Part 1

CATALOGUE

OF THE

GALLERY OF ART

OF

THE NEW YORK HISTORICAL SOCIETY

NEW YORK PRINTED FOR THE SOCIETY 1915

OFFICERS OF THE SOCIETY

PRESIDENT, JOHN ABEEL WEEKES.

FIRST VICE-PRESIDENT, WILLIAM MILLIGAN SLOANE.

SECOND VICE-PRESIDENT, WALTER LISPENARD SUYDAM.

THIRD VICE-PRESIDENT, GERARD BEEKMAN.

FOURTH VICE-PRESIDENT, FRANCIS ROBERT SCHELL.

FOREIGN CORRESPONDING SECRETARY, ARCHER MILTON HUNTINGTON.

DOMESTIC CORRESPONDING SECRETARY, JAMES BENEDICT.

RECORDING SECRETARY, FANCHER NICOLL.

TREASURER, FREDERIC DELANO WEEKES.

LIBRARIAN, ROBERT HENDRE KELBY.

EXECUTIVE COMMITTEE

FIRST CLASS--FOR ONE YEAR, ENDING 1916.

ACOSTA NICHOLS, STANLEY W. DEXTER, FREDERICK TREVOR HILL.

SECOND CLASS--FOR TWO YEARS, ENDING 1917.

FREDERIC DELANO WEEKES, PAUL R. TOWNE, R. HORACE GALLATIN.

THIRD CLASS--FOR THREE YEARS, ENDING 1918.

RICHARD HENRY GREENE, JAMES BENEDICT, ARCHER M. HUNTINGTON.

FOURTH CLASS--FOR FOUR YEARS, ENDING 1919.

BENJAMIN W. B. BROWN, J. ARCHIBALD MURRAY.

JAMES BENEDICT, _Chairman_.

ROBERT H. KELBY, _Secretary_.

[The President, Vice-Presidents, Recording Secretary, Treasurer, and Librarian are members of the Executive Committee.]

PREFACE

This catalogue describes the paintings in the Gallery of Art of The New York Historical Society, with two hundred and eighty-six miniatures, comprising the Marié Collection and seventy-six objects of Sculpture.

The New York Gallery of Fine Arts, presented to the Society in 1858, with paintings donated to the Society at various times, are numbered 1 to 488 inclusive. Any notice of this collection would be deficient which should fail to commemorate the name of Luman Reed, Patron of American Art. In this connection the Society was chiefly indebted to the liberality and cordial coöperation of one of their most valued members, who was himself the chief promoter of the original design of the New York Gallery of Fine Arts, Mr. Jonathan Sturges.

The Bryan Collection, presented to the Society in 1867 by the late Thomas J. Bryan, numbers three hundred and eighty-one paintings and are designated by the letter B. before each number.

The Durr Collection, presented to the Society in 1882 by the executors of the late Louis Durr, numbers, with subsequent additions, one hundred and eighty-one paintings, which are designated by the letter D. before each number.

Short biographical sketches of deceased artists represented in the above collections have been added, together with indexes to Artists, portraits and donors.

The Marié Collection of miniatures is arranged alphabetically by subjects and is not included in the index of portraits.

CONTENTS

PAGES

OFFICERS OF THE SOCIETY v

EXECUTIVE COMMITTEE vi

PREFACE vii

LIST OF ILLUSTRATIONS xi

SKETCH OF LUMAN REED 2

NEW YORK GALLERY OF FINE ARTS AND REED COLLECTION WITH PAINTINGS DONATED TO THE GALLERY OF THE SOCIETY 3-53

SKETCH OF THOMAS J. BRYAN 56

BRYAN COLLECTION OF PAINTINGS 57-100

SKETCH OF LOUIS DURR 102

DURR COLLECTION OF PAINTINGS 103-118

PETER MARIÉ COLLECTION OF MINIATURES 121-138

SCULPTURE 141-148

BIOGRAPHICAL SKETCHES OF ARTISTS 151-205

INDEX OF PORTRAITS 209-213

INDEX OF SCULPTURE 214

INDEX OF ARTISTS 215-220

INDEX OF DONORS 221-223

PRESIDENTS OF THE SOCIETY 224

ILLUSTRATIONS

FACING PAGE

PORTRAIT OF ASHER B. DURAND, by Himself 42

PORTRAIT OF THOMAS J. BRYAN, by W. O. Stone 56

A VIRGIN AND CHILD, WITH FOUR SAINTS, by Guido of Sienna 58

KNIGHTS AT A TOURNAMENT, by Giotto di Bondone 60

THE BIRTH OF ST. JOHN THE BAPTIST, by Uccello 62

ADORATION OF THE INFANT CHRIST, by Macrino d'Alba 64

THE CRUCIFIXION, by Andrea Mantegna 66

PORTRAIT OF A JANSENIST, by Phillippe De Champagne 68

THE CRUCIFIXION, by Jan Van Eyck 72

PORTRAIT, by Paul Rembrandt 74

PORTRAIT OF A KNIGHT OF THE ORDER OF THE GOLDEN FLEECE, by Rubens 76

WILLIAM, PRINCE OF ORANGE (WILLIAM III), by Gerard Terburg 78

ST. GEORGE AND THE DRAGON, by Albrecht Dürer 80

PORTRAITS OF TWO LADIES, by Largillière 86

PORTRAIT OF JOHN SINGLETON COPLEY, by Himself 90

PORTRAIT OF CHARLES WILSON PEALE, by Benjamin West 92

BUST OF LOUIS DURR, by Baerer 102

THE THREE MARYS, by Luini 116

THE NEW YORK GALLERY OF FINE ARTS

AND

REED COLLECTION

WITH PAINTINGS DONATED TO THE GALLERY OF THE SOCIETY

LUMAN REED

Luman Reed was born in Green River, Columbia County, N. Y., in 1785, and died in 1836. He removed when a boy to Coxsackie, N. Y., where he was educated in an ordinary school at the expense of an uncle. Later he was employed in a country store and subsequently became the partner and brother-in-law of his employer.

He made frequent trips to New York City on a sloop called the "Shakespeare," belonging to the firm, selling produce of the farms around Coxsackie and purchasing goods in New York for his country store. Later he became a merchant in New York and between the years 1815 and 1832 he gained a fortune. It was then that he began to gratify other instincts and art attracted his attention. He became the patron of American Art and sought the acquaintance of artists, interesting himself in their labors, giving them many commissions for work.

Mr. Reed lived at 13 Greenwich Street, this city, the third story of which building he used as a picture gallery, to which visitors were admitted one day each week. This room was also a meeting place for the artists and literary men of the time. The paintings after Mr. Reed's death were purchased by his friends and subsequently constituted the New York Gallery of Fine Arts which, after an uncertain existence of about twelve years, was forced to close its affairs. Eighty of these paintings, presented in 1858, are now in the possession of this Society and known as the New York Gallery of Fine Arts.

The death of Mr. Reed was greatly lamented by the artists of his time and his name has come down to this generation as the Patron of American Art.

CATALOGUE

OF THE

GALLERY OF ART

NO. SUBJECTS OF PAINTINGS. ARTISTS.

1-5. The Course of Empire. _Thomas Cole._

A series of five pictures, illustrating a nation's rise, progress, greatness, decline, and fall, and the consequent changes in the same landscape.

NOTE.--The isolated rock, crowning a precipitous hill, in the distance, identifies the scenes in each of the series; but the observer's position varies in the several pictures.

"First freedom, and then glory, when that fails, Wealth, vice, corruption."

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

[FIRST OF THE SERIES.]

1. The "Savage State," or "Commencement of Empire." (61½X39.)

The sun is rising from the sea, over a wild scene of rocks, forests, and mountains, dissipating the clouds and darkness of night. Man, attired in skins, is seen engaged in the wild dance and the chase--the characteristic occupations of the savage life. In the picture, we have the first rudiments of society. Men have banded together for mutual aid. The useful arts have commenced in the construction of the canoe, the weapon, and the hut; and we may imagine the germs of two of the fine arts, music and poetry, in the singing usually accompanying the dance of the savage. The empire is asserted, to a limited extent, over sea, land, and the animal kingdom. It is the season of Spring--the morning of the nation's existence.

[SECOND OF THE SERIES.]

2. "The Arcadian," or "Pastoral State." (62½X39.)

Ages have passed; a change has been wrought in the scene--man has subjugated "the untracked and rude." We now see the shepherd and his flocks; the ploughman upturning the soil, and the wafting sail; by the shore a village, and on the hill the ascending smoke of sacrifice. In this picture we have agriculture, commerce, and religion. In the aged man describing the mathematical figure, the rude attempt of the boy in drawing; in the female figure with the distaff, the vessel on the stocks; in the primitive temple, and the dance of the peasants to the music of the pipe, we have evidence of the advance made in science, in the useful and the fine arts.

It is early Summer, and the sun has ascended midway to the meridian.

[THIRD OF THE SERIES.]

3. "The Consummation of Empire." (75X50½.)

The rude village has become a magnificent city. From the bay--now a capacious harbor, with _phari_ at the entrance, and thronged with war-galleys, and barks with silken sails--ascend piles of architecture, temples, domes, and colonnades. The massive bridge, the streets and squares, lined with palaces and adorned with statuary, clustered columns, and sparkling fountains, are crowded with gorgeous pageants and triumphal processions. It is a day of triumph--man has conquered man--nations have been subjugated. By wealth and power, knowledge, art, and taste, man has achieved the summit of human grandeur.

The sun is near the meridian.

[FOURTH OF THE SERIES.]

4. "Destruction." (62½X38½.)

Ages have passed away since the scene of glory. Luxury has enervated, vice has debased, and the strength of the mighty nation has consumed away. A barbarous enemy sacks the city. The heavens are darkened by a tempest, and the storm of war rages beneath, amid falling walls and colonnades, and the flames of temples and palaces.

[FIFTH OF THE SERIES.]

5. "Desolation." (61X39½.)

The moon ascends the twilight sky, near where the sun rose in the first picture. The last rays of the departed sun illumine a lonely column of the once proud city, on whose capital the heron has built her nest. The shades of evening steal over shattered and ivy-grown ruins. The steep promontory, with its insulated rock, still rears against the sky, unmoved, unchanged; but violence and time have crumbled the works of man, and art is again resolving into elemental nature. The gorgeous pageant has passed; the roar of battle has ceased; the multitude has sunk in the dust; the empire is extinct.

6. Portrait of John Adams, (1735-1826.) (25X30.) _A. B. Durand._

From the original by STUART.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

7. Portrait of John Quincy Adams, (1767-1848.) (25X30.) _A. B. Durand._

Taken from life, in 1834.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

8. Portrait of James Monroe, (1758-1831.) (25X30.) _A. B. Durand._

From the original by STUART.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

9. Portrait of Thomas Jefferson, (1743-1826.) (25X30.) _A. B. Durand._

From the original by STUART.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

10. Portrait of James Madison, (1751-1836.) (25X30.) _A. B. Durand._

From the original, by STUART, at Bowdoin College, Maine.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

11. Portrait of Andrew Jackson, (1767-1845.) (25X30.) _A. B. Durand._

Painted from life, in 1835.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

12. The Chess-Players--Check Mate. (56X44.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

13. Marine View. (36X25.) _Thomas Birch._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

14. View from Froster Hill, Gloucestershire, England. (24X18.) _Andrew Richardson._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

15. The Goblet and Lemon. (27X32.) _W. Van Aelst._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

16. Falstaff enacting Henry IV. (29X36.) _George W. Flagg._

_Prince Henry._--Do thou stand for my father, and examine me upon the particulars of my life.

_Falstaff._--Shall I? Content:--this chair shall be my state, this dagger my sceptre, and this cushion my crown.

_King Henry IV._, Part i., Act ii., Scene 4.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

17. An Allegory--Death and Immortality--Antique. (18½X14½.) _Italian School._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

18. Madonna and Infant. (16½X22½.) _German School._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

19. Landscape--Composition--Italian Scenery.(54X37.) _Thomas Cole._

"O, Italy! how beautiful thou art! Yet I could weep, for thou art lying, alas! Low in the dust, and they who come, admire thee As we admire the beautiful in death."

_Rogers' Italy._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

20. Sleeping Female. (19X24.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

21. The Little Savoyard. (18X22.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

22. Rebecca. (16X20.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

23. The Truant Gamblers. (30X24.) _William S. Mount._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

24. Interior--Dutch Apothecary Shop.(24½X18.) _Roelof Pietersz._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

25. Pan and Midas. (24X28.) _Hubert Goltzius._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

26. The Pedlar displaying his Wares. (34X24.) _A. B. Durand._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

27. The Woodchopper's Boy. (25X30.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

28. Wrath of Peter Stuyvesant on learning the capture, by treachery, of Fort Casimir. (30X24.) _A. B. Durand._

"On receiving these direful tidings, the valiant Peter started from his seat--dashed the pipe he was smoking against the back of the chimney--thrust a prodigious quid of tobacco into his left cheek--pulled up his galligaskins, and strode up and down the room, humming, as was customary with him when in a passion, a hideous northwest ditty."--_Knickerbocker's New York_, Book vi. chap. 2.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

29. Madonna, Infant, and St. Ann. (29X28.) _Italian School._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

30. The Match-Girl, (London.) (25X30.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

31. Moonlight. (32X24½.) _Thomas Cole._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

32. Portrait of George Washington, (1732-1799.) (25X30.) _A. B. Durand._

From the standard original, by STUART, in the gallery of the Boston Athenæum.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

33. Lady and Parrot. (29X36.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

34. The Nun. (24X30.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

35. Wreath of Flowers, encircling Coat-of-Arms and Miniature of the Duke of Austria, 1658. (33X46.) _J. Marrel._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

36. Lady Jane Grey preparing for execution. (45X56.) _George W. Flagg._

"After uttering these words, she caused herself to be disrobed by her women; and with a _steady, serene countenance_ submitted herself to the executioner."--_Hume_, chap. xxxvi.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

37. Assumption of the Virgin. (25X19.) _Annibale Caracci._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

38. Portrait of Martha Washington, (1732-1802.) (22X26.) _A. B. Durand._

From the original, by STUART, in the Boston Athenæum.

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

39. Portrait of a Young Lady, taken in 1608. (27X33.) _Flemish School._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

40. The Huntsman's Tent--Game and Dogs after a Hunt, (50X64.) _John Fyt._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

41. Mother Child, and Butterfly. (24X30.) _George W. Flagg._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

42. Autumn Scene--Conway Peak, White Mountains, N. H. (19½X14.) _Thomas Cole._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

43. Dogs Fighting. (20½X16.) _George Morland._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

44. View on Catskill Creek. (24X16.) _Thomas Cole._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

45. Landscape. (13X10.) _Dutch School._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

46. Summer Sunset. (19½X14.) _Thomas Cole._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

47. Old English Sportsman. (24X19.) _George Morland._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

48. Murder of the Princes. (44X56.) _George W. Flagg._

ENTER TYRRELL.

"_Tyr._--The tyrannous and bloody act is done: The most arch deed of piteous massacre That ever yet this land was guilty of. Dighton and Forrest whom I did suborn To do this piece of ruthless butchery, Albeit they were flesh'd villains, bloody dogs, Melting with tenderness and mild compassion, Wept like two children in their death's sad story. _O thus_, quoth Dighton, _lay the gentle babes_, _Which once_, quoth Forrest, _girdling one another_ _Within their alabaster innocent arms;_ _Their lips were four red roses on a stalk,_ _Which in their summer beauty, kiss'd each other._ _A book of prayers on their pillow lay:_ _Which once_, quoth Forrest, _almost changed my mind:_ _But O, the Devil_,--there the villain stopp'd."

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

49. Miniature. (3X2½.) Dutch Enamel. _A. B. Durand._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

50. Boors Gambling. (10X7.) _After Teniers._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

51. Wreath of Flowers, encircling Holy Family--Antique. (11X12.) _Italian School._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

52. The Old Fiddler. (10X8.) _After Teniers._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

53. Miniature. (3½X2½.) Dutch Enamel. _Italian School._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

54. A Magdalen. (18X14.) _After Correggio._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

55. View near Bridgeport, Connecticut. (19X13.) _Andrew Richardson._

(_Reed Collection._)

(_New York Gallery of Fine Arts._)

56. Portrait of Luman Reed, (1785-1836.) (25X30.) _A. B. Durand._

Patron of American Art.

Presented by the Artist.

(_New York Gallery of Fine Arts._)

57. The Fortune-Teller. (52X42.) _William S. Mount._

The figures in this picture are portraits of Mrs. Amelia Longbotham, as fortune-teller, and the young girl, Edna Bostwick.

Presented by the Artist.

(_New York Gallery of Fine Arts._)

58. Landscape. (36X26.) _C. P. Cranch._

(_New York Gallery of Fine Arts._)

59. Bargaining for a Horse. (30X24.) _William S. Mount._

"Seth suspended for a moment the whittling his twig, and there seemed a crisis in the argument--_a silent pause_--when a shrill voice from the front gate adjourned the meeting instanter. It was the voice of Aunt Nabby herself, breathing authority and hospitality:--_Joshua, come to dinner, and bring the folks along with you."--Jack Downing's Jour., N. Y. Gazette,_ Oct. 28, 1835.

(_New York Gallery of Fine Arts._)

60. Portrait of Sir Charles L. Eastlake, Artist, (1793-1865.) (44X56.) _Daniel Huntington._

(_New York Gallery of Fine Arts._)

61. Flora. (17½X22½) _Jean Raoux._

Presented by S. M. Chester.

(_New York Gallery of Fine Arts._)

62. The Vale and Temple of Segestae, Sicily. (65½X44.) _Thomas Cole._

"Midway between Palermo and Segestae, the broad slopes of an ample valley lie before the traveller. In the depth is a river meandering among fragrant oleanders; on the left the valley is intersected by a range of distant mountains; on the right is a beautiful bay of the Mediterranean. Across the valley, the mountains form a green amphitheatre, and high in a remote part is seen the Temple of Segestae."--_Notes of the Artist made on a Tour in Sicily._

Presented by the Artist.

(_New York Gallery of Fine Arts._)

63. A Venetian Senator. (25X30.) _Cornelius Ver Bryck._

(_New York Gallery of Fine Arts._)

64. The Black Plume. (29X36.) _Charles C. Ingham._

Presented by the Artist.

(_New York Gallery of Fine Arts._)

65. Portrait of Lafayette, (1757-1834.) (25X30.) _Charles C. Ingham._

Painted from life in 1825, and is the _original_ head from which was made the full-length portrait for the State, now in the State Department, Albany.

Presented by the Artist.

(_New York Gallery of Fine Arts._)

66. Landscape, Moonlight. (37X25.) _Tempesta._

From the collection of Cardinal Fesch.

Presented by Miss Eliza Hicks.

(_New York Gallery of Fine Arts._)

67. The Young Gourmand. (11X13.) _Frederick W. Philip._

(_New York Gallery of Fine Arts._)

68. Portrait of Gevartius. (28X36.) From VAN DYCK. _John Trumbull._

(_New York Gallery of Fine Arts._)

69. Portrait of Rembrandt. (25X33.) From the original. _John G. Chapman._

Presented by the Artist.

(_New York Gallery of Fine Arts._)

70. Portrait of Pietro Aretino, the Satirist (31X37.) _John G. Chapman._

From the original, by TITIAN, in the Pitti Palace, Florence.

Presented by the Artist.

(_New York Gallery of Fine Arts._)

71. The Image-Pedler. (42X33.) _Francis W. Edmonds._

Presented by the Artist.

(_New York Gallery of Fine Arts._)

72. The Dutch Bible. (22½X18.) _Cornelius Ver Bryck._

Presented by Daniel Huntington.

(_New York Gallery of Fine Arts._)

73. Portrait of a Revolutionary Officer (Gen. E. Huntington?) (20X24.) _John Trumbull._

(_New York Gallery of Fine Arts._)

74. Portrait of Dr. Maurice Swabey. (25X30.) _John Trumbull._

An Associate Commissioner with Col. Trumbull at London, 1796.

(_New York Gallery of Fine Arts._)

75. Landscape--Composition. "The Old Oak." (48X36.) _A. B. Durand._

Presented by the Artist.

(_New York Gallery of Fine Arts._)

76. Portrait of Nicholas Fish, (1758-1833.) (25X30.) _James H. Shegogue._

From the original by INMAN.

Presented by Mrs. Nicholas Fish.

(_New York Gallery of Fine Arts._)

77. Portrait of a Lady, (fancy.) (39X59.) _George W. Flagg._

Presented by the Artist.

(_New York Gallery of Fine Arts._)

78. A Window-Scene. (14X17½.)

(_New York Gallery of Fine Arts._)

79. View near Sandy Hill, New York. (20½x13½.) Water-color. _William G. Wall._

Presented by Grant Thorburn.

(_New York Gallery of Fine Arts._)

80. Portrait of Macready in character as William Tell. (25X30.) _Thomas S. Cummings._

From the original by H. INMAN.

Presented by the Artist.

(_New York Gallery of Fine Arts._)

81. Portrait of Egbert Benson, (1746-1833.) (22X26.) _John Wesley Jarvis._