< Niegtan B 
 
 Pon«. fli trtrtl lii >■ w<l Tfri MI I ■fTttrkTti Ff |- - m-t l« fkw 
 
 he weot beck to Mmot «« eritfiMi I 
 
 end ooBmor, 
 
 ». Md iaAiieocod hr Pnil 
 I Hrom i 4J9). After HtJi 
 oicde |ii£ture(.p«treite, 
 
 Landscape, with Cattle and Hor^s 
 
 A bare hiltiei). im ifar fell ■( wIMt. W (ite loretpoutid. Mania a gra> Itnear. On dw t<Bbi 
 a triiite cow, wtiii Uack-«non«<l iicc, Iwowauqt, in ifOM M, md borweca. At (eao^ a 
 rndilja)i-b< 9 <»> cm i* itiMK Axtli- Hc*n anta efeafA ate Amb iont iIk M> >« A* 
 ' liiMc iky, giviBK « oaol ^ kiiil a rntr .-^: 
 
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 SI- 
 
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WILLEM KALE 
 
 -W 
 
 Still-life with Chinese Dish 
 
WILLEM KALE 
 
 i62i(22)-C. 1693 
 
 Born in Amsterdam in 1621 or 1622; died about 1693. Pupil of Hendrick Pot. At times under the influence 
 of Rembrandt, Painter of interiors on a small scale and of still-life. 
 
 Still-life with Chinese Dish 
 
 On the edge of a stone table, over which is draped a purple-brown velvet cover, rests a blue 
 and white Chinese dish, in the style of the Wan-li period, in which are two peaches ; in 
 front of the dish is a lemon. On the edge of the table, a slice of an orange. To the left 
 of the dish, a green rbmer of Dutch make and a tall glass, both half filled with wine. 
 Farther to the right, a Venetian glass. In the dark background, a niche. Warm light. 
 
 Canvas: H. inches ; W. 25 inches. 
 
WIIitEMiKALF 
 
 l 1.69a* - 1^' 
 
 Bon ia AiBfUrdBttio tfal ar mSu; 16#}. PispS ef Handrict Pw. Ai liiM ante dM iaSiMnu 
 
 ef Ra)pibA>^ '! PdBtic W buerion os >'MuA iKxb ^ af tDU-iifB. ..v>p ' . 
 
 Still-life with Ghin Dish 
 
 .. », > ■»■ f .-.CS " '•••- ■ >. 
 
 ? ' Ort edae ol • aliooe uUe, i»m wliiiA U dikped » pittple-biwa »«Jm co*ct. t«»t» » kh»t 
 $iiA CUaoc didi. ia tkc aljrW ■! t)>e Waa4i .period, two pncAnt (• 
 
 iioiK didk U > (csaoB. Oathe edge qf die ttMe«e«itce<rf » fte»i.aj p . T« cW IcM 
 eif tte a rimm ct Dotcii mUcc tad a .tall 4|Iha ka^lMtl filirj wiiA 
 .- Ftitte to til^ Tilsit. »' Vetierian i^aa*. la the Atrii kadiapMA^ a'iiM iK. 
 
 
 Cum; fL joii W WmAu. 
 
 
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 -JV ft. , ^ 
 
 ’f'.. 
 
 ■ Sis*-*^ '? 
 
NICOLAES MAES 
 
 1632-1693 
 
 y 
 
 Born at Dordrecht, 1632 ; died at Amsterdam, 1693. Pupil of Rembrandt about 1648-52 ; later, while at Ant- 
 werp, he came under the influence of the Flemish and French portrait painters. Worked at Dordrecht and 
 Amsterdam. Genre and portrait painter. 
 
 The Marketwoman 
 
 To the left, before the door of a house, stands a marketwoman in red jacket and dress with 
 white sleeves and apron. She has sold asparagus to a lady in a dark blue jacket trimmed 
 with fur, who leans over the lower part of the door and pays her with her right hand, while 
 she holds the asparagus in the left. The marketwoman wears a straw hat with broad brim, 
 and has a basket of vegetables on her left arm. Another basket with asparagus stands be- 
 fore her on the step of the house. Before the door sits a white and brown dog. The door is 
 carved with small columns. To the right, a view of the Place at Nymwegen. 
 
 Canvas: H. 17^ inches; W. 14^ inches. 
 
 Painted about 1660, during the middle period of the master, while still under the influence of Rembrandt. 
 

 
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 NIGOLAES MAES 
 
 >632-1693 
 
 Borsit Dw 4 i«i^ l6j2i dieilat Anuterimi, 1693. t*ap 3 at > «wfcr—* «>«<« t 6 j 6 -nihnr. nrhihit Ant- 
 wwp. K> onto ndcr lb* 'u6uaac» ol ibc Fleraob »ad Plcedi p a c in i t pnmn. Waited tt D 
 A mi twd ^ 0«an od pocmit p<int«. 
 
 The Marketwoman 
 
 
 . '.Totbcleft. befamthatboeriifa t»UM.'M«ndb '• marketwoman inYErfiaekat dfcrrw aritb 
 white tl«^e* am) afv^ She kaa aoU a>paratn6^ a blip fat a bhac jwJ>«< Bhaat 
 ^ with hit, who leans .firat (he lower fwn al ihcAew tad j^iahcrarwh heen>^h>aae • «' 
 ii the Imida tfaeMpancut ra the left. Tl» witetwgiaa wtma aabaw hat w WhWw * '- 
 anti haa a haakef'ot tegeuhire aa her lah anat Aaaihcr bwhaa «p>6i atBaM^ra aM«kt> 
 fare heton the atey ftt the txwe . B at iai theiioeri^awMfa ■wl lbewir rHa. 
 j caiv'ed with'imall fohuma. T* the a view «l ^ daics U K yni wa « m 
 
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 CiarMi H. iji( i^Uw»: W, nJf lmtm. 
 
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 - PrfawdahoM »<>ftT 6 wiiiet>aa»Milbpc»fe<l at theiaMMf. whUaniil waW «h» iaSin a ra << t Uni t w ei 
 
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 V-. . 
 
 ■■■ ■ ■ 
 
MICHEL JANSZ MIEREVELT 
 
 ■w 
 
 Portrait of Maria Breman, Wife of Zacharias 
 van Hesenbroeck, Herr of Hofdyk 
 
MICHEL JANSZ MIEREVELT 
 
 1569-1641 
 
 Born at Delft, 1569; died there in 1641. Pupil of Willem Willemsz and Augustyn at Delft, then of A. van 
 Montfoort in Utrecht. Worked in Delft for some time, and at The Hague as court painter to the Princess 
 of Orange. Portrait painter. 
 
 Portrait of Maria Breman, Wife of Zacharias 
 van Hesenbroeck, Herr of Hofdyk 
 
 Three-quarter length, half turned to the left, the face turned to the spectator. She wears 
 a black costume trimmed with fur. She is seated in an arm-chair upholstered in red, the 
 right hand resting on the arm of the chair. Behind the lady, to the left, is a table with a 
 red cover. On the black background, above and to the right, the coat of arms, divided into 
 two parts : on the left, a black unicorn, rampant, on silver (Hofdyk) ; on the right, five 
 golden stars on blue (Breman). Underneath : “Aet 60, 1625 M. Mierevelt.” 
 
 Canvas: H. 44 inches; W. 35 inches. 
 
 On the back of the panel ; “ Vrou^ve Maria Breman Huysvrouw van de Heer Zacharias van Hesenbroeck 
 Heere van Hofdyk.” 
 
 Ch. Sedelmeyer, Catalogue, 1897, No. 21. 
 
 Exhibited at the Exposition of Portraits at Brussels, 1 897. 
 
MIGHEL JANSZ MIEREVELT 
 
 fiom * Ovtft, 1569; (M l&K* to 1641- Pops of WUknn WIHcomb «s 4 Afl fM Tf O A Dsift, ib^i of A. ns 
 Mofltfoon fo Utrocfat, Woriod in Delft fot warn tioie, sod el Itie M^gosie *Mn |<Mir to (h* Phscee* 
 of Ofaag*. Po.*trK pifRter. 
 
 Portrait of Maria Breman, Wife of Zacharias 
 van Hesenbroeck, Herr of Hofdyk 
 
 Tt»tc-4{«»rtcr icngth,-b«M turned to tbc left, the f»c« turned to th» «pcfVc - — 
 
 a bUck cuxunc tnvtaiod with fur. flhe ii aeated in an arm-chair ti|>h im » 
 
 right hand rtatiaqf un the am at the ehair. Hchlad the Isuift to the Vr, i> « • 
 redco^. Ou the Wash bachrteiead. tbore and to th* right, due no*: .r - , 
 
 two parta: on the Itit. a hUck wat-T^. 'aiaifaaa, oa aii»*r iHohlri : 
 golden ataia on Wue (Breanaal. ( * i>lcniMih ■ "*et 6&, W. htie ••. <’ 
 
 OaeA: H.aaXiw^hai W.jsMalvt 
 
 Off the bach 0 / iha fwna] ; "' Vr ua wi tawn $nmn HarwwMW wa 4* Hr*i • » ■ 
 
 Hean nm HsMik " ^ 
 
 Ch. 8ai«lw|nc< Caniogia, thiff, N*. ji. 
 
 EaUbitwl at the KapiioaMi <4 Fcmtim at Bmaia 1897 
 
 - 
 

iiiiJilii.LUlL. ,Miiyu,LL 
 
ADRIAEN VAN OSTADE 
 
 The Cottage Dooryard 
 
ADRIAEN VAN OSTADE 
 
 1610-1685 
 
 Born at Haarlem, 1610; died there in 1685. Pupil of Frans Hals and influenced by Brouwer and later by 
 Rembrandt. Worked at Haarlem. Painter and etcher of genre scenes. 
 
 The Cottage Dooryard 
 
 On the right, a vine-covered cottage with an open casement ; at its side, a chicken-coop 
 and pigeon-house, which adjoin a wall surmounted by a picket fence extending to the left. 
 Leaning against an open door in the wall stands a peasant looking at an old woman who 
 sits at his left preparing vegetables ; at his right, a woman and a child. In the foreground 
 a girl in a blue bodice and a yellow skirt watches a boy playing with a dog. At the ex- 
 treme right some red and white clothes are hung on a line, and lying on the chicken-coop, 
 near them, are a bunch of carrots and a towel. 
 
 Signed at the left of the foreground : “ A v Ostade 1673.” 
 
 Canvas: H. 17^ inches; W. 155^ inches. 
 
 Exhibited at the Royal Academy, London, 1815; at Manchester, 1857. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 69. 
 
 Smith, “Catalogue Raisonne,” No. 188; Waagen, Vol. II, p. 119; Burger (Manchester), No. 315. 
 Collection of Thomas Hope, London, 1829. 
 
 Collection of Lord Francis Pelham Clinton-Hope, Deepdene. 
 
ADRIAEN VAN OSTADE 
 
 • 1610-1CS; 
 
 Born rr MiirieaL i 6 iq; there to thjfrl erf f r»n< Hrte Mrf ht^Maeorf Arouintf turf U4* hy 
 
 Remhnwk. Worked K 'Hatboi. Mater tnd e<cfa>r of |Mn keim 
 
 The dottage Dooryard 
 
 On tljc .nghr, a »ine-co?crol coc^c with *h opefl cueing ; «t ir* akic, a chicken-coop 
 a^ ptcewvhouae, which odioia a wiii ninnouamj by a picket fence eaxending to tiic left. 
 1-eahiac aeainst on trpen door itf the wall acandi a peasant ioofcmg at an old woman »h . 
 >SA at hit left p^paring vcKclablfa;^ at his right, a woman and a child. In the 
 a giri in k blue bodree and a yellow skirt wacchea a boy playingwith a '1i>g. At •hr 't 
 tifcihe right aome red and. white clothe* arc hung fin a lihe, and lying on tht thkkr" <•»<>, 
 near theip, are a bunch «>( csrtxxs and a tnwcL 
 
 - Wgnad K cits Mi «rf tbs fowgr nuad ' A * Oaiih ittf" 
 
 (^armt K. lyK iachtr. W. ijy; 
 
 :CaMbM«>V Koyd AaOKSy. liuiAaa ett;: » MsaclinMr. igjy. 
 
 BaiUiitwl SI <hc Hh<latt>-Fo)i«a C«h i»sti«o, Now Task. >90d Nain. 
 
 Soiiia. "Cstslojui KaisannA" No. i$$; Wogsa, Voi. Il.’p 119; Burgw (MiiKltMisr), No. 31$. 
 CoUtOkta of Ttmaas Kept, Jatadao. r8*9. 
 
 CctWClx ■> ol Usd FrsiKis Pcihsm Clinioo-Hopa. Dwpdsas. 
 
ISACK VAN OSTADE 
 
 
 The Halt at the Inn 
 
ISACK VAN OSTADE 
 
 1621-1649 
 
 Born at Haarlem, 1621 ; died there in 1649. Pupil of his brother Adriaen. Worked at Haarlem. 
 
 At the front of an inn on the right, with a church steeple in the background, several horse- 
 men have halted; a gentleman, who has just dismounted from a gray horse with a blue 
 velvet saddle-cloth, converses with another at his right, mounted on a dun-colored horse, 
 while a peasant is putting fodder in a trough. At the right, a man sitting on a bench, 
 eating soup ; at the left, other figures, and poultry, before a small cottage. In the fore- 
 ground, a woman and two children. 
 
 Signed on the right : “ Isack van Ostade 1645.” 
 
 Panel; H. 19 inches; W. 26 inches. 
 
 Smith, “Catalogue Raisonne,” Suppl., No. 177; Hofstede de Groot, “Catalogue Raisonne”; 
 
 Ch. Sedelmeyer, Catalogue, 1895, No. 28. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 70. 
 
 Collection of the Duchesse de Berri, 1837. 
 
ISACK VAN OSTADE 
 
 ; V - . 1^1-1649 
 
 m Hariim, i6t i ; .c3m«t i# PupIT of hii brocW AdriMk. Woriod M HMha. 
 
 The Halt at the Inn 
 
 At ^ trout of «s Ion oo dM rifiM, witE ■ eburch tteepic io the (wcksRiuivl, kvctvI hone- 
 men Imre W)t«4; ■ ge artmo irji, who Km )im djeraounted from m giajr hone with • bl>w 
 veWe( Mfldk-cioth. corifemm with another at hit riitht, mounted on a dao-ooknOf) hone. 
 \r(dlc « peatant .1 pgttutc iuddet in a trougE At the right, a man tixu^on a hanth. 
 caring aoup ; at the left, odiar Agmo. and poultry, beiorc a amaJI wtu^r In the inr 
 g^od, a noman and rrm chtliinafi. 
 
 iifn^ cia lh« horn Detain tkaj.** 
 
 IW: H W miachaa 
 
 Soiith, "Cuitiam Rataataa.' hapyC i*» tni B a haag a 4> Uaaaa, 
 
 Ch. t<ihliaa/iV. C m l i' gt . <<«$. ffo. M 
 
 Hxtuhaiaiil « jU H .- -hMir<4iailritioa.Narr York, Ha. ^ 
 
 CathBai at iba 0»<haa» «ta hanj ihg. 
 

PAULUS POTTER 
 
 ■w 
 
 A Farrier’s Shop 
 
PAULUS POTTER 
 
 1625-1654 
 
 Born at Enkhuizen, 1625 ; died at Amsterdam in 1654. PupU of his father, Pieter Potter, and Jacob de Wet. 
 Worked at Delft, The Hague, and from 1625 at Amsterdam. Painter and etcher of landscapes and animals. 
 
 A Farrier’s Shop 
 
 To the left is the smithy; through the open door an assistant is seen hammering a red-hot 
 iron. Near the door a recalcitrant hlack horse is fastened into a brake, and the smith, an 
 old man with a white beard, pulls out one of the teeth of the beast, who at this crisis hardly 
 maintains his reputation as the noblest conquest of man. The operator, spectacles on 
 nose, is dressed in a red jacket, and his trousers are protected hy a leather apron. An 
 assistant in a white hat holds the horse’s head, and a boy in a black felt hat, his hands in 
 his pockets, looks on at the operation. Behind them is a dapple-gray horse, seen from 
 behind. Near the threshold, a dog lies gnawing a bone, unresponsive to the advances of 
 another, a short-haired yellow dog, which wants to play. To the right, a cock and a hen 
 look for food on the ground. In the background and to the right stretches a plain where 
 cattle are browsing ; it is masked by a clump of trees. Large luminous clouds cover the 
 blue sky in parts. A thin cloud of smoke mounts from the chimney of the smithy. 
 
 Signed on the frame of the door : “ Paulus Potter f. 1648.” 
 
 Panel: H. 19 inches; W. 18 inches. 
 
 Smith, “Catalogue Raisonne,” No. 63; Westrheene, “Paulus Potter,” II, No. 22; Hofstede de Groot, 
 “Catalogue Raisonne,” No. 154. 
 
 Exhibited at the Royal Academy, London, 1908. 
 
 Sale, Gent, September 23, 1777, No. 49. 
 
 Sale, J. Ph. de Monte, Rotterdam, 1825, No. i. 
 
 Colledlion of L. J. Nieuwenhuys. 
 
 Sale, Comte de Perregaux, Paris, 1841, No. 26. 
 
 Collection of Madame Autran, Marseilles. 
 
 Collection of Rodolphe Kann, Paris, No. 64. 
 

 PAULUS POTTER 
 
 
 Bmnx BokhoiiTC, itaji <iM« Am«x*Bi » 4 f to MJbx. «■»» Poito. *«i4 Jtcob d. W«t. 
 Worked «IWJt,Ttort««,»od(lri>«i>itoj<A«i»*wi. ftfew «4 »«*«r <d hniopM nid «oto«l». 
 
 To Ae left ii the jmithys iWugh tfee open door «» utatux k vxa henunering « red- W 
 jion. Near Ae door a rec*lcitr»m black bom it (aWCTed imo a b«kc. and Ac smith, «a 
 t>U maa » iA a white beard, pulU out one rd tlie t<*A o< A* beeat, who at Aia crt»« hardly 
 nvairttaiiui hi* reputation an ** the noblest eonqueat of manl The operator, apcdaclcs on 
 neae, i« dressed m a red jadert, and his trousers are protcaed by a kailicr apruii. An 
 aasistam in a white bat holds Ae batsc'a head, and a boy in a bkclt felt hat, his hands m 
 ■ bis pockets, looks on si the operarion. Bchihd Aero ia a dapple-gray horse, seen Frosa 
 hehrnd. Near the. threahrdd, a dog lies gnawuig a bone, otiresponsive to the adrancoi of 
 aaoAet, a A.wt-hahed yeilow dog, whiA.w^ts to play. To Ae tight, a cock and a hen 
 ■ look for food cm the ground, -Jh A« background ;afKl to the right atretebe* a plain whe->- 
 ' cattle are brow sin g i it it masked' by t duihp of trees,- ■ Large lunsinoos ckwds «>»<- the 
 ■ }^' bhie sky ia pa r t s . A thin chjwt M amokc aaounta froca tbt ebsavnay ol the smisKr . 
 
 .Sgiiedao Shf "frcTo e# iju.Awr. ** IScto Furtw f,' r A sli * 
 
 P»^: H.rytoiMii ^ rtS'xAes, 
 
 ' . . Snu»if.?tttofcgw •*dv)oa«.*' ?f«. 6j ; W«HfbSaa*'» ftolat Pedtev' IL N» • : •> ■ ' 
 
 , , . . “Csrei<)gok'lW»»»g':Svj.ii*'- 
 
 ' , EihUttot g tW Reyai Acatokr. Looton. lyot. . 
 tsb. G*m, ? i ps ssa to sj. 1777, ff ». 44 - 
 tot. ].n » Mo««, ttoascdsm. i8s(,No. i. 
 
 CtdisAon «i U • Ntocaaotoyi. 
 
 Ssk, CWau ik Censgsas. Psria ttyt, Na. sA 
 CoBaSito «f Ide Sune Anrsa. Uirselito. 
 
 CnOaetiiw of R«4ulphe Ksnic Pwic No. 64. 
 
 ■¥ 
 
 A" Farrier’s Shop 
 
 * 
 
Biiliiil ,ii I ill I lii i.Jj ULMii ilki-iliili juiiiiiL- II J ^iikbiUiyiiEjdh III 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 ■Sf 
 
 Saskia 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 Born in Leyden on July 15, 1606; died in Amsterdam on October 4, 1669. Studied under Jacob van Swan- 
 enburgh in Leyden, and under Pieter Lastman in Amsterdam. Lived in Leyden until 1631, then in Amster- 
 dam. In 1634 he married Saskia van Uilenburgh, who died in 1642. His second wife was Hendrickje Stoffels, 
 who died in 1663. Painter and etcher of portraits and religious subjects; of genre pi( 5 tures; and of mytho- 
 logical, allegoricd, and historical scenes. 
 
 Saskia 
 
 Bust, turned to the right. She wears a dark blue mantle with a narrow gold trimming at 
 the throat, showing a fine plaited chemisette beneath. A gold chain hangs across her 
 breast. A transparent veil with a colored pattern rests on her golden-red hair and falls 
 over her shoulders and on her back. A pearl on a long loop is in her ear. 
 
 Panel: H. 23^^ inches; W. 19 inches. 
 
 Painted about 1633. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 81. 
 
 Smith, “Catalogue Raisonne,” Nos. 502, 576, 578; Bode, “Complete Works of Rembrandt,” No. 153; 
 Valentiner, “Klassiker der Kunst,”p. 129. 
 
 Colledtion of De Gaignat, Paris, 1768. 
 
 CoUedtion of De Calonne, Paris, 1788. 
 
 Colledlion of De Choiseul-Praslin, Paris, 1793. 
 
 Colledtion of Bouc Cloeve. 
 
 CoUedlion of Wells, Redleaf, 1890. 
 
 Colledlion of Bingham-Mildmay, London, 1893. 
 
REMBRANDl ii 
 
 i j 
 
 I.V i J : > 
 
 Born io L#7 <Wq oa juiv ifeb: A«d ill Amrtcrdijn ot^ Octu'iar 4, r66^ ko^ied und'i j- > • .1 : 
 
 rnbDfj^ in L«7den. »>id u^irr f%ttm Iomoua in Am«t*r<isr) fjN'W k uadJ l6j :. ' :n Vv 
 
 in 16^4 (m m«rrte.i Sa»ki« ru) who m • A4X ' ll» Mcv&d wi^» ynt. ^oircii, 
 
 w>K)'<£ed in Ri6t. Pvnut end «tch«r ct pmvr^t r^ip'/>.» wiv»fti; o< fenn (>i^ure«; «aJ s^ytKo- 
 ro^k^l, 'U'^oru.'iti, iiod hntonc«l arvoM, 
 
 Saskia 
 
 ,8 u 51. turned to iK< nirhr. She wcirt & dark hlw mantle with a narrow trimminfc 
 the .{hi^« shoving a fine plated cheenUme beUeatfa. A sold cbaiti l.an^rs .icr^ : 
 • -hficaistl’ A tmuaparent vet] wxfh 4 coJnird pattcro revta on her golden-rtJ n-jir au ..'. t. 
 over her ahouldora and on her bacA. A pear] on a toni* loop i« in her ''^^ 
 
 Wnm H ’v'l 
 
 P«n(*<j »]r j! 163* 
 
 Flhil'iitv. et iht ••;5 •• ' <wnsi)*n 4 Y *■ 
 
 ' >■.' r -*V. K»*jr. » '* 
 
 " Kliki't^ -V ; *■* , 
 
 C^.'xe.'tioa •.' r>** 
 
 G^S*eboa..%v D« C«Umv>i*, rvi«» 
 
 Cotk^ion c-/ t>v COtfiijeul-FTWiri, Ptria J793. 
 
 0 >iWU^ ol Boac CV>««'«. 
 
 Calk^'A ^ Wtilt, Redkia, i8ga 
 C> 4 Wii<>r> u Bin£.Sxni>MikiixuiT. J.A»nJaQ. 1893. 
 

REMBRANDT HARMENSZ VAN RIJN 
 
 Study of an Old Man 
 

 REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 Study of an Old Man 
 
 Bust. He is leaning forward and looks down to the right, with the light falling on his 
 forehead, nose, and long gray beard. He has curly gray hair and wears a brown coat. 
 Reddish-brown background, lighter behind the left shoulder. 
 
 Panel: H. iij^ inches; W. 8^ inches. 
 
 About 1645. 
 
 Described by Hofstede de Groot, “Onze Kunst,” 1909, p. 179. 
 
REMBRANiyr HARMENSZ VAN RIJN 
 
 1606-16^.9 
 
 Study of an Old Man 
 
 He t» Ltan'.og l->rwAnd and looks down W) the right, with 'hr ‘icl ‘ ■ 
 forehead, note, and long gray bicardL He ha« curly gray hair and 
 Reddu^K-brvvil'n background, lighter hcMnd the ahoaidet. 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 ■w 
 
 Portrait of Himself 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 Portrait of Himself 
 
 Half length. Rembrandt, aged forty-four. Turned half to the right. His right hand 
 rests on his side ; his left, gloved, on a stick. He wears a small mustache and chin tuft, 
 and on his pale-brown hair a red net under a reddish-brown biretta with a narrow gold 
 border. A pearl is in his ear. He is dressed in a dark doublet with slashed olive-green 
 sleeves, cut square at the throat and showing a yellow neck-cloth and the gold-embroid- 
 ered collar of a fine shirt. 
 
 Signed on the right above the hand; “Rembrandt f. 1650.” 
 
 Canvas : H. 365^ inches ; W. 29 inches. 
 
 Exhibited at the Royal Academy, London, 1899. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 94. 
 
 Dutuit, “Rembrandt,” p. 48, No. 163; Michel, “Rembrandt,” p. 558; Waagen, “Art Treasures in 
 England,” Vol. II, p. 281 ; Bode, “Complete Works of Rembrandt,” No. 346; Valentiner, “Klassiker 
 der Kunst,” p. 319. 
 
 CoUedion of Sir Anthony de Rothschild, London. 
 
REMBRANDT HARMENSZ VAN RUN 
 
 l6ofr-i66^ 
 
 Portrait of Himself 
 
 . H«lf length. Rembrandt, aged forty-Jour. Ttimed half to the tight. Hi* right hand 
 restB on hi* .Ue j hit left, glored. on a atick. He wean i imall muttaclie and chin tuft, 
 and on his pale-brown hair a «d net onder a reddish-brown biictta with a narrow gold 
 border. A pearl is in hit car. He is drt«ed in a dark doublet with slashed o»re-gu^^ ; 
 sleeves, cut stjtiare at the th.*oat and showing a yellow ncclc-clolh and the goW-embfoid- 
 ered collar of a 6ne shirt. 
 
 ■' s.’ 
 
 SgiKd oe Ok right sborc the kaadt "SMbcswls f. i6fa.“ 
 
 Cniivss: M. jOXinelwi W. t^iesbra 
 Exhibited w tU RoW 
 
 el the HudrowEBbaa Csiahrwwia Krw.Yeeft. Ne- P4 
 
 D«wt. “iUnit«ndt."> 4*. N'’- '*31 Maliai. p. JjS; >*•«•* *A« Tweeurw .« 
 
 Engixad." Volll.p. igt; Bode, “ C««i|i»et* Wforiu <rf Rfuihcsodl." Ka )si; T*«in«r. 'KW*-' 
 d«rKiUs^"p.3>9- 
 
 CoUedkioa of Sir Anthony de RothschiU, London. 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 The Philosopher 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 The Philosopher 
 
 Bust, facing the spedlator, the head and eyes turned to the left. Short dark-brown beard. 
 On his head is a large black cap. He wears a light-yellow doublet over a finely plaited 
 shirt, on which hangs a gold neck-chain. Dark coat with red and gold stripes. Light 
 brownish-gray background. 
 
 Panel; H. 24 inches; W. 19J4 inches. 
 
 Painted about 1650. 
 
 Bode, “Complete Works of Rembrandt,” No. 582 ; Valentiner, “Klassiker der Kunst,” p. 365. 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 96. 
 
 CoUedlion of Maurice Kann, Paris. 
 
) REMBRANDT HARMENSZ VAN RIJN 
 
 l6o6- vc*9 
 
 The Philosopher 
 
 Pu»«, Ikcing the nocAtior, the httd and area himed to the left. 5SJwrt dark-brown beard. 
 „ Oni^ hi^ U a large black. <a^. He wear* a Ught-jfellow doublet orer a finely pia'ii ,l 
 ahui on whi’k haagi 1 gold neck'<liaii». Dark coat with ted and gold atripea. l.-t - 
 browntab-t.ir oacteround. 
 
 raadr IL u% uc*«: W.i«M laelMa. 
 
 ) fmand absnA ti. 
 
 fc4>w ~ Q—ptHi Wotkt al riairMfh ' N<> 5$s. VWm»u*i ^ 
 
 KlMMtailtf (2w HvJw'Xk-Kofesil C-«kVa.< it 
 HilWHi a 0* tUiia. 
 
 \ -.. 
 
 • \ • 
 
 \ 
 
rv^'- 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 "By 
 
 The Mill 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 moat ; two or three huts stand beside it. The road from the mill leads to the left over a 
 little bridge of a lock to a mooring-post in the foreground. A woman and a child advance 
 
 a man watches her. A ferry-boat advances from the right, rowed by a man. On the 
 farther bank are some cows among the trees, and farther back a house. Evening twi- 
 
 mill with a luminous shimmer. 
 
 Painted about 1650. 
 
 Canvas: 33^x405^ inches. 
 
 Exhibited at the British Gallery, London, 1815 ; at the Royal Academy, 1878, 1888, and 1899. 
 
 Smith, “Catalogue Raisonne,” No. 601; Bode, No. 345; Dutuit, p. 46; Wurzbach, No. 21 1; Michel, 
 pp. 367, 555 ; Waagen, “Art Treasures,” Vol. Ill, p. 157; Valentiner, “Klassiker der Kunst,” p. 313. 
 
 Orleans Gallery, 1786, Vol. I, the plate of “The Mill” engraved by Mathieu; bought at the Orleans 
 sale by W. Smith. 
 
 1606-1669 
 
 Mill 
 
 A windmill rises high above the rounded rampart of a ruined bastion, overlooking a wide 
 
 toward the water ; a man pushes a cart up the incline. Below is a woman washing linen ; 
 
 light. The last rays of the sun light up the right-hand part of the sky and surround the 
 
 Marquis of Lansdowne Colleition, Bowood. 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 A windmill H««s kicli'abore the fotitwled rampart of a ruined btition, overlookini; a wide 
 ■•■moat; two of three hotaatand beaide it. The road horn the mill leadato the left, over a 
 
 null with a luminout ahimmer. 
 
 ■ Psia»a 
 
 UUivw: Mdm. 
 
 ExtaMma « the Bnmli (idetr. teadrn. <l.'t a tte “•* lM laatan 
 
 SntkJi, *OB*ig<tv Rii ee e ai,*' We> 4 ot; En ia K* m Oatun , . Warzhakrt, hfa. e < ■. hi. .. 
 
 fP- itfi Wei^ER, '*,1 Ttaaamat" Vol lU. » 157. VeSeaama " f i m it i r Eia«," p. |t t 
 
 Qtfcaoe <rJhfy. Wei I. tka pim «t 'The Mifl ' eapwari by Mathieu : boit|^ at the OrUeiH 
 eele by W« Snurib 
 
 Mxqym <4 teKwkwaa CoMEoa, Bowood. 
 
 1606-1669 
 
 nKle faridee ai it lock to a suwrinB-paat in the lurcKTOund. A woman and a child advance 
 mwad t^c water ; a man ptiabea a ran op the iocliDc. Below ia a woman WaahinB; linen ; 
 a man watcho her. A fmy-ho«i advatuxa from the right, rowed by aiinan. On the 
 farther bank arc tome cmvt among the treea, and (artber back a hoow. Evening r« i- 
 ; light. The htft rayi of the sun lighr up the right-hand part of the tkjr and xuiroond ■ '. 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 ■w 
 
 Head of an Aged Woman 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 Head of an Aged Woman 
 
 Bust, the head turned three-quarters to the right. She wears a white cap which appears 
 under the ample hood of her brown cloak. A white collar with bands is indicated at the 
 throat. On the deeply furrowed face, with its flabby cheeks and eyelids wrinkled by 
 tears and vigils, age and vicissitudes have laid their implacable fingers. 
 
 Signed on the left, toward the middle : “ Rembrandt f. 1657.” 
 
 Panel: H. 8 inches; W. 6^ inches. 
 
 Engraved by J. F. Bause, 1765. 
 
 Exhibited at Amsterdam, 1898. 
 
 Bode, “ Complete Works of Rembrandt,” No. 472 ; Valentiner, “ Klassiker der Kunst,” p. 444. 
 CoUedlion of G. Winckler, Leipzig. 
 
 Collection of Rodolphe Kann, Paris, No. 74. 
 
REMB1L\NDT HARMENSZ VAN 
 
 . i6o^W>9 
 
 Head of an Aged Woman 
 
 8u«^'(iic hca<J iTimcd thrcc-qaancn to the rieht. She wcmt e. white which ainw-.i 
 uikirr the ampir hood of her brown cloah, A white collet with, beuilt >• tadictred a> 
 :hiC<*ti On the deeply timowcd face,, with its flabby chccka and eyclicU vrink'uf 
 :<.'aM,aad ricib, tge and ckdetitudea have laid their implacable flngera. 
 
 ffgai'i e* the Ml WMoa rtw alMa t " lUaalmaai t ' 
 fuMli H.tMbctea Vr.Mt«(faa 
 giipn r n d a* } f. »»■■« 7»t 
 ITtWhnwl >1 f>witni1—i IW> 
 
 Bade. ■awdnwt^' t.iMw 
 
 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 
 The Apostle Paul 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 The Apostle Paul 
 
 Life-size, more than three-quarter length. Seated in an arm-chair, turned in profile to the 
 left, leaning his head thoughtfully on his left hand, and resting his right, in which he 
 holds a pen, on his thigh. He has a grizzled beard and wears a black skull-cap and a 
 brown, fur-trimmed gown with red sleeves. On a table to the right lie some sheets of 
 paper, and on the wall above hangs a sword. Dark background. Light from above on 
 the left. 
 
 Signed on the right, on the lower edge of the table : “ Rembrandt f.” 
 
 Canvas : 50^ x 40^ inches. 
 
 Painted about 1657, at the same time as the apostle Andreas, in the Cassel Gallery, and the apostle Bar- 
 tholomew, in the possession of Mr. Henry Goldman in New York. These three paintings very likely 
 formed part of a series of the twelve apostles. 
 
 Vosmaer, pp. 359, 561 ; Bode, “Complete Works of Rembrandt,” Vol. V, p. 173 ; Dutuit, p. 49; Wurz- 
 bach, No. 264 ; Michel, pp. 450, 555 ; Valentiner, “ Klassiker der Kunst,” p. 384. 
 
 Pourtales-Gorgier Collection, Paris, 1865. 
 
 Collection of Lord Wimborne, Canford Manor. 
 
REMBRANDT HARMENSZ VAN RUN 
 
 The Apostle Paul 
 
 ' nu>re thu diTve-quartcr Sciled in »u «»ai-efciiN lamed in profile to the 
 
 icti.' Icahiiia hi* be»d thoughifally on hi* l*fe hind; snd twrina hi* risht, in which he 
 ■ bold* n.pcn, on hb thigh. He ha* a grijxled beahl and wear* a black' skHll>~cap and a 
 ■. btoam. far-tritnincd gown with red sloenta. , Oiv a tal^ to the right be aontc sheet* ol 
 I. . and ion the wall above )unc< » *word- Dwk backgroand. light from above on 
 
 • thi left. 
 
 Migaeil oo dw right, os th» tower K|g* li the : " Rwetoiiit ' 
 
 Caont : $oK X 4of< iochai. 
 
 ftlniai»boiiti6s7. «* tia ««» dm* «th* i^wnto Aalrt*. to 4 * ^ jw la. 
 
 tHotonwv, in the p om r t ri oa at Mr. Heirv GoUaua ■■ New To«1l iVw ih^jM - j~s »■• Vae,. 
 
 fanned garl <if a«eri<a at the twatoe ipawlet. 
 
 Vecan*r,ni>.'3f9, 561 : Bode, **Cafi)^lete Worfti -W Xenttoewh.* 'tot V, a- Iff i E>or«*- a W ■ 
 '•t^h. Nwi44; Mid^pp. 4 'jo»,Ji 5 : Vitnaan. "Ktowihet «ar KaaK,’ f. fl*- . 
 
 P oi a w to t i jorpef Colledaoa. fait, >86; 
 
 ‘ • - ■ - 
 
 Co&edim fji txiei Wimhonm^ Csafori 
 

REMBRANDT HARMENSZ VAN RIJN 
 
 ■By 
 
 The Circumcision 
 

 REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 The Circumcision 
 
 The Virgin, with the Babe on her lap, is seated under an awning in the stable at Bethle- 
 hem. A kneeling priest in a yellow robe performs the rite of circumcision on the Child, 
 who is dressed entirely in white. Mary wears a dull red dress, a white and green striped 
 veil, and a white head-cloth. To the left of this group stands Zachariah in a green robe 
 and a white turban, writing in a book held in his left hand. A man with a red beard 
 standing beside him glances into the book. Behind them, on the extreme left, is a group 
 of five men, one of them in a light and another in a red turban. In the rear, two men 
 and a maid-servant looking out of a window. In the penumbra to the right, a cow turned 
 to the right. The full light falls from the left upon the principal group. In the shed is 
 the manger, which serves as a cradle. Small full-length figures. 
 
 ,l ■ 
 
 i I'. 
 
 J 11' 
 
 Signed below on the right : “ Rembrandt f. 1661.” 
 
 Canvas: 22 ) 1 ^ x 29 inches. 
 
 Exhibited at Leeds, 1868; Amsterdam, 1898; Royal Academy, London, 1899. 
 
 Smith, “ Catalogue Raisonne,” No. 69 ; Waagen, “ Art Treasures,” p. 459 ; Dutuit, p. 48 ; Michel, p. 462 ; 
 Wurzbach, No. 241 ; Bode, No. 518 ; Valentiner, “Klassiker der Kunst,” p. 465. 
 
 J. V. de Blooken Collection, Amsterdam, 1707. 
 
 Earl Spencer’s Collection, Althorp. 
 
 ‘ i V 
 
REMBRJ^NDT HARMENSZOON RIJN 
 
 1606-1669 
 
 The Gircumcision 
 
 with the Babe oa ha Up, i» «fatc<l uodcr ah awmine in the ttablc at Bethle- 
 -hem; . A lu^luti; prie«t-in a yellow tobc perlotma the rite of circuincision on the Child, 
 w$o ai iinaaed enttiely ih white. Mary wean a dull red drcfa, a white and i^en striped 
 ;ecH, and a whitf bead-cloth.' To'the left ol this gnxip tianda Zhebariah in a green robe 
 'iih4 aw Kite turban, writing is a.book held is hit left hand. A man with a red beard 
 ttanij^'.biridc him gUnce* into ifct hook. Sehind them, on the mrerae left, is a group 
 /^i.'fiic.aBcti, ooe.-of them hi a .ll^tt; atal anothtr.in a red turban. In the rear, two men 
 ’ a AUid-aen iiit looktng out erf- a window.-. .In' the penumbra to the right, a cow nmwd 
 ..ttr-tbe right. The full Ugh: fall* feoen the left upon the principal group, is the ifted it 
 : ^. Tnsriver, which aerves aa a cndle. . Small fwiUlcngth iiiiWtes. 
 
 MiMv QA tW xie&c : ' / 
 
 ■Cm«* : iVli i «5H 
 
 AAostanSiai. 18^ t RoyiB Ae»^n|ra ttVAdpet.. 
 
 ' WarxbdcIcMo. til : V«i» ari A»r, * Kamk,** y. 46;. 
 
 j> ^ W o c Jtto CbiWdWa. AnuaodMDa 1 707. 
 
 -/ ^wactir’a Coii<Q>oo, AUbor^. ... - 
 
liiLiLiiillLLiij: 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 "By 
 
 Head of St. Matthew 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 Head of St. Matthew 
 
 The head is turned three-quarters to the right, and the face, framed in the luxuriant beard 
 and grizzled hair, is very animated. All the light is concentrated on the furrowed ^oren^d, 
 the cheek-bones, and the beard, leaving the eyes in mysterious shadow. The head is half 
 life-size. 
 
 Painted about 1661. 
 
 Panel : H. 9% inches ; W. 7^ inches. 
 
 Study for the head of the Evangelist St. Matthew in the Louvre. 
 
 Michel, “ Rembrandt,” No. 563 ; Bode, “ Complete Works of Rembrandt,” No. 522 ; Valentiner, Klas- 
 siker der Kunst,” p. 455. 
 
 A. Buckley Colle6tion, London. 
 
 Rodolphe Kann Colleftion, Paris, No. 73. 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669. 
 
 Head of St. Matthew 
 
 Tb« W j»ree-<ia»rwt» to Ac rigEt, «nd tfc» f»e«. framed U the luxu^nt 
 
 andgnwJeJ Ub. If very «nm»ud. All Ae light t. coooeowiteJ 00 the furrowed 
 
 the d»*ck-bcf»»». tad the heard, ietein* the eye* » «oy»tcrkw!i shadow. The head u half 
 
 ri6>t>i fiene .r«>. - 
 
 tsiwr fae^A* hood *Jf Ik >a . 
 
 yaAdi * fcswtoaaw. . Bwt.. ■Cw itf lS iaAM h f ^Kaoftro.fe ' ■• ' ' ‘• 
 
 • ikereu Komi.'’ js 4(>- 
 Jk. l'j> > t. n adi w . 
 
 IL»^CJbra>r«. irvtt, No. 7]- 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 ■w 
 
 Portrait of a Man Holding a Letter 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606-1669 
 
 Portrait of a Man Holding a Letter 
 
 Three-quarter length. About forty years of age. Seated, turned slightly to the left, look- 
 ing at the spectator. His left hand rests on the arm of the chair, and he holds a letter in 
 his right. He wears a plain black costume, and a broad-brimmed black hat over his 
 curly brown hair. In the background, on the left, is a table with a red cover ; on the right, 
 a dull red , curtain. Dark background. A full light falls on the hat and on the hands. 
 
 Painted about 1662. 
 
 Canvas : 47^ x 37 inches. 
 
 Dutuit, p. 49 ; Wurzbach, No. 265 ; Michel, pp. 480, 555 ; Bode, No. 487 ; Valentiner, p. 500. 
 
 Earl of Wimborne’s Colledtion, Canford Manor. 
 


 
 REMBRANDT HARMENSZ VAN RIJN 
 
 j6o6-i6&> 
 
 Portrait of a Man Holding a Letter 
 
 . • Three -q\iartwlcf»et4u Abew fcorty jvtn df Sexted, turned vUifbtly 'to the left, look- 
 
 ing it the tpe^Uir, Hm left hamd re^ts on the ann of the chair, and he bolda a letter Ui 
 ... ' hit nghc wtara a pUm black coatume, and a broad-brimmed black hat over h;a 
 ctiriy bny»'n hair. In the baclq; round, on the left, ia a Cable with a red cover ; on the riifKf, 
 • a dull rod cafftais. Deck background. A foil light falls on the h«t and on the iiani*. 
 
 Ftim«44hcw 
 Caav«t: «7K A triacM. 
 
 D'ltuiC?- V9! a^; Mkl^pp. 4ta V4Ma.a . . 
 
 £ttl of Wlmbora**) CtottoAton. CmCooI fifiuxir. 
 
 
JACOB VAN RUISDAEL 
 
 1628(29)-! 682 
 
 Born at Haarlem, 1628-29; d'ei i" >682. Probably a pupil of Cornelius Vroom and influenced by 
 Salomon Ruysdael, the uncle of Jacob. Worked at Haarlem and at Amsterdam (1657-1681). Landscape 
 painter and engraver. 
 
 Forest Scene 
 
 A stream in the centre flows from behind a hillock, falls over some rocks, and spreads over 
 the centre and left foreground. To the right, a fallen silver birch trunk, the branches of 
 which dip in the stream. Behind it, rocky hills and a thick forest with tall oak trees. The 
 forest extends to the left in the middle distance, where a road leads over a low hill. On the 
 road, a man and woman walking away. At the roadside some sheep are feeding. A blue 
 sky through heavy, dark and white clouds. 
 
 Signed in the lower right corner, “ J. v. Ruisdael ” 
 
 Canvas: 41^^ x inches. 
 
 Painted about 1660-65. 
 
 Hofstede de Groot, “Catalogue Raisonne,” No. 285. 
 
 Exhibited in the Royal Academy, London, 1877. 
 
 Collection of Sir Hugh Hume Campbell, Bart., London. 
 

 
 
 ■■ 
 
 
 93 
 
 
 'iW.- . . 
 
 ■JCi~r-. 
 
 
 JACOB VAn'jIUISDAEL 
 
 ■ ^■' . i 6 a 8 (l 9 >-l 68 i s^, ’ 
 
 r 
 
 it 
 
 
 ' Boro »i Haitan. i«a»-*9J <ii«<l thm m i68a. Probrfdy a pnpB of CprndSui Vroom nuUnfluraced by j 
 Sakaaon RujradiA iba aoda o( |t»tk. Wgrkwl ai Hsariam and. at Amaariam (1657-1681) lasdaca^ 
 
 ^ punter ftfl4a<i^var. - 
 
 :JI ■ 
 
 y'r; 
 
 Forest Scene 
 
 *•??' 
 
 '’N 7^’" " 
 
 feaL-b 
 
 
 
 ■ •V- 
 
 W' 
 
 k'r ■ 
 
 • iy : *-■ 
 
 
 
 ji --^X" 
 
 ^-'jz ^ .i', , 
 
 ^>- A smun ia the centr« flowa bom bdu^ RM{ock. faJb over aoiBc fiKka. and apreada ow 
 -V; .7^ A« centre and kb for eg ro o od. To tfc* ri«lit, a faJlw ailrer Urcb tnmk, the braaciiea o< 
 Vtuch dipmtWatreajii, Behind rockr Hills and a thick iotcat avith tall oalc treea. 
 
 . Z.lpi^caRad* to dbe kb i« the asikkUe distance, where a road leads over a low hiii. On the 
 ~->e)^ a man and wotaad waOcinc twray. At (he roadside lomc sheep ate ketfinic. A hke 
 ' sity throoch h««*r, dark and asfaiHi eiouds. 
 
 „. a.,-.-’- - . , 
 
 1 , er - . • - - ' 
 
 •: a%ia»d la <ba toa»ar tj(k owaat. * JL a. R ata d b nl * 
 j^^.-’.^Oaaiaa: *^ip«tartia*, ,-. 
 
 § Paintad ih»M ftfo^ 
 
 At Ofu9ta Kob 
 
 . Eiid M e a l ui As Boyd Aradsaab L »i i *a a .e9j^ 
 
 Colleaitiii of Sir Hask HesM CWaymA Ban, keedsa. 
 
 
 IS 
 
 e». 
 
 
 
 
 srJ?;-- 
 
 
 
 
 
 
 p^;*.qsSiT:'i 
 
 
SALOMON VAN RUYSDAEL 
 
 ■Sf 
 
 Winter near Haarlem 
 
' ■>! M '/'* W'lrir 7'f- M Vjit w- iv% V* 1 t<#- Tf » '.'ift ?i*r ’t<* Tf » g< * 
 
 SALOMON VAN RUYSDAEL 
 
 c. 1635-1670 
 
 Born at Haarlem about t63S ; died there in 1670. Educated under the influence of Esaias van de Velde and 
 JanvanGoyen. Worked at Haarlem. Landscape painter. 
 
 Winter near Haarlem 
 
 A frozen canal fills the foreground. In the distance, the city of Haarlem, showing the spire 
 of the cathedral. On the left, the city gate with turrets ; on the ice in the foreground is a 
 two-horse sleigh before a red-covered tent. On the right, two horsemen approach by a 
 road, on the other side of which is a second canal. In the middle foreground a group of 
 children have fallen on the ice, and beyond them is another child with a sled and a dog. 
 
 Signed on the left : “ S. van Ruysdael 1656.” 
 
 Canvas: H. 3 inches; W. 43^^ inches. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 122. 
 
jar.: 
 
 
 
 
 
 
 
 
 
 Tvjar ••■■ t“- . 
 
 m 
 
 
 ,vw3^. .. 1 *• • * 
 
 V^* j t t 
 
 ' SA VAN RUYSDAEL 
 
 i‘<i 
 
 *. itgf-ifiTO 
 
 
 ■ Bi^«t Hi«hai *bout I6jji dw< !h» in »*!« &l»«te4 nn^ ihe iaiOMW rf BiriM tm d* V«ld* »■< 
 
 jto via Qoypa. Work«i it HtidMa* Lambca^ pvdanvr. *" 
 
 ’■JjL*- ■ J 
 
 * -1*11' . • 
 
 ...*■' 
 
 
 
 Winter near Haarlem 
 
 "'y-^;.^~- A frozia <^<u] fi)U cbe (oiteground. In 4c dSawixe, lio d*y <rf HMrfcns'Aowin* the ir*« 
 of die cathedral. On the left, the citf *»» with wrr«» i ooAeicci* ihc faFCcnxmd ia a 
 ij|' two-hoiw ileish beferc a red-aovetrd teat. 0» the nflrt* hoiawBen at^Min th hf a 
 .■•^ .,v- mad,«a tbo other aide of which iaa acoood ctwi. la the awMc l^gwujwi a b»<kii» o< 
 3 V J'- children have Ctlkn on (he iot, and beyuod them ia oaodwr eUU.vf4 « 4ed aad a 4a« 
 
 3J\* • 
 
 ■;-M - ■« • * 
 
 m‘7..i ' 
 
 U. 
 
 
 ;! Si(nMl^tbi Wt; "t-na R«yaMl6|a.* 
 
 C '.Cioviu M, ]iJ(i>KhMi W. 4)M iachii. 
 
 ; SaUhiiKi It dM IMaw-Paliao CiMndaa, Nav Yctk. Ho- >»a 
 
 'v- 
 
 - *’'U .*i 
 
 ■frj-Sm ,1 
 
 - _ • *•. , •■• ‘ ■*'^1* • • - 
 
 •; -urv-*h*»w: ,•■ 
 
 1*' 
 
 •s. 
 
 
 
 i.... .:. • ~- ■^••. - 
 
 0 
 
 '/rS«P- 
 
 
 *••■■ .. r vJ** -iO- “■ - ESSEti- 
 
 ‘=--- .- ■ .'.. ;l. — i 
 
 F-’'. 
 
 ■'--■>■ 
 
 i_~ •.... 
 
 
 
 

JAN STEEN 
 
 c. 1626-1679 
 
 Born at Leyden about 1626; died there in 1679. Studied at the University. Pupil of Nicolaes Knupfer. 
 Worked at Leyden, The Hague, and at Haarlem. Painter of genre, religious and mythological subjedts and 
 portraits. 
 
 The Dancing Couple 
 
 Under an arbor in front of a tavern a man and woman are dancing; seated at a table at 
 the left are an old couple and a young man and woman, and nearest to the spedbator a 
 woman in a yellow jacket and blue apron, holding a child dressed in yellow who plays 
 with a toy ; seated at the right in the foreground, a man in a brown waistcoat with purple 
 sleeves and scarlet stockings, and a woman in blue ; beside them, a boy with soap-bub- 
 bles ; above this group, two musicians with a flute and a violin. In the background, two 
 children and a man with a bird-cage stand by a fence, and beyond him are two men and 
 a woman and the booths of a village fair. A church spire is seen between the trees. 
 
 Signed in the lower left corner: “ J. Steen 1663.” 
 
 Canvas : H. 40 inches ; W. 36 inches. 
 
 Described by Sir Joshua Reynolds ; Nagler ; Waagen, II, p. 1 18 ; Smith, “Catalogue Raisonne,” No. 1 50 ; 
 Westrheene, 1898-99; Hofstede de Groot, No. 655. 
 
 Exhibited at the Royal Academy, London, 1881 ; South Kensington, London, 1891. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 126. 
 
 ColledHon of Colonel G. Bisschop, Rotterdam, 1732 ; purchased by the Hopes, 1771. 
 
 Colledlion of Lord Francis Pelham Clinton-Hope, London, 1883. 
 

 
 
 
 S ■ 
 
 ^ " , JAN STEEN^ . 
 
 'fe-- 
 
 • B«ra U-jiUa iboot i6a6: died tlMrein 1679. at «>w Uahmiiv. Fiifil of Nkolw K-nSp^. 
 
 Worked tcLofdM.'nio Hagae,<iid er Haeflen. Paintar irf (ew*, rafv"** •■‘t mhieOt end 
 
 'S' - '■ 
 
 :.H' 
 
 The Dancing Couple 
 
 
 
 Under an erbor in (rant of a tavern • min and vronian ■« dancinci aaated at a taUe at 
 - ^ the left arc an cxkl couple and a younc tnan and reuanait, and nearest to tire tpe^ator a 
 
 ^ atrwan ia a )vllb«v jacket and bine apron, !ioldiia]| a daBd drtaaed in jeilow who plan 
 
 k taf I tcated at tke right in the {oaegraund, a man in k brown vaabcaar with purfit 
 . *ad aearlct scockinga, aia] a woman in blue ; betide drem, a be; with anap bub 
 
 ' } above tiiie group,- two isuaicians with a flute and a viella. la the background, tnw 
 
 * bird-cage atand by a fence, and beyond btia are two oaen and 
 ' iV a wotnan and tbe bobebt of a village fair. A tburch apire if teen between the tiaaa. 
 
 
 .Sgaad laibciowiKleAfamri "/.fereo rddy" 
 . OtMi 1 IL «a inihde , W. {* iachu. 
 
 f,- 3t - 
 
 A-:,- : 
 
 . 4 ^, IkeciiMbySirJatbiMRetBaMti Naghr; Wregea, ILptidtl 
 W' j'.' WetiritMiia ilpg-y^- H«f«r 4 edeOreei.tfaAsj. 
 
 
 
 ‘if <,•■ 
 
 BaWt ew d m the Reyd AeataBy.'Loadaa, (Mi i StMoh 1 
 ^bhibued ade HadrowPeltra CcMeatioo. N<r«f York, 190;^ No. lA 
 jColkaiOQ of O. m«Kbopk Rotierdam, I7ja7 pirfhurt by thm HopMm^i. 
 
 Oa Pe ft io o ct Ltord Fnmic INrlhun Cbhto^Hope. Londiaiia 
 
 ^'dPa ‘ . 
 
 'N*.t9or 
 
 
 ■ iS - 
 
 Id.:-: 
 
 A. 
 

JAN STEEN 
 
 
 The Merrymakers 
 
JAN STEEN 
 
 c. 1626-1679 
 
 The Merrymakers 
 
 A group of diners seated about a table beneath a vine-covered trellis. In the centre of the 
 foreground, facing the speculator, a woman in a brown dress with a blue jacket holds an 
 empty glass in her outstretched right hand. On her right, seated on a stone balustrade, a 
 man is playing a cithern ; on the left a jovial old man, with a jug in his hand, smiles upon 
 the spedator ; behind him a clown embraces a maid who is serving the company ; at her 
 left, a man playing a flute, and a smiling old man raising a wine-glass toward a child held 
 in the arms of an old woman; beyond them at the right, other rollicking guests. In the 
 left of the foreground a small boy has harnessed a dog to his toy horse, and on the right is 
 an overturned wine-jug. 
 
 Signed on the right : “J. Steen.” 
 
 Canvas : H. 57 inches ; W. 53 inches. 
 
 Described by Immerzeel; Smith, “Catalogue Raisonne,” No. 109; Westrheene, No. 296; Hofstede de 
 Groot, No. 443. 
 
 Exhibited at the Royal Academy, London, 1888. 
 
 Exhibited at the Hudson-Fulton Celebration, New York, 1909, No. 127. 
 
 Sale, G. Schimmelpenninck, Amsterdam, 1819. 
 
 Sale, David Sellar of London, Paris, 1889. 
 

 
 
 
 
 M 
 
 y. 
 
 
 
 ^ JAN STEEN - * 
 
 ->■ "■ - - ‘ 
 
 n. 
 
 
 
 
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 - -y-r .L^ , 
 
 W: 
 
 = . 
 
 ■■ 
 
 'll rf » 
 
 l* 
 
 
 
 The Merrymakers 
 
 A group of dioen seated about a tabSe bcncatb • twercovered trellis. In the cenoe of the 
 fotf^pokifid, iaciug the spedacor, a “roman in a brown drcM with a Muc juket bolds an 
 empty glais in her outdrctchod right ham). On her right, seated on % stone balustrade, a 
 e^jt pla3ringadtticra j on the left a jorial old man. widi i jug in bis hand, smiles upon 
 rite spectator) behnid Mbs a down esafaraccs a maid who u serving the company ( at her 
 .left, a amp playing a Sute, and aMaUing old man taising a wine-glass toward a child held 
 |i> Anns <o( an old woman 5 beyond them at the /ighCbthet rollicking guests. In tlir 
 
 toTerturned 
 
 winc-)ug. 
 
 ■ ■.../. r- ^ 
 
 %mdoa^r^i "J.Sisaa. 
 
 ■ CAawi H.jrh>ri>«»i 
 
 F_ 
 
 'jK 
 
 
 
 
 psscdbsd Ay {mosrBHf: lidilk. " Csnlsgw a RsAaortS.” Na. lati WsmSutn. |(«. 
 0m«*,No.4*|. ^ i 
 
 BahlMiad a tilt Kent Asslnay,.t«vd<Mi, 1838. 
 
 !*■«,' ... ^ 
 
 RahibAwt at dw Hudwa-Foltas Calsbniion, N*vr York, ipO), ffo. ray. ^ . 
 
 8 sk, 0 . Sdiiamtipnuiiack. Aimnni«n.)3i9, | ' y.. 
 
 Sriw Hsvid SsBir of London, Psra, 1889. f 
 
 1^" 
 
 
 — V- 
 

ADRIAEN VAN DE VELDE 
 
 
 Landscape with Cattle 
 

 ADRIAEN VAN DE VELDE 
 
 i 635(36)- i 672 
 
 Born at Amsterdam, 1635-36; died there in 1672. Pupil of his father, Willem van de Velde the elder, and 
 of Jan Wynants. Worked at Amsterdam. Painter and etcher of landscapes and animals ; he also frequently 
 painted figures in landscapes by Hobbema, Wynants, Philip Koninck, Jan Hackaert, and others. 
 
 Landscape with Cattle 
 
 Two cows are seen standing in a meadow surrounded by trees, behind which some houses 
 are visible. A milkmaid with a pail follows a cow with brown and white spots. To the 
 right, in the shadow, a second cow, of a reddish color, is feeding. Near it are two trees with 
 scanty foliage. To the left are two rams and a horse. 
 
 Signed in the lower left corner : “A v Velde, 1667.” 
 
 Panel: lox 12 inches. Replica with changed details in the Secretan sale, London, 18 
 Hofstede de Groot, Nos. loaff. ; Smith, “Catalogue Raisonne,” No. 87 (?). 
 
 Sale, de Seneville, Paris, 18 12 (?). 
 
 Sale, Aug. Stevens, Paris, 1867. 
 
 Sale, Vicomte de Buisseret, Brussels, 1891, No. 119. 
 
 , No. 8. 
 

 
 ri 
 
 
 f 
 
 
 ^ "r- ' r ^li^: ; 
 
 
 
 S?<s= -.' 
 
 
 ADRIAEN VAN DE VELDE 
 
 »63s(36)-ia/7a 
 
 y-' 
 
 ibea at Aasattav ‘•SS-4A1 dM« M itT*. Pafia << Wi Wkwv MbB «ia <|c V«Mi liw cUer, ta 4 
 <i( l4* VT/ am i r,¥M^ « XuMwnIm. Mawc MtfaMwr af liodicif^^ jaiS unudit b* abo fnquEtittr 
 M**< I* bi ti ' |>ai HoUmm, Vfyamn. PUif Kaotack, J«a Hbct^n. «itd Mhan. 
 
 
 Landscape with Cattle 
 
 
 k'-’ 
 
 TbnxmHatrMMKMidiae In a metAov aoAoamtoil fey (nai. fechimt wfekfe fomc houM 
 •K- at tife te . A oBtuttud wMt a pnil follows • co» with btowo and w tet tjioo. Tn dw 
 mifes.<«ife*«haife>W,«s«a«doMF,ofamldiih<»tar,icfrcdii«. Ncvhat: twoMOi wkh 
 MMMT M*aik; Y^tfe* Mlai« tsso rant and ■ feotK- 
 
 ;■ ' ' 
 
 fc.'4 
 
 *«n«W^ fNM* Ml MMW VtHk. tUf ' 
 
 Nsrf: dK» w h ipkpi, Bs»>»s-o>fc Amsl 4m 
 **■ <" « > is OsMcWia ssaatt iwnk Tt adst n i H^ i mo a* Mn.fffdV 
 4>, « Pw iJ >i. Pi^ 
 
 U.. ^. l a w i n . iMy, •' ;^- 
 
 .V -4>'' '. ' 
 
 Ma *lss«nsA> Mmk, Mr 
 
 
 m 
 
 
 
 
 
 
WILLEM VAN DE VELDE 
 
 1633-1677 
 
 Born at Leyden, 1633 ; died at Greenwich, 1677. Pupil of his father, Willem van de Velde the elder, and of 
 Simon de Vlieger. Worked at Amsterdam, and from 1673 at London. Marine painter. 
 
 Marine 
 
 A large vessel with a Dutch flag lies at anchor on the right of the centre ; a second ves- 
 sel is behind it, partly hidden. To the left, a fishing-boat with high sail; a smaller boat 
 lies near by, with other sail-boats behind it in the right distance. The coast is seen on the 
 horizon. In the foreground, a dark shadow in the water. Gray clouds are rising in the 
 high blue sky. A calm sea. 
 
 Canvas : 27^ x 365^ inches. 
 
 CoUeiSion of Sir Henry Houghton, London ; sold in 1893. 
 
i ^WILLEM VAN DE VELDE 
 
 1633-1677 
 
 i' 
 
 r BamM Lajnka, i6]j} dad Onomrtclk. 1677. Pvyfi el Ui hdwr, WUkm «*n da VaUe Om «Mar, ml o( 
 ^ Smoii di VlitfK. Wotkad ti AnMerdtai, and Ina ><7j m Landoa. Matitm piiatar. 
 
 Marine 
 
 * i * 
 
 A laree veml with 1 Dutch fUg Uca al anthor oe the right ol die centre: • n eai ad 
 le) it bdtind it, partly hidden. To the Udt, • fiahing-haat with trigh nil ; a an^te 
 lica near by, whh other tail-boati behind k in the right dUtaocc. The tnant b area «■ 
 ^ horiaoB. fat the (oreground, a dark thadov in the Vatet^ Q>«y ekmda are riauig in 
 p'' high IdiK iky. A calm tea. 
 
 .7 •i'--’ 
 
 " Oiannt! I7)dx3£l< iachat. 
 
 CaSadiua af Sr^iaaiy Hoa|h>un, txindoa; add in ilap. 
 
 ffU 
 

JAN VERMEER 
 
 1632-c. 1675 
 
 Born in Delft in 1632; died about 1675. Pupil of Karel Fabritius. His early works show the influence of 
 Rembrandt’s school. Later his coloring became cooler, yellow and blue predominating. There are at the 
 present time thirty-six authenticated pidlures by him, of which eight are in America. Painter of genre pic- 
 tures, generally with one or two figures; occasionally of landscapes and religious and mythological scenes. 
 
 A Woman Weighing Gold 
 
 The woman, nearly in whole figure, is standing to the right of a table, holding in her 
 right hand the scales and placing her left hand on the table. She is seen in profile to the 
 left, the face slightly turned to the front and looking down. Her costume consists of a 
 dark blue velvet iacket lined with ermine, a red and yellow striped underjacket which 
 is scarcely visible, and a white shawl over her head. On the oak table, a jewel-box from 
 which a string of pearls is hanging, and a dark blue cover which is thrown carelessly back. 
 Over the table, a mirror in a black frame, and behind it a window, scarcely visible, with 
 an orange-yellow curtain. On the wall behind the woman hangs a pidture representing 
 the Last Judgment. Black and white tiles on the floor. 
 
 Signed. 
 
 Panel: 16]^ x 14 inches. 
 
 W. Burger, “Gazette des Beaux-Arts,” 1866, Nos. 26 and 27; H. Havard, “Jan Vermeer,” Nos. 29 and 
 30 ; Hofstede de Groot, “ Catalogue Raisonne,” No. ro ; Hofstede de Groot in the “ Burlington Maga- 
 zine,” 1910, pp. 133 and 134; W. Bode in “Jahrbuch der kgl. preuss. Kunstsammlungen,” 1910; T. von 
 Frimmel in the “ Burlington Magazine,” October, 1912, pp. 48 and 49. 
 
 Sale, Amsterdam, May 16, 1696 (155 florins, including a case). 
 
 Sale, Amsterdam, 1701, No. 7 (113 florins). 
 
 Sale, Nieuhoff, Amsterdam, 1777, No. 116 (235 florins; van den Bogaerd). 
 
 Sale (Colledlion of the King of Bavaria), Munich, 1826, No. loi (800 florins). 
 
 Sale, Marquis de Caraman, Paris, 1830. 
 
 Sale, Casimir-Perier, London, 1848 (;d^i4i 13/.; bought in by M. Casimir-Perier, fils). 
 
 Segur-Perier Colledlion, Paris. 
 

 
 3 %r'Sr 
 
 
 
 JAN VERMEER 
 
 1631 -^. i* 7 J 
 
 Born in D«lft in i6j»i dM ibout 1*75. Popfl of Kifd Pttanrim. Hi* «*rly work* *how iJi* ialonjeo at 
 lUmbnndl** IcJwoL Lattr hi* cotoiing be«m* cooler, yoHoveail bhi* {n<lomiiiatin(. Thor* ■* at the 
 pre4eni dme ihirly-rix aucheniketed padture* by hios, of wb^ a^hc a» in America. Poorer 0# genre gio- 
 r^ili ^ or l!>o figaiWj ccoadotnUy of tmdioi|Ma aad nilroaa and mythological aceoea. 
 
 A ^oman Weighing Gold 
 
 
 _ _ life*' 
 
 1 fj^ wpniaiU ncarlj^ in whole figurct U standing to the right of a tabic, liolding in her 
 • V ti^ht hand the scales end placing her left hand on the tiihlc* is seen in profile to the 
 
 f T 7- 
 
 {eftr'clm .face ilighlly' turned to the diont and looking domn. costume ctHuiafa of a 
 
 
 Vii, ™ - 
 
 ■ w-7 dgxk ’blde eelrrt Jacket lined widi ermine, a red and jrellaw mrip^ mxlcriackec which 
 ■>j»^fa *eiupc«ly yinble, and a white shawl oyer her head On the oak thUe, a jcwel-bta from 
 ^ irWch a ttrisg of pea^ is hanging, and a dark blue cover which it ihiawa carelessly back. 
 ?■ "Oi^ the taUe, a mirror in a black fraaac, and behind it a window, scarcely visible, with 
 ; ah-orang^yellow curtain. < On the behind the wotqan hangs a pi&urc rapresencing 
 
 h : 
 
 t- 
 
 the Last Judgmnit. 
 
 - '• i». ■; , 
 
 ^ ,./V 
 
 Black and white tilea on the floor; 
 
 1 - 
 
 trj 
 
 r 
 
 
 Si|p>*(L 
 -'Panel: c6Jd a 14 Inefa**- 
 
 
 i V w 
 
 :t'd- 
 
 -- - .‘-t 
 
 
 ,W. BUr^.^OBcua <Wa Baaus-Atia.* iMA Itaaj ataa* ay: HI Hj a m A?fa° Va*msw,“ Moa. ao *n< 
 - 39; Hofituia ds Omoc, "Catalogoa BaiinsuaA'' Ml*. *•: tMasda da Chaw in iW “ Barflagpm Mag*- 
 ria*!,'" r»roi fp. 133 and ria: W. Bo^ fa “JaMwlLdar kgl. pianaa. y i w a a i mnil migan* 1919; T. ran 
 itjmmHm die "Bwifaglim M^mdat.‘'<Vaabar, I 9 is;i 9 : 4 t'anl 49 . 
 
 >Bak, Amu«r*m. Mw >A 1696.(1 j{ torim,iDdiiC]ig a eam^ 
 
 'i'*’* av ' 
 
 Aiaatwdanir 17 ^ 1 ; No. 7 (l fj Aodju). 
 
 SiJe. NWuholt AuMicftW, 1777^ (« 3 $ 4 oriru; Wdso SofMr^ 
 
 Side (Cbflo^oo of (he Kitig of Savuris)* Mojuch, iSsSh No> 101 (800 florioc). 
 
 Merqiui de OumttM, Perk, iSfO. 
 
 Stb^ Cteunir-Poner. Loodoo. 1848 ^£141 iliw booghc ia bj M. CMimh^Pwiery 6U). 
 Segur-Feder CoDoAioik, Pane. 
 
 r 
 
 Es. • « 
 
 :id»‘ 
 
 .-‘S- 
 
 n-- 
 
 
 N 
 
ppiiBiriK! 
 
 
JAN WEENIX 
 
 1640-1719 
 
 Born at Amsterdam in 1640; died there in 1719. Pupil of his uncle, Jan Baptista Weenix, and proba- 
 bly of Meldnir d’Hondecoeter. Member of the guild in Utrecht in 1664-68. In the service of the 
 Eledtor Palatine Johann Wilhelm in the Castle Bensburg near Diisseldorf. After this time he lived in 
 Amsterdam. Painter of still-life and portraits. 
 
 Still-life with White Cock 
 
 In the right foreground may be seen a dead cock and two birds. Behind them, on a step, 
 a bunch of grapes with leaves and peaches, and a stone niche with the statues of two chil- 
 dren. To the left, a river flowing around a garden containing statues, and in the distance 
 a castle on hills. Clouded sky. 
 
 Signed on the pillar of the niche: “ J. Weenix A° 1706” 
 
 Canvas: 31x27 inches. 
 
 V. 
 

 
 
 JAN^WEENIX 
 
 . ■*' *'■'" ■■ .***®"*7‘» '■ - , 
 
 •; • ■■ ' -,. • ♦ “ ij « w*-' 
 
 9 p^» Affiftcrdam m dstd tbere tA 1719.'' Po{A ol luc iiMie, Jaft Btptictt Wa^cisc, and proba* 
 'bf^Mdd^ d' Koiul«co«w. ^ Mratber of liit gofld ia UtmlH ta i66>4'dd. In tha aervico of tb« 
 .‘li^Aof Pahoaa Jobaas Wnb*lia la the Cattle Beacborf anar OntaaldiiH. tim tinM ba Itvad in 
 
 ^AnMtdids^ P^MflT of tti 04 iU and'pcvtraka - 
 
 :1a ‘ . - VV'’'"' ^ -iv ■*-<«/ 
 
 ■'■ ■ -v~. '.. 
 
 ' • .-. • ■; ; - .■•= . ,•; 'Isi 
 
 .. ■ . ■• V ,-- .■■if 
 
 ?v > 
 
 *. •• . ► • .. . 
 
 Still-life with White Cock 
 
 
 V,; JiS'the rieitt t«r<^n»ind Mr be Nes t (bed cock and two faiidf. Bdiiwd tbca, aa a a)«fk 
 ‘!i<^;'i''a^uncbirfxi^^ wkh tearwi a«d peaeba, and aatoor oidK wkbl^ atatoe* ol nwn riul> 
 Tc 1a>^ a ciwr fioariae aiwmid-* garto aan Utoi at WatQ<», and In ibt i* 
 
 >^i^>:a_t»t!ei6R kitl<. >'Gloadad Ar> 
 
 SigiwdnBiiMpdbra<(k*aMw4*].W«aMA«i]n** 
 
 ^•fcV' . •* I *'. -' ...• -V"... hT^'i 
 
 ^VT-:*' r .Ctawat: <|ix«7iAcftf^ '•■ - • 
 
 ' '-‘t *'*, •'" ■> • 
 
 ,-.v •■ 
 
 i ^ 
 
 -wa^-" 
 

FLEMISH MASTERS 
 OF THE SEVENTEENTH CENTURY 
 

ANTON VAN DYCK 
 
 ■sy 
 
 The Assumption of the Virgin 
 
ANTON VAN DYCK 
 
 1599-1641 
 
 Born in Antwerp, 1599; died in London, 1641. Pupil of Hendrik van Balen and worked in the atelier 
 of Rubens. In England for the first time in 1621 ; travelled in Italy ; in Venice, Rome, and Genoa, 1622-27; 
 in Antwerp, 1627-31; in London, 1632. Painter of portraits and of religious and mythological subjedts. 
 Van Dyck and Rubens are the greatest masters of the Flemish School. 
 
 The Assumption of the Virgin 
 
 The Virgin, in white drapery with blue ribbons crossed over her breast, is borne aloft, 
 her eyes upturned and arms extended. She is seen in front and has long, yellowish hair. 
 Ten cherubim, five on each side, are flying around her. Three of them hold her dress. 
 One on the left stands on a globe, representing the earth, and carries a crucifix; another, 
 above, crowns her with a wreath of roses. On the right, another has enveloped his head in 
 a white shawl ; another, above, has a piece of paper in his hands. In warm blond colors 
 with prevailing white. 
 
 Canvas: H. 46?^ inches; W. 405^ inches. 
 
 Of the Italian period of the master, between 1622 and 1627, and influenced by Titian. 
 Waagen, II, p. 1 14 ; Smith, “ Catalogue Raisonne,” No. 264. 
 
 Colledlion of Thomas Hope, London (1831 ; Smith). 
 
 Colledlion of Lord Francis Pelham Clinton-Hope, Deepdene. 
 
 

 r 
 
 
 ANTON VAN DYCK * ' 
 
 1599-1641 
 
 Bom in Antwerp, 1599; died ta London, >641. PnpB Bl Uendrik mn Belen and worked 1 b (ha tuUm 
 ^ ofRubent. In England for tbe fifff time in i 4 a I i tntraSed in Italy i in Venice, Roma, and Genoa, 
 
 . ta Antwerp, ibey-jt; in London, fdya. Painter of portraiti and oI r^igiona and mytliotogical eab|edta 
 ^ Van Oyek and Rnbaot ate the greaten nuitera of the Flmnish School 
 
 
 The Assumption of the Virgin 
 
 
 tv. 
 
 >v-- 
 
 >■ 
 
 I? 
 
 S' 
 
 ' W- 
 
 i'W- 
 
 I! ■ 
 
 The Virgin, to white drapery eeidt Mae nbbiHM crosaed over her breast, ia borne ajoft, 
 her eyes upOmed and arms Kt * « * t e»i She ta seen in front and has long, yenowish hair. 
 Ten chetubttn, fire on each side, are dying around ht»'. Three of thm hold h^r dress. 
 One on the left stands ea a (tube, rnw as ra o ' ng the earth, and carries, a emeifisi anothcT, 
 above, crowns h« with a wreath c< raaes. On the nght, another has ^nedoped Us bead U 
 a white shawl t another, above, haa a piece of paper in his hands, in ararsn bhaad ooket 
 with prevailiigg white. . - 
 
 
 
 Ckarw; Hatyi mehas; V.aoH lactws. 
 
 Of the Itsliaa period of she nester. betwaaa ifoa sad t6sy, tad 
 WeagetalLptSlti BatUh.'"Ciiak)tiM Patsasad* I*a.sdi4. 
 CoOaflBoa of Thomei Hope, London (iSyt ; Simdt). 
 
 Coilefiioa. of Lord FrenrU FeBum CBotoa-Hope, Oeapdeoe. 
 
 by Tkuii 
 
 
 
 
 er 
 
 iij 
 
 
 
 
 ■ - '"S~ 
 
 ^ y,2 
 
 
 " .‘i 
 
 - V 
 
 r ’ a 
 
 
 ' • • 
 
 
 * -v' 
 
ANTON VAN DYCK 
 
 ■w 
 
 Marchesa Elena Grimaldi, 
 Wife of Marchese Nicola Cattaneo 
 
i599-*641 
 
 Marchesa Elena Grimaldi, Wife of Marchese 
 Nicola Cattaneo 
 
 Full length, standing on a terrace looking at the spe^ator and holding a flower in her left 
 hand. She is followed by a young negro servant who holds a red parasol over her. She 
 is dressed in a black costume, decorated with gold buttons and trimmed at the lower edge 
 with five gold bands. She has red cufFs and wears a string of pearls in her hair. The 
 negro wears a yellow-brown costume. The Marchesa stands at a corner of the palace, which 
 is decorated with Corinthian columns. A staircase leads down from the terrace to the gar- 
 den. In the background, a hilly landscape with trees in a warm brown tone. Light blue 
 sky with pink clouds and golden borders. 
 
 Canvas : 68 x 97 inches. 
 
 Painted in Genoa about 1623. 
 
 L. Cust, “Van Dyck,” 1900, Nos. 73-80; Cavaliere Mario Menotti, “ Archivio storico dell’ Arti,” III, 
 Nos. 26, 27; J. Holmes, “Burlington Magazine,” 1908, p. 306; Cunningham’s “Life of Sir David 
 Wilkie.” 
 
 In a letter to the Right Honorable Sir Robert Peel, dated Madrid, January 28, 1828, Sir David Wilkie 
 quotes a letter he has received from Andrew Wilson, who was at Rome. (Wilson was a Scottish land- 
 scape painter who spent twenty years in Genoa, where he purchased many Old Masters for different 
 
 colledtions in England.) In this letter Wilson says he has tried to get this pidlure for Lord , but that 
 
 the family are not willing to part with it; and he adds, “What a prize such a colledtion would be 
 for the National Gallery ! ” 
 
 Exhibited at Knoedler Galleries, New York, 1909, No. 4. 
 
 From the Cattaneo Palace, Genoa. 
 
 
 
rnirr|TT"iiii "■ 
 
 
 Ttr. 'T 
 
 > V- *'■^- 
 
 
 y.' : j-* ■-<«? 
 
 
 
 ip# • 
 
 
 ■ 7 
 
 ■rr'V-.v- 
 
 DYCK^ 
 
 
 Grimaldi, Wife of M^ch 
 
 S'fKicoia'-Cattaneo ' ' . ' 
 
 mlv=‘ • f'-r. • . . .-vr*'"-' - ’ ■■*lBr 
 
 
 ' FuU leofl^.'nuidinir od s tctrace looking nt (be «pe&R»^ and i»I(iuig a .flower in her leh 
 
 K' * 
 
 ‘4 ^ followed by •' yoiibg negro seiVant boUa a red parasol over her. She 
 
 J' ' is drra^.in a black'costuine, decorated with gold buttons ^ trinuned at the lower edge 
 ^.v- with five gold bands. Sic has red cu& and wean’ a suing "oil peairla in her hair. The 
 ^ v'lic^ weaia a ycHow-btbwn coatumiei llie Marchesa stands at a eototrol the p^acc, which 
 ' '‘I-.; >■ decorated with Corinthian columns. A. staircase leads down fram-the tenscc to the gor- 
 .tn the .background, a billy landscape with ttcea in a warm brown tone. Light blue 
 ••islor with pihk clouds and golden botden. .- ' ■' 
 
 >•-■■■ T--' - 
 
 ' -ia ■■■,'. • T>S^»." . fSP 
 
 ' «a«ladtaa. - •, .• 
 
 >.^:i^^,j^f*-'^!tfa»Bdin&Bosshaai »kay •-■V., V-'' '.V' ‘ ^ ' . si^." 
 
 ^ ^ ^ CMbw Mria Msaanl, <* JnhMa swd>» Mr Ul. 
 
 ^ ay: b Kofanw, “gwnagtes Sh^siai," swA » io«i Caai^^H>ws'< 'Us al Mr OMS 
 
 7 r . . la-s hitur to lbs Right UooenUs Sir R s h s n PsA Msd Madrid. Jmmf A itA, % Oasid W9kis 
 
 
 
 
 
 
 , quotaa a knar ts kas.neidwd Imis Attksw WQiosi, who ana at Rons. (Wikon was a Scottidt hod- 
 aeipc Raiatsr wh<> »f»nt twsaty y«sn (a Cwwar wbers ha purchaMd many Old Mwrni for diSamit 
 
 "cbnsdUeaa la EagtaadO b thb Wtw WlOhaa ^ iw baa triad to gat da* pldun tor Lord . but that 
 
 fhs'baaUy ara M arilluig to pwt witfa It; and Ka adds ' Wbat a pn» tueb a coAe^on would he 
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 t K.V.;- ■r From ihaQatuao Palace. Genoa 
 
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ANTON VAN DYCK 
 
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 Filippo Cattaneo, 
 
 Son of Marchesa Elena Grimaldi 
 
ANTON VAN DYCK 
 
 1599-1641 
 
 Filippo Cattaneo, Son of Marchesa Elena 
 Grimaldi 
 
 At the age of seven years. Full length, standing on a step, looking at the spedator. 
 In black costume with gold brocade pattern and light gold brocaded sleeves. He has his 
 left hand placed on his side, and holds in his right the leash of a young dog which stands 
 behind him to the right and is watching him. Dark background. 
 
 Signed : “ A° 1623 Aet. 4.7 ( ? )” 
 
 Canvas : H. 33^^ inches ; W. 48^^ inches. 
 
 Exhibited at Knoedler Galleries, New York, 1910, No. 5. 
 From the Cattaneo Palace, Genoa. 
 
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 iftWppo Gattaneo,’ Son of Mareh^a Elena 
 
 
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 plaocd.on hia akk, and hoUi in Ina rieht the leaah oi a jrouog dog which Mandu 
 v^'behitidiilmjte.the figh^ Dark biciisrouiid. 
 
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ANTON VAN DYCK 
 
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 Clelia Cattaneo, 
 
 Daughter of Marchesa Elena Grimaldi 
 
 
ANTON VAN DYCK 
 
 1599-1641 
 
 Clelia Cattaneo, Daughter of Marchesa 
 Elena Grimaldi 
 
 At the age of thirteen years. Full length, standing on a step against a column, looking 
 at the spedator. She is dressed in white and has light blond hair. In her hand she 
 holds an apple. Behind her, a red cushion. Dark background. 
 
 Signed: “ A® 1623. Aet. 1.3 ” 
 
 Canvas: H. 33^^ inches; W. 48^^ inches. 
 
 Exhibited at Knoedler Galleries, New York, 1910, No. 3. 
 From the Cattaneo Palace, Genoa. 
 

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 01^13? Gattaneo, Daughter of,Marchesa 
 
 ElentGrimaldi 
 
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 '^'.^7 Ariihe vge b{ .^trteen yeara. Full length. Maadmg on a ytcp againK a cohimn, looking 
 the ap^acbr. She m dresiied in white and has light blond hair. In her hand she 
 V C.‘ holdi an a^le. Behind her, a red cuihion. Dark background. 
 
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ANTON VAN DYCK 
 
 Paola Adorno, Marchesa di Brignole-Sala, 
 
 and her Son 
 
ANTON VAN DYCK 
 
 1599-1641 
 
 Paola Adorno, Marchesa di Brignole-Sala, 
 and her Son 
 
 Full length, life-size figures. The Marchesa is seated in a high-backed chair between two 
 columns, in profile to the left, and holding the right hand of her son, who stands beside 
 her. She wears a pearl head-dress and a high lace ruff. Her left hand rests on the arm 
 of the chair. The boy in red-flowered doublet and hose. A jumping dog on the extreme 
 left. Architedtural and curtain background. On the floor, an Asia Minor rug. 
 
 Canvas : H. 745^ inches ; W. 55 inches. 
 
 The picture was painted between 1622 and 1627. 
 
 It has been questioned whether this pidture represents Paola Adorno or another member of the Brignole- 
 Sala family (L. Cust, “Van Dyck,” p. 40). Paola Adorno has been painted in two other full-length por- 
 traits by the artist, one in the Palazzo Rosso in Genoa and the other in the possession of the Duke 
 of Abercorn, Hampden House. A portrait of her husband on a white horse is in the Palazzo Rosso 
 (study in the colledlion of Earl Brownlow, Ashbridge). The two portraits of Paola Adorno seem to 
 prove that this pidlure is also a portrait of her, in which she wears the same jewelry — the chain and 
 the head-dress. Paola Adorno was the wife of Antonio Giulio, Marchese di Brignole-Sala, son of a Doge 
 of Genoa and Ambassador to Philip IV of Spain. Formerly erroneously described as “Lady Brooke 
 and her Son.” 
 
 Waagen, III, p. 213 ; L. Cust, “Van Dyck,” 1909, No. 72. 
 
 Exhibited at Burlington House, London, 1871, No. 155. 
 
 Exhibited at Burlington House, London, 1878, No. 158. 
 
 Exhibited at Grosvenor Gallery, London, 1887, No. 18. 
 
 Exhibited at Grafton Galleries, London, 1909, No. 55. 
 
 Exhibited at Knoedler Galleries, New York, 1909, No. 2. 
 
 Formerly in the colledtion of the Earl of Warwick, Warwick Castle. 
 
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 ANTON VAN DYCK 
 
 
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 ^ '^j^^l^‘'Adbrno,' Marchesa di Brignole-Sala, 
 
 , her Son ^ ^ <- 
 
 “ORth. Hfcrfiae figurei; .-The Marcbesa in seated in a brigh-tiacked chair between two 
 '.0f- ',-:J.‘ ‘■' ^twnn*. in pn^e fo the left, 'abd holdio); the right hand of her softi M?ho stands besidt 
 t c i«»^-‘he»s aral a hi^^ Her left haiid teats on die-arnt 
 
 I ^ ■ ofthe cb^ir. Thd boy in red-flow^ doublet and hose. A ji^piag dog on the extreme 
 
 . ■ Architefhital and cuitaiii badtgttmnd. On the floor, ui Aiid Minor rug. 
 
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 ^ " j^.Th* pidurt wi* piiafiW b«twcenj^ ' '»’ .'ll'- 
 
 ^ SV*****^ whidiw j^Aon rtpn»tOM Paok Aaoroo or mAm vmnbi o< »ht Bkifouift- 
 
 SyV.^ . SUa ftmity,(C CvM* **V» Dybfc,*? p.^). • Piol» A«(omo hna been piimod m two ocher ha 
 ' ^ ^ t^. VDMt -Ph* ia tb» Pllaxso Romo in Geoan aod the other in tbs pOSMIBOU 
 
 fun hagh pot- 
 jn ss sMi'n ii d the Dak* 
 
 '■ J,fj 7, V ^ Absrcora, Kwipdea HoitM. A pottnit of Iw fcathuul on i whin bom Is <» die FSbne Row* 
 
 ■^ei2' .. V'^. .^aaih^ta thscojlsaioa rrf Earl BrowdowrAtfalirM^ Tlie pw postnHHnf fas^A4wu9 
 
 
 '■‘S^ r^V-s "- ft i* abb <>»»«« of bar. Is wtiicb jb» snsn the wm t wisby— tK. ttensna 
 
 ^ ■dwbsAdrsse Psbh Ailwiioww th. wifeaf AmiUgfWiit U'.«.*., si ■Sj.^SL;. -r--ifs Dig* 
 
 r . .y oT CsRoil^ AmbsMdsr Wfhilip fV ef Spsin. Ponnb^ srastawlr d^stW a ~Ufc Brooke 
 
 - '7 ■ad'bar'Sbn." .xi i ■ _ 
 
 ‘ ^ ■«■.*.' jy ! 1*1. p S I'l : 'I, "Via Dyct^i Jop, No: T* ' 
 
 •V w*. '.• E*hibs»*<l s* Barfiagroo Mouse, hoaden, tSri. No. rtt 
 
 ?-' Hxhihited n BarHngton Hoase.Losdoa, No. 15 I. 
 
 
 • '■ it Oroc^nor dulhry. Looiion. 1887, N*b r$, 
 
 • - HxMhitnd « Ofrftpo Gdtaricn, 
 
 -^V-A.*. ' . ' . . I» IV 'Jpt . »• 
 
 . j,y - EsKNtod a KaonUar OaHsriM, New York, 1909 , No. e 
 
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ANTON VAN DYCK 
 
 1599-1641 
 
 Giovanni Vincenzo Imperiale 
 
 Three-quarter length. He is seated, turned to the left, facing the spe<3;ator, with the 
 right hand resting on the side of the chair; in the left hand he holds a letter. He wears 
 a high, black hat ; black costume with ruffs around the neck and wrists ; small pointed 
 beard, and mustache turned up at the ends. To the left, through a window, a view of 
 the sea, where a galleon is lying in the harbor. 
 
 Inscribed on the wall on the right; “ lO. VINC®: IMP^ ANN: SAL: 1625 AET. SVAE 44” 
 (lohannes Vincentius Imperialis. Anno salutis 1625. Aetatis suae 44). 
 
 Above the inscription, his coat of arms. 
 
 Canvas: H. 50 inches; W. 41 inches. 
 
 Giovanni Vincenzo Imperiale was born (corresponding to the date of the pidlure) in 1581 and died 
 about 1645. He was a senator, and for some time commander of the Genoese navy. The sea view in 
 the pidlure seems to refer to this position. He was in the service of Philip IV at Rome and in 
 Mantua. Also well known as a poet in his time, especially for his poem “Lo stato rustico” (Genoa, 
 1611), which became famous. 
 
 There is a full-length portrait of the Marchese in the Brussels Museum which has been attributed to 
 Van Dyck, but which is (according to L. Cust and others) a replica of our pidlure by a Genoese fol- 
 lower of Van Dyck — very likely Carbone. 
 
 Exhibited at Knoedler Galleries, New York, 1909. 
 
 Catalogue of Cav. Menotti, No. 56; L, Cust, “Van Dyck,” p. 43, and Cat., No. 90; Schaffer, “Van 
 Dyck” in “Klassiker der Kunst,” p. 212. 
 
 From the colledlion of the Marchese Cesare Imperiale Lecari, Villa dell’ Albero d’Oro in Tenalba near 
 Genoa, a descendant of Giovanni Vincenzo. 
 
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 G^¥ahni yincenzo Imperi^e 
 
 
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 Tiuce-quarter Ieo(FcliL He is seated, earned lo th* leh, taciae the epedator, with the 
 ' " fight hand resting on the side ot the chairs i« the 1^ hai^ he' holds a lenn. He < 
 
 '■ high, Uack hat; black costume with toA aiaund die neck and wrists ; small pointed 
 
 •bean), and 'mustBche tamed up at the ervis. To the left, ddp^h 4 ' window, a siew of 
 
 thc 'ici^ where a galleon is lying in the harbor. 
 
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 Inspribsd-oa dw wiU on th« right;, “fO. VlNCj KHP* AfiH: SAt-i i«ij AST. SVAE 44" 
 
 irV- (Inhtnhta.Viarsoiius Inqmkbs.''.' Anno tsiato *645. 
 Abore the insaipeio^ hit cost of trail. 
 
 ' 44 )- 
 
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 e«OTwai Vioceaso impiirisli WM.hora (conaqiuniUng to the dot el die pUhmj la ijt> oaddM 
 .'sbontiSaj. Hc'trttt tsnster, aaS tor woMdiM coeanuader el AeGeaaeteasrf. TWiettiaela 
 . (he pMhaw tocne te retor to this peidtkxi. He inn ia the eeprtce af 'Ph^ (V m 4, sen end In 
 Mentue. . Alw wdl koowa at a peto k tor doe, e m e fM k (<» hit poeis " ta'nacu mtHsm" (Geata. 
 ! ihi 0. whfch becenie liwteoa '■ 
 
 ‘ There it t hifl-icogdi yeeunk ol tb« i^ntdheft ia the Brattelt .Mnonno srhiA het Pmii anSbaseii to 
 ' Vsa l>yck,'buc which b (toron£og to L. <J»tt tad ethan) 1 nslin el ear pietnre by a Oinetei foi- 
 . l™« of Van I>3rek.~vecy M&ly Csrtiooa.- ,, K, 
 
 BidiJHtrder Ki»oeA»Gelle«lii. NtnrTetk «*B4. 
 
 Catalogue of C«r. Meaoid. No. s*i I* Cuev ."Vea Dyck." P. 4 J. and <k. Net po; SchtAtr. ~V«a 
 
 i't"~ , Dyck “ in “ Kbewker itr Xgasc," p si a . . , 
 
 w - . ' ■'■ ■ - • . 
 
 ■• Erom thc eoiWftioa of dr* Msridioie Cetan tiapeciA Lonri, ViBe dalT Ajbtro tfOro io TensUia aesr 
 Gooow sdaeceadeiit'rf QkwesN Wacenaa. = icp. ‘‘‘’tjtl 
 
rarv.vt 
 
ANTON VAN DYCK 
 
 1599-1641 
 
 The Prefed: Raphael Racius 
 
 Three-quarter length, standing turned to the left, looking at the spectator, with the head 
 slightly bent forward. He wears armor and holds a baton in his right hand ; the left grasps 
 the hilt of his sword. Long, black, flowing hair and clean-shaven face. A red scarf is 
 tied on his left upper arm and hangs down from the right shoulder over the sword-hilt. 
 The sun sets over the sea in the distance on the left. Warm color. 
 
 Inscribed in the right upper corner : “ MDV (?) RAPHAEL RACIVS. I. REIP. TRIREMIVM 
 PRAEFECTVS ” (the date is very likely incomplete; Raphael Racius I, reipublicae triremium prae- 
 fedlus). 
 
 Underneath, the coat of arms, which is divided into two parts: in the left half, a lion rampant crossed by a 
 band ; in the right half, three chevrons. 
 
 Canvas: H. 51 finches; W. 41 inches. 
 
 From the colle£lion of Sir Walter Farquahar. 
 

 
 
 
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 ;. tf99-i64‘ 
 
 The Prefed: Raphael Racius 
 
 it. "T".' . ■' ^ ' - 1- . ■■; '^'../s,;, • 
 
 ',-.y)^t 'T&ree-quwter length, standing turned to the left, looking st dte ipefiator, with the head 
 '-3' sIightl;.beBtldiwajd. He wean atmor and holds a baton in hia f^iu hand ; the left graapa 
 Lo®*>- black, {(owing hair and ckan-ahayen face. A red scarf is 
 tied op his left upper arm and hangs down from the right shoulder over the awtsd-hilt. 
 , The sun sets over the sea in the diatancc on the left. Warm color. 
 
 
 
 
 toscribsd in ths right nppOT comer : "MDV (f) RAPHAfcL gACtV&'X MUf HUKKMtVM 
 ' PRAEFECTVS •' (the toe it vWy Bkriy WCOBiplele i lUphsel lUdus t, W ^Sii Mn e srirwaipm fW 
 ,(j leaut). ;J, , - 
 
 \ . . 
 
 UndemeMh. the cost of amu, wtueb ie dH<M hwa two pent; is dM hdt UL shea esapeta anawd St « 
 WdtU the oghi baS, throe ehevroai. , 
 
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 Cum; U. st-fi inebet; W-siff ineW 
 
 e-i.' 
 
 .‘ > » * From the coUedboa of Sir Wilier Fanjathir. 
 
 
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 5S-v>r.:e; 
 
 
 
ANTON VAN DYCK 
 
 
 Lady dAubigny 
 
ANTON VAN DYCK 
 
 1599-1641 
 
 Lady d’Aubigny 
 
 Half length, turned to the right, the face looking at the spedator. She wears a pink dress 
 and a white shawl. The right hand is stretched out to the right and holds a wreath of 
 red and white roses. A few small red and blue blossoms are fastened in her blond hair. 
 She wears large pearls in her ears, a chain of pearls around her neck, and a piece of jewelry 
 at her shoulder. Black background. 
 
 The inscription to the right— “Lady AVBIGNY”— is of later date. 
 
 Canvas: H. 42 inches; W. 33^^ inches. 
 
 Catherine, Lady Aubigny, daughter of Theophilus, second Earl of Suffolk, and of Elizabeth, daughter 
 of George, Lord Hume, Earl of Dunbar, was born about 1615. She married George, Lord Aubigny, 
 in 1638, who was killed in the battle of Edgehill in 1642. She married afterward James Livingstone, 
 Viscount Newburgh, and she and her husband made a plan for the escape of Charles I from Hampton 
 Court, which failed. After the execution of the King they fled to The Hague, where Lady Newburgh 
 died in 1650. (Compare Lady Theresa Lewis, “Life of Marquis of Hertford,” III, p. 323.) The pic- 
 ture was probably painted about 1638, as there existed a companion pidture of Lord Aubigny, whom 
 she married in that year. (Lady Theresa Lewis, “Life of Marquis of Hertford,” London, 1852, III, p. 
 322; L. Cust, Van Dyck, No. 14.) In 1702 the Duchess Dowager of Richmond and Lenox, Frances 
 Theresa Stuart, bequeathed to Katherine, afterward Baroness Clifton (daughter of Katherine O’Brien), 
 wife of Edward, third Earl of Clarendon, one pidture of “Ye Lady O’Bignie,” her mother, by Van Dyck, 
 together with a portrait of “Lord O’Bignie,” her husband, by the same artist. Very likely the first 
 pidlure is identical with the one here described. 
 
 Smith, “Catalogue Raisonne,” No. 690; Waagen, II, p. 457 
 Colledlion of the Earl of Clarendon, The Grove. 
 
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 Lady d Aubigny 
 
 
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 leacth. ttancd to dw rick. iW hc« Wolttac M «bc«fiklch». 
 
 A««lMni 
 
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 >fi\y * white *luwJ, T%€ n^i hmi (« KreteM o«i lo iMr ti|jki wat ■ wieadt «rf 
 <'<*«*• A Jew mmQ red and bto* hUminM mt ifUcaed h« lict Moad t»W 
 UiKc pcMls io kn can. • <Jiai»«r p«wb «*q«d hoi aeO. owLa^irec of kw«k7 
 1 ..^ her »houW«. Black bacicgieanasl. i ^T ’ jjJ" ' 
 
 -••?-V . 
 
 ^ -lAap >t: .;; 
 
 to tho riik— "Uijr AVMoiry^ er ^ 
 
 ti'fcuwM: H. 4a iacboat W. 3 j»< iacW j~ ■ ,i * 
 
 i “i A V V Ctth«H»V Anbhpir. J aii # >» f of Tko^iWkw. imm.! M of ktloB. MOl ^ k^tNar 
 
 of CoorKo, Lord Hmaa Eotl of DonW; ww kwo ^tM cOii- 52» oorrM OM^ Lari Arf%xr 
 
 'kiJT-C ‘"‘‘3^-whowak]OfldMilMbcliltofB4toUI)iai«rii ■»- — w-i ..— iw jL _ . 
 
 Vi»a»nnf N«.h...^ ^.1 A. ..ri k.., 1- ^ ^i„ r-- .i^ - | * t III 1— J~ 
 
 Covin, wUcklaiM. AhrrikooaocvrioooftkoXlviBwariaritoTho Hocoo. rihooo Uria Wirito.,dJ 
 '■’r-'^i> ^ ^ (Comport U4e Tkooa Utrk'Ulo «t H«ooh of WcOifc“ U ^ ) 11 W«b> 
 
 ' petnori «fcaoai6)ltai «)wraoeia«ri t««ik|wMiMtnrilM4AKk4o».CfMM 
 
 (fwdaTh.rtmUorfc“lJkw«o<^rfHMfco*-’I^ ttiallLk 
 
 t: ^ '♦) •* 'TO* tht Cktofcot tewnforof MioMafoori .r Kmbw 
 
 % '' ;> lluren Stu^ lM^ue*tli«d ^ M j A< rk»a. aArniui BvaMM ClAtm |fcii|p|fhv 4f tTMhtjiit. 
 
 rij^ who ^Bdwo^ tbbd £«ri of Clorvadwi.oatplfbHeol’^t Liirij'< 0 'Bi|ai».'‘lHpvMfh*r. *r VdiDptk, 
 
 together wWi o pottiok of "laNCPBkjtik* W hakti^k ak aam «*t Terr HMip ih. «m 
 
 . pidnre ii identical irith iha OM hero detndiodl 
 
 ,;i^'';'- 8«ohh.“Ciil»h>gneRiiK>lttia"No.tjo! Wa*g«v.n,p.^ iT 
 
 Coilotfon tf the Eori of CtetoiefnB. TW Otooo. ■. 
 
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PETER PAUL RUBENS 
 The Rape of the Sabine Women 
 
PETER PAUL RUBENS 
 
 1577-1640 
 
 Born at Siegen, 1577. Died at Antwerp, 1640. Pupil of Tobias Verhaegt, Adam van Noort, and Otho 
 van Veen. Travelled in Italy (1600-8), especially in Venice, Mantua, Rome, and Genoa. From 1609 
 court painter to the Archduke Albrecht, then to the Archduke Ferdinand and his consort Isabella. He 
 worked at the courts of- Paris, Antwerp, Madrid, and London. Painter of religious, mythological, and 
 historical subjedls, portraits and landscapes. 
 
 The Rape of the Sabine Women 
 
 In the centre, a Roman soldier has taken one of the Sabine women on his white horse, 
 and another Roman helps in holding the captive. On his knees, clutching the bridle of 
 the horse, is an old man — very likely the father of the girl. In the foreground on the left 
 some women are endeavoring to escape. Behind is the King of Rome on a throne, 
 giving orders. On the right, dismounted Romans carrying away Sabine women. The 
 buildings of the city in the rear. In a warm blond tone with few local colors — just 
 enough to show that in the finished pidture, for which this is the sketch, the white cos- 
 tumes of the Roman and the Sabine woman on the white horse well become the main 
 color of the composition. There are some blue and reddish tones in the costumes. 
 The warrior near the white horse is in dark blue armor with red scarf. The kneeling old 
 man is in orange-brown with blue scarf. The costumes of the two escaping women on 
 the left are respedively blue-gray and reddish brown. 
 
 Canvas: H. inches; W. 42^ inches. 
 
 Of the late period of the artist — about 1635 — and in all parts executed by his own hand. 
 
 Rubens painted the subjedl several times. A large painting is in the National Gallery in London 
 (Rooses, 803), and a sketch in the possession of Lord Ashburton (Rooses, 804) is about the same size, 
 only it is not quite as wide. Rubens also painted the subjed for the King of Spain, a pidure which 
 very likely has been destroyed by fire. The sketch here described and the one in the possession of Lord 
 Ashburton are perhaps sketches for the latter, although it might be that they were studies for the Lon- 
 don pidure, in which we find some motives repeated, such as the King of Rome sitting on the left side 
 and the two soldiers who hold the Sabine woman on the horse. Otherwise they differ a good deal in 
 the arrangement. As there also existed companion pieces to the other pidures, it very likely belonged 
 to one which represented the reconciliation of the Romans and the Sabines. 
 

 
 
 
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 „ , PETER JVAUL RUBENS 
 
 t’ /i*-' . ' ■ ^ 
 
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 Bon K Sagim, tfn 0»*i * Aatmifs TkMgi VWhi«. Aiim Noon, ud (Ms 
 
 . *M ron. te h»^ (»6so-«:U«fPKi<>^ is V«^ SiComm ftomo, ni Ooom. From i«g* 
 
 “«n ^o^ ti «ht Aicbdiik* Alhra^-WM to th* , ltn h |i ^i Fonjnni |fM^ ciuaon labeSa. Ho 
 •wM ^ noTH o(-P»rK Abnw^ 'll^tblritL tai Lartno. Ktear-^if ' ogtliah^iical. aa4 
 b>i » i <rrf Hilti i l fc y^colti «ad Iwi i i i n^'' - ^ ■'. V« •^■. 
 
 ^ V:*. ' * 
 
 
 The Rape of the Sabine Women 
 
 -.1. 
 
 In the centre, a Romaa eoUjcT ha« taken om of the ^Mne w^cu on bis white hone, 
 and another Roman htRpt in hoMiac captive. ]As hts knee<|rfliitc£iiii|; i^e bridle of 
 the horae, is an old maa — very likely the father of the girl. In the. foreg^M the left 
 some women are endeavoring to escape. Behind is the King of Rome & a throne, 
 giving orders. On the right, dlsmoonti^ Romans carrying away Sabine women. The 
 buildings of the aty in the tear. In a warm blond tone with few local colors— just 
 enough to sbojv that in the finished piAure, lor^ which this is tihe sketch, the white cos- 
 tumes of the Rootan and the Sabine woman on the white horse well become the 
 col« of the composition. There are some blue and reddish tosses in tbc casrasnao. 
 The warrior near tbe white hotisc is in dark blue armor widt red acauf. TheknaeSsgtdd 
 man is in orange-brawn with blue scarf. The costumes of the two escaping womra on 
 the left are respeAively Mue-gray and reddish brown. 
 
 CsBtb: H. 12 ^ iadisSi W. iifi inches. 
 
 Of the Issv pariad of the sttsp-^sIxMi i6if— ted in sll pwts sxaraud hy hli own hsnd.^ 
 
 Rubsn. pswnd th* imtai tana. A kq* Mew« k in th* Nttkwal Calitiy in tendon 
 
 (Rw»ea>S3).*dd>sk«adiinlbepost«s^nSLonl Ariiborton (koo*et, So 4 ) k about eh^ aoM sB*, 
 oi^ it it not quit* ss wide. Rubens tlto pwnMd the sabjeft for' the King of Spain, a piaur^which 
 very Hkely hss been dewruy iil by fira The tketcb here deecribed sod the one in dw possestiou of Lord 
 AebboftOB srapechap* for the isHar; skbwtgb it tn^ be th« df^were studies for the Lon- 
 
 don piaure, in which we dad woe cneivet npe^ such t> the King af Rome lifting on the left lid* 
 end the two suldian who bold die Sthui* wegiu on tlw horv. Otherwin they differ a good deal in 
 the nratigaaeot. A* there she eased caopeoioa pieces to the other pidnrM, it very Ukely bafaui^ 
 to CO* wtdrh n iptaee h tt d the reconciliatloe ef dw tnm«n. ud the fttlf— 
 
 
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