FLEMISH AND DUTCH SCHOOLS
B-78. Landscape. (25½X33.) Jacobus van Artois.
From the collection of Marshal Oudinot.
(Bryan Collection.)
B-79. Landscape. (12½X17.) Jan Asselyn.
(Bryan Collection.)
B-80. Landscape. (19½X15½.) School of Asselyn.
(Bryan Collection.)
B-81. Marine View. (16½X24.) Ludolf Bakhuysen.
(Bryan Collection.)
B-82. A large Marine View. (60X54.) School of Bakhuysen.
(Bryan Collection.)
B-83. Marine View. (24X31.) School of Bakhuysen.
(Bryan Collection.)
B-84. Winter Scene. (35½X52.) Jan Beerestraten.
This is the finest specimen of the Master ever seen by the donor. It graced the collection of Cardinal Fesch.
(Bryan Collection.)
B-85. Boors Regaling. (29X24.) Cornelius Bega.
(Bryan Collection.)
B-86. Landscape. (33X44.) Dirk van Bergen.
This is not a remarkable, though it is an authentic, specimen of the Master, and is signed.
(Bryan Collection.)
B-87. Italian Scenery, and Figures in Italian Costume. (16X20.) Nicholas Berghem.
Dated and signed "Berchem," his true signature, and a superb specimen of this Master.
(Bryan Collection.)
B-88. Landscape, with Oxen at the Plough. (15X20½.) Copy of Nicholas Berghem.
This picture was considered a Berghem by the Comte de Turenne, in the catalogue of his collection.
(Bryan Collection.)
B-89. Cattle and Herdsmen. (13½X11.) Nicholas Berghem.
This little picture, though much injured, is unquestionably authentic.
(Bryan Collection.)
B-90. Cattle Market. (29X38½.) Petrus van Bloemen.
The ruined buildings near which the cattle are grouped, are the remains of the Palace of the Cæsars, Rome.
(Bryan Collection.)
B-101. PORTRAIT OF A JANSENIST.
PHILLIPPE DE CHAMPAGNE.
(BRYAN COLLECTION)
B-91. Halt of Soldiers. (29X38½.) Petrus van Bloemen.
These two pictures were engraved as the works of De Laer, by an English engraver, in 1769; an error of names but not of appreciation at that time, when De Laer was rated with Wouwermans.
(Bryan Collection.)
B-92. Halt of Cavaliers. (10X11.) Petrus van Bloemen.
This is in his Flemish style.
(Bryan Collection.)
B-93. Landscape. (18½X24.) Jan Both.
(Bryan Collection.)
B-94. Landscape. (15X12½.) Jan Both.
(Bryan Collection.)
B-95. Italian Landscape: Sunrise. (21X27½.) Jan Both.
(Bryan Collection.)
B-96. Italian Landscape: Sunset. (21X27.) Jan Both.
B-95 and B-96 are companion pictures: the spirited figures are by Lingelbach.
(Bryan Collection.)
B-97. Interior of a Tavern. (15½X13.) Renier Brakenburg.
It is signed both by Brakenburg and Jan Steen, and bears everywhere marks of the careful assistance of the latter.
(Bryan Collection.)
B-98. A Presentation to the Temple. (28X22½.) Leonard Bramer.
Signed and dated. Bought from J. Vollmering in New York city. It is as fine as Rembrandt's best works. The senior of Rembrandt, he appears to have led the way for him in his shades.
(Bryan Collection.)
B-99. Robber examining Coin by Day-light. (9X6.) Adrian Brower.
This Master was much respected by Rubens.
(Bryan Collection.)
B-100. Robber examining Coin by Candle-light. (8X6½.) Adrian Brower.
(Bryan Collection.)
B-101. Portrait of a Jansenist. (41½X41½.) Round. Phillippe de Champagne.
This picture is an excellent specimen of the Master. Collection of Mr. Vien, artist.
(Bryan Collection.)
B-102. St. Paul. (20X16.) Phillippe de Champagne.
(Bryan Collection.)
B-103. Cattle in a Landscape. (15X13½.) Albert Klomp.
(Bryan Collection.)
B-104. An Equestrian Portrait. (19X16.) Gonzales Coques.
The picture gives but a feeble idea of the merit of the painter.
(Bryan Collection.)
B-105. Cattle and Figures in a Landscape. (22X26½.) Albert Cuyp.
(Bryan Collection.)
B-106. Portraits of the Burgomaster d'Eyselyhn of Rotterdam, and his family. (41X59.) Jacob G. Cuyp.
The landscape is probably not by Cuyp.
(Bryan Collection.)
B-107. Landscape, with Figures. (24X20½.) Guillam Dubois.
The similarity of many parts of this picture to the works of Ruysdael is so great, that some dealer, more keen than honest, had placed his signature over that of the actual painter. Upon cleaning the picture, the fictitious signature, of course, disappeared, and that of Dubois, with the date, 1652, was brought to light; and hence results the unmerited obscurity of a landscape painter of no mean powers who preceded Ruysdael, and whose works are important in the history of art, as showing the origin of that Master's style of treating foliage.
(Bryan Collection.)
B-108. Landscape. (15½X21.) John Renier de Vries.
(Bryan Collection.)
B-109. The Presentation at the Temple. (31X25½.) Christian W. E. Dietrich.
This is the first picture bought by the donor, in Europe.
(Bryan Collection.)
B-110. Abraham discarding Hagar. (28½X24.) Christian W. E. Dietrich.
(Bryan Collection.)
B-111. The Crucifixion. (31½X20½.) Anthony van Dyck.
(Bryan Collection.)
B-112. Portrait of a Lady. (42½X35½.) Anthony van Dyck.
This picture belonged to General D'Espinoy's large and famous collection of portraits. It was covered with the dust of time; and the Cupid, which the donor found in perfect preservation, had been painted out by some sacrilegious hand.
(Bryan Collection.)
B-113. Portrait of Charles I. (30½X39.) Anthony van Dyck.
The monarch is represented on the same canvas in front, profile, and three-quarter view. The object in presenting such a picture was, as the reader will remember, to enable the Italian sculptor, Bernini, who had not seen Charles, to model a bust.
(Bryan Collection.)
B-114. The Artist in his Atelier. (12X15.) Gerard Douw.
(Bryan Collection.)
B-115. The Continence of Scipio. (52X67.) Gerbrandt vanden Eeckhout.
This is the most celebrated of the Master's compositions, and is cited by Descamps as his chef d'œuvre. His pictures having been frequently changed into Rembrandts by picture-dealers, this specimen is the finest and purest which the donor has met with.
(Bryan Collection.)
B-116. The Crucifixion. (15X14½.) Jan van Eyck.
The cross upon which the dead Christ is suspended occupies the middle of the composition. On the left, St. John sustains the fainting Virgin, behind whom kneels the churchman for whom the picture was painted. His name, Fr(ater) Aurelius de Emael, is written in German-text across his figure. Behind him is a weeping female figure; on the left is a group of dignitaries and soldiers. A landscape, in which the towers of a distant city appear, closes the scene. Underneath the left arm of the cross appears the legend, Vere Filius Dei erat iste, in Roman characters of the epoch, which ceased to be used after the time when the painting in oil commenced. The forms in the Christ are somewhat meagre, but the anatomy is remarkably correct and particular. The expression in the faces of the several figures is marked. Modern art rarely shows us finer expression. The picture is slightly but admirably restored in the left arm of the cross, and a portion of the legend. It is of unquestionable authenticity and the extremest rarity.
(Bryan Collection.)
B-117. Landscape, with Figures. (22X36.) Jacques Fouquières.
(Bryan Collection.)
B-118. Landscape. (26X39½.) Jan Glauber.
It is unrivalled by any production of the Master known to the donor, and is worthy of Claude, to whom it has been attributed by some of the most distinguished experts of Europe. The figures are by Gerard de Lairesse.
(Bryan Collection.)
B-119. Castle and Seaport. (14X23.) John van Goyen.
Bought in New York city.
(Bryan Collection.)
B-120. Dogs and Game. (16X21.) Anthony Griff.
This little picture is a fair specimen of the Master.
(Bryan Collection.)
B-121. The Marriage of St. Catherine. (36X27½.) Oval Top. Jan Memling.
The picture is in remarkably fine condition, and, aside from its intrinsic merit, is important in the history of Art. When purchased by the donor, its beauties were hidden beneath the accumulated blackness of ages; otherwise a private American fortune would have failed to obtain it, as the Director of the National Academy of Brussels, partly suspecting its value, was a competitor for its possession. It was purchased at the sale of the well-known Collection Quedeville.
(Bryan Collection.)
B-122. The Annunciation. (17X17.) Copy from Jan Memling.
This picture, as well as the preceding, is from the Collection Quedeville, and was supposed, for a long time, by some, to be an original; but a comparison of it with the "Marriage of St. Catherine," just noticed, will soon convince even the least practised eye of the error of this belief.
(Bryan Collection.)
B-123. View of an old City on the Rhine. (18½X25.) Jan van der Heyden.
(Bryan Collection.)
B-124. Landscape. (25X32½.) School of Mindert Hobbema.
(Bryan Collection.)
B-116. THE CRUCIFIXION.
JAN VAN EYCK.
(BRYAN COLLECTION)
B-125. Landscape. (25½X30.) Cornelius Huysmans, of Mechlin.
This is the finest easel-picture of this Master known to the donor. One inferior to it in every respect was placed by the side of a Hobbema at the exhibition of the British Institution, 1851, and sustained itself.
(Bryan Collection.)
B-126. Portrait. (25X20.) Karl du Jardin.
Portraits by this Master are very rare.
(Bryan Collection.)
B-127. Landscape, with Figures. (24X21.) Karl du Jardin.
The signature is in script, K. du Jardin; an unusual one for the Master, who almost always signed in Roman letters.
(Bryan Collection.)
B-128. Landscape: Cattle and Figures. (14X21.) Jan Kobell.
Purchased in New York city.
(Bryan Collection.)
B-129. Portrait. (48½X39½.) Sir Peter Lely.
This is the portrait of a sister to the Duke whose portrait, representing him holding an orange, is in the Louvre, and which was long attributed to Vandyke; and the donor, with due deference, declares both portraits to be painted by the same artist—Sir Peter Lely. It is from the collection of Drolling, artist.
(Bryan Collection.)
B-130. Portrait. (17X13.) Nicholas Maas.
(Bryan Collection.)
B-131. Virgin and Child, with Cherubs. (13½X10.) Oval Top. Jan de Mabuse.
(Bryan Collection.)
B-132. Virgin and Child. (27½X22.) Jan de Mabuse.
This picture in its composition and expression shows the influence of the painter's study in Italy.
(Bryan Collection.)
B-133. A Triptique. (28X39½.) Quintin Matsys.
Bodily rather than mental suffering is portrayed in this picture by a painter who sought expression alone. His Misers, in the English Queen's collection, is the connecting link between the early and the more modern Flemish art.
(Bryan Collection.)
B-134. Boors regaling. (12½X9½.) Jan Molenaer.
(Bryan Collection.)
B-135. Winter Scene. (31X44½.) Nicholas Molenaer.
(Bryan Collection.)
B-136. Landscape. (14X18½.) Frederick Moucheron.
This picture is signed by the artist.
(Bryan Collection.)
B-137. Landscape. (18X21½.) Frederick Moucheron.
Bought in New York City.
(Bryan Collection.)
B-138. Portrait. (12X11.) Jan van Neck.
This picture is from the gallery of Cardinal Fesch, at the sale of which it was purchased,—but not by the donor,—as by Netscher, the true signature being covered by the false one of Netscher.
(Bryan Collection.)
B-139. Landscape by Moonlight. (24½X35.) Arnold van der Neer.
(Bryan Collection.)
B-140. The Interior of a Cathedral. (14X18.) Peter Neefs.
The figures are by Franck and the picture is signed by both masters.
(Bryan Collection.)
B-141. Portrait of Madame de Montespan. (19½X15.) Caspar Netscher.
The Duchess sits near a small table, playing upon the harp; at her feet sits her son, the Duc de Maine. The artist has intended to represent the lady as St. Cecilia. The anvil, hammers, and balance, introduced into the painter's design, are allusions to the discovery of the musical octave by Pythagoras, and also her sitting upon a celestial globe typical of the music of the spheres.
(Bryan Collection.)
B-142. A Carnival Scene. Twelfth Night. (66½X92.) Jacob van Oost.
(Bryan Collection.)
B-143. A Lady playing with a Dog. (37X30.) Jacob van Ochterveldt.
(Bryan Collection.)
B-152. PORTRAIT.
PAUL REMBRANDT.
(BRYAN COLLECTION)
B-144. Portraits of the Painter's Wife and Child. (11½X10.) Adrian Van Ostade.
From the collection of Cardinal Fesch.
(Bryan Collection.)
B-145. Head of a Boor. (5X4½.) School of Ostade.
(Bryan Collection.)
B-146. A Dutch School. (13X16.) Isaac van Ostade.
From the Da Costa Collection.
(Bryan Collection.)
B-147. Landscape, with Figures. (6X7½.) Cornelius Poelemburg.
(Bryan Collection.)
B-148. Portrait of Henri IV. (15X9½.) Francis Porbus.
(Bryan Collection.)
B-149. A Nobleman and Lady. (14X11.) Francis Porbus.
Leaving a chateau, to promenade in the garden.
(Bryan Collection.)
B-150. A Waggoner, Horse, and Greyhound. (8X15½.) School of Paul Potter.
(Bryan Collection.)
B-151. Battle-Piece. (20X23.) Augustus Querfurt.
The group of Hercules and the Lion standing upon a Pedestal near the middle of the picture will remind one of Rubens. (No. B-161).
(Bryan Collection.)
B-152. Portrait. (27X21.) Paul Rembrandt.
This portrait is signed with the R., the early signature of the Master. It was bought at the sale of the celebrated miniature painter Saint, to whom it belonged, by Mr. Rœhn, the celebrated connoisseur, and was sold by him as Rembrandt's to Mr. Jecker, the same who left his important collection of prints to the Bibliothèque National at Paris.
(Bryan Collection.)
B-153. Tobit and the Angel. (18X13.) Copy from Paul Rembrandt.
Copied by Schuerman from the original in the Louvre.
(Bryan Collection.)
B-154. Holy Family. (15X12½.) Copy from Paul Rembrandt.
The copy is also by Schuerman, who died in 1847.
(Bryan Collection.)
B-155. Portrait of an Abbé. (20X17.) School of Paul Rembrandt.
(Bryan Collection.)
B-156. St. John preaching. (29½X42.) Theodore Rombouts.
In a former catalogue this picture was classed among unknown artists. The donor has since discovered it to be by Rombouts. From the collection of General Desport.
(Bryan Collection.)
B-157. View of a Windmill on a Canal. (10½X12½.) Theodore Rombouts.
Signed by the artist. Bought in New York city.
(Bryan Collection.)
B-158. St. Catherine. (38½X28½.) Peter Paul Rubens.
There are but six pictures of this quality of color by Rubens, known to the donor. Three are in the Louvre, one is over the painter's tomb, one is the famous Chapeau de Paille, and the other is before us. It was brought from a church in the neighborhood of Brussels, by Nieuwen-huysen, the elder, and sold to the Count Perregeau.
(Bryan Collection.)
B-159. Christ bearing the Cross. (59X24½.) Peter Paul Rubens.
This picture is especially valuable for historical considerations, as being the only one which Rubens is known to have painted on cedar panel. It formed one compartment of a triptique in the Cathedral of Antwerp. The centre compartment represented the Flagellation of Christ.
The donor has the authority of Mr. Heris for the authenticity of this picture, and the locality from which it was stolen.
(Bryan Collection.)
B-160. Portrait of a Knight of the Order of the Golden Fleece. (44X33.) Peter Paul Rubens.
This picture is from the collection of Louis Philippe, King of the French, and was supposed to be by Vandyke.
(Bryan Collection.)
B-160. PORTRAIT OF A KNIGHT OF THE ORDER OF THE GOLDEN FLEECE.
PETER PAUL RUBENS.
(BRYAN COLLECTION)
B-161. Hercules strangling the Nemean Lion. (80X67.) Peter Paul Rubens.
Several persons, whose opinions the donor highly respects, have denied the authenticity of this picture; but he thinks that, on a careful examination, its wonderful energy and muscular movement can be attributed to no other hand, no other head, than that of Rubens. It is the Belvidere Torso—that only acknowledged Master of Michael Angelo—put into action, and was doubtless painted in Italy. It is known that Rubens attempted to draw the lion from nature, when he was irritated by his keeper. He made but a hasty sketch.
(Bryan Collection.)
B-162. Landscape, with Figures. (12X16½.) Peter Paul Rubens.
From an old chateau in Normandy.
(Bryan Collection.)
B-163. Ascension of the Virgin. (10X8.) Oval. Copy from Peter Paul Rubens.
This copy was made by Cornelius Poelemburg.
(Bryan Collection.)
B-164. Group of Christ, St. John, and two Angels. (10X11½.) Copy from Peter Paul Rubens.
(Bryan Collection.)
B-165. Satyr and Nymphs. (13X18½.) School of Rubens.
(Bryan Collection.)
B-166. Effect of Candle-light. (40½X31.) School of Rubens.
Copied from a well-known etching of Rubens.
(Bryan Collection.)
B-167. Distant View of Haarlem. (19X27½.) Jacob Ruysdael.
The figures in the foreground are by Vandevelde.
(Bryan Collection.)
B-168. Marine View. (30½X43.) Jacob Ruysdael.
The figures are by Vandevelde.
(Bryan Collection.)
B-169. Landscape, with Cattle. (22X17.) School of Ruysdael.
(Bryan Collection.)
B-170. Landscape. (14X21½.) Solomon Ruysdael.
(Bryan Collection.)
B-171. Dogs Worrying a Cat. (55X72.) Francis Snyders.
The landscape by Wildens, the cat by Oudry, by whom it was added, and to whom the picture belonged. From the collection of Drolling, the artist.
(Bryan Collection.)
B-172. Still Life. (44X64.) Francis Snyders.
Collection of Marshal Oudinot.
(Bryan Collection.)
B-173. Interior: Family Scene. (29X37.) Jan Steen.
The patient is the painter's own wife; on the right are the Van Goyens, (her father and mother,) and Jan Steen himself stands on her left, regarding the operation with interest.
This picture, which is superior to the only specimen of the Master in the Louvre, was purchased from the Gallery of the Count De Turenne, the last of the family of the celebrated Marshal.
(Bryan Collection.)
B-174. Landscape and Figures. (11½X14½.) Jan Steen.
Signed by the artist, and bought in New York city.
(Bryan Collection.)
B-175. Incantation Scene. (14½X20.) David Teniers the Younger.
This picture is unsurpassed by any other of the Master; and if ever equalled, it is only by one in the Gallery of Madrid, representing Teniers himself, painting the portrait of the Grand Duke Leopold and his family; a picture which makes painters wonder and despair. Collection Sylvestre.
(Bryan Collection.)
B-176. Village Fête. (18½X28½.) David Teniers the Younger.
Collection Marshal Sebastiani.
(Bryan Collection.)
B-177. Village Fête. (17½X20.) David Teniers the Younger.
A picture similar in subject but inferior in treatment to the preceding; probably executed in old age.
(Bryan Collection.)
B-182. WILLIAM, PRINCE OF ORANGE, (WILLIAM III.)
GERARD TERBURG.
(BRYAN COLLECTION)
B-178. Boors Regaling, and playing at Skittles. (11X14½.) David Teniers the Younger.
Collection Duc de Berri.
(Bryan Collection.)
B-179. Charles V. leaving the town of Dort. (23X39.) David Teniers the Younger.
The Emperor, in full armor, is about to descend the steps of a large building. The Archbishop gives him his blessing. Persons of dignity, in church and state, are grouped on all sides. In the background is the ship in which the Emperor is about to embark. This composition is filled with portraits; among which, in the figure bearing the standard on the extreme right, we recognize that of the Painter himself. Collection D'Espinoy.
(Bryan Collection.)
B-180. Parable of the Laborer who received a Penny. (22X17.) David Teniers the Younger.
In which is introduced the portrait of Rubens in his medal chain, also the portraits of Rembrandt and other artists and two children of Teniers. From the collection of Louis Philippe.
(Bryan Collection.)
B-181. Landscape and Figures. (9½X13½.) David Teniers the Younger.
A wonderful effect, and familiarly styled by painters as the "après déjeuner" manner. Bought in New York city.
(Bryan Collection.)
B-182. Portrait of William, Prince of Orange, (William III.) (30½X23.) Gerard Terburg.
This was supposed to be the portrait cited by Descamp as the one which William insisted that the artist should paint; he being a burgomaster devoted to the Prince's cause. It is signed "G. Terborch," the only genuine signature of the Master.
(Bryan Collection.)
B-183. Marine View. (25X29.) William van de Velde.
(Bryan Collection.)
B-184. Marine View. (12½X14.) William van de Velde.
From Collection Giroud, Paris.
(Bryan Collection.)
B-185. Marine View. (9½X12½.) William van de Velde.
Bought in Philadelphia.
(Bryan Collection.)
B-186. Landscape, with Animals. (9X11½.) Adrian van de Velde.
This picture, though small, gives a just idea of the power of the Master, from whose pencil the donor has never seen a feeble work; though Adrian may have adorned with his figures the compositions of inferior masters. This picture, together with the small landscape by Rubens (No. B-162), is from an old chateau in Normandy.
(Bryan Collection.)
B-187. Landscape, with Figures. (25X33.) Abraham Verboom.
So fine a specimen of the Master is rarely to be found. The group of figures, by Lingelbach, is almost worthy of Wouwermans.
(Bryan Collection.)
B-188. The Three Graces. (19X15½.) Chevalier van der Werf.
From Hunter's collection, New York.
(Bryan Collection.)
B-189. Ruins, with Figures. (22X17½.) Jan Baptist Weenix.
In the opinion of the donor, this picture, though striking at first, is extremely false in everything, like most others of this painter's works. It is from the collection of Cardinal Fesch.
(Bryan Collection.)
B-190. Travellers, by a River-side. (12X16.) Philip Wouwermans.
This picture has, unfortunately, been much injured in many places; but in the head and shoulders of the white horse may be found a specimen of the Master's style of painting; and the signature is unquestionably genuine.
(Bryan Collection.)
B-191. Departure of a Hawking Party of Nobles from a Baronial Castle. (43X51½.) Philip Wouwermans.
The largest picture in size and manner which the donor has seen by this Master. From the Meert collection, sold in New York, Dec., 1865.
(Bryan Collection.)
B-199. ST. GEORGE AND THE DRAGON.
ALBRECHT DÜRER.
(BRYAN COLLECTION)
B-192. The Burning and Sacking of a Town. (21X19.) Philip Wouwermans.
If not a copy, it is an early picture of the Master, and though meritorious, gives no idea of the fullness of his powers.
(Bryan Collection.)
B-193. Landscape. (8X10½.) Jan Wynants.
The equestrians and beggar in the foreground are by Barent Gaal. It is a fair specimen of the Master. Collection Giroud, Paris.
(Bryan Collection.)
B-194. Still Life. (7¾X10¼.) Henry Martin Rokes.
It, as well as the "Sorcery Scene," by Teniers, ornamented the collection of Mons. Sylvestre, whose ancestors have been either artists or connected with art since the year 1490. A noble pedigree. This artist inherited the name of Zorg (careful) from his father.
(Bryan Collection.)
B-195. Ruins, with Figures. (20X26.) Flemish School.
(Bryan Collection.)