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.