Part 5

Very few Raphaels of this period exist. Those which are in the Vatican and the Louvre, show, in style and handling, an exact similarity to these pictures, which is absolutely conclusive. The donor wishes it to be understood, that, in his opinion, and in that of some of the accomplished and practised experts in Europe, there is not the slightest doubt of the authenticity of these pictures. Only the inexperienced and the uncultivated fail to trace in them the pencil of the divine RAPHAEL.

(_Bryan Collection._)

B-26. Madonna and Child. (28X21½.) _Copy from Raphael._

An old and admirably executed copy of the Bridgewater Madonna.

(_Bryan Collection._)

B-27. Dance of Cupids. (7X10.) _Copy from Raphael._

Nine Cupids dance in a ring. On the left, one plays upon double pipes; on the right, another sits upon the ground. This copy is very fine, as it may well be, having been made by no less distinguished an artist than SASSOFERRATO himself.

(_Bryan Collection._)

B-28. St. George, and St. Anthony of Padua. (47X22½.) _Gaudenzio Ferrari._

(_Bryan Collection._)

B-29. Martyrdom of St. Bartholomew. (17X28.) _Fra Bartolomeo._

(_Bryan Collection._)

B-30. The Repose in Egypt. (29½X35.) _Giorgione._

No. B-17 is a specimen of the ancient Venetian style, which should be examined in connection with these productions of the glorious days of that school.

(_Bryan Collection._)

B-31. Prince of Palermo--in Disguise. (22X17½.) _Giorgione._

Similar to that in the Royal Gallery of Naples, it is distinguished by the Prince holding a flute, and not a staff, a ring on his finger and an amulet in his fur cap. From the collection of the Marquis Sommariva.

(_Bryan Collection._)

B-32. A Concert. (31X37½.) _Copy from Giorgione, by Watteau._

Two men and a naked female sit in the open air, diverting themselves with music. Another female figure peers at the group from the shrubbery, which is not in the original, but found only in Watteau's Pastiche, No. B-247.

(_Bryan Collection._)

B-33. The Repose in Egypt. (32½X41½.) _Titian._

This composition was repeated many times by TITIAN, and without great variation. This repetition is distinguished by the absence of some figures in the background, and the introduction of a rivulet in the foreground, and a butterfly upon a flower in the right corner. It has twice been found necessary to remove the picture from its canvas: the drapery of the Virgin has suffered somewhat from this and other causes; the other parts of the picture are somewhat injured.

(_Bryan Collection._)

B-34. Portrait of a Lady. (43X40.) _Style of Titian._

From the collection of R. W. Meade, of Philadelphia.

(_Bryan Collection._)

B-35. St. Jerome, in his Study. (39X29.) _School of Titian._

Probably a copy by ODVARDO FIALETTI, scholar of TINTORETTO. This is a large copy of a print by ALBRECHT DÜRER. Its color shows it evidently to be of the Venetian School.

(_Bryan Collection._)

B-36. Virgin and Child. (43X36.) Oval. _School of Titian._

This picture came from the Gallery of Louis Philippe, and on the back was written "_Dans la Chambre du Prince._"

(_Bryan Collection._)

B-37. Portrait of a Presbyter. (20½X16½.) _Tintoretto._

(_Bryan Collection._)

B-38. St. Benedict. (91X54.) Oval Top. _Francesco Zucco._

The Saint is prostrate before an altar, receiving the black stole from the Virgin: the head of the Saint is worthy the palette of Titian. Signed and dated. Found in New York, by the donor.

(_Bryan Collection._)

B-39. Abraham discarding Hagar and Ishmael. (24½X19½.) _Paul Veronese._

(_Bryan Collection._)

B-40. Portrait of Charles, Constable de Bourbon. (23½X19.) _Ludovico Brea._

From the collection of General D'Espinoy.

(_Bryan Collection._)

B-41. Christ Shown to the Multitude. (45X40.) _Sebastiano del Piombo._

This picture, which is in very fine condition, and the principal figure in which much resembles that in the famous picture of _Christ looking into Hell_, in the Royal Gallery of Madrid, was purchased by the donor in Rome.

(_Bryan Collection._)

B-42. Virgin and Child, with Angels. (44X34½.) _Andrea del Sarto._

(_Bryan Collection._)

EARLY FLORENTINE SCHOOL

B-43. Virgin and Child, with St. John. (10X81.)

It will be noticed that gold is used freely in the halos, and upon the draperies, which fall in somewhat stiff but ample and not unpleasing folds. This picture is from the collection of the Abbé GENOUDE, known as the translator of the Bible, by which he accumulated a fortune.

(_Bryan Collection._)

B-44. Adoration of the Shepherds. (35½X34.)

This picture is from the collection of the Sylvestre family, and was once improperly attributed to RAPHAEL. It bears many of the marks of GAROFALO'S pencil.

(_Bryan Collection._)

B-45. The Crucifixion. (33X23.) _Andrea Mantegna._

Mr. Michiels, the distinguished critic employed by the Belgian Government to prepare a history of Flemish Art, says of this work: "The CHRIST has a nobility in his attitude which few painters have been able to give him; the expression of the good robber is also grave and dignified. The whole picture bears the impress of a serene imagination; the coloring is sombre; the attitudes are distinguished by an air of majesty. We feel that the artist had, at the commencement of his career, severely studied the ancients. Two cuirasses, and some of the draperies, are gilded; gold is mingled with the other costumes, in the form of _traits,_ designating the folds. We are particular about these details, because they indicate the primitive epoch in which the picture was painted, and the manner in which they passed from the use of gold grounds to the entire abandonment of that metal."

It should be observed that the Jewish type is preserved in the heads of many of the figures, which is the case of the works of very few other masters. It will be observed that there are in this crowded canvas no two pieces of offensive or defensive armor alike. This is worthy of particular remark, as SQUARCIONI, the master of MAN TEGNA, had the largest and most varied collection of ancient arms which existed in his day.

Aside from its intrinsic merit, this picture is of the greatest interest when considered in connection with the _St. Jerome_ (B-47) by CORREGGIO, the disciple of MANTEGNA. In the peculiar mode of introducing gold in the lights of that noble painting, we notice an unmistakable similarity to MANTEGNA'S use of the same material in the work before us; thus showing the direct connection between the manner of the two painters.

It is impossible to overrate the historical importance of the juxtaposition of this work of MANTEGNA with that of CORREGGIO. There is afforded in no other gallery, public or private, in the world, a similar opportunity to study the master and scholar side by side in works of unquestionable authenticity and the highest intrinsic merit.

(_Bryan Collection._)

B-46. Adoration of the Kings. (19X14.) _Andrea Mantegna._

Found in Venice, 1859.

(_Bryan Collection._)

B-47. The Virgin and Child, Mary Magdalen, and St. Jerome (known as the St. Jerome). (19X14.) _Correggio._

Of this sketch M. Michiels remarks, that in it "burns in all its grace the talent of _Correggio_. Never has the Ecstasy of piety, or the fervor of religious affection, been better expressed."

This picture differs from the large one at Parma, in the absence of the emblematic lion which stands in that by the side of ST. JEROME; and also in the color of some of the draperies, particularly in that of the canopy, which in this is striped, while in that it is of one color. In this, too, we find gold used in the halos and in the draperies, which is not the case in the other; a fact which points to the earlier production of this picture, and which also connects it in a remarkable manner with the _Crucifixion_ by _Mantegna_ (No. B-45).

There can be no doubt that this picture is the finished sketch for the well-known _St. Jerome_, at Parma. The marked differences already alluded to in minor points, prove incontestably that it could not be the work of a copyist, who would, of course, reproduce his original with all possible fidelity. It is from the collection of Marshal Sebastiani, it having been nailed firmly to the wall in his bed-chamber.

(_Bryan Collection._)

B-48. Virgin and Child. (34X27.) _Correggio._

In support of the authenticity of this picture, we have the first authority in England,--that of Mr. Woodburn. The donor thinks it may be SCHIDONE.

(_Bryan Collection._)

B-49. Virgin and Child. (10X8.) _Bernardino Luini._

(_Bryan Collection._)

B-50. Virgin and Child, with St. John. (32X25½.) _Giulio Romano._

This picture was attributed to CÆSARI DA SESTO, but is now believed by the donor to be by GIULIO ROMANO. It is from the collection of Bishop Luscomb, Paris.

(_Bryan Collection._)

B-51. Portrait of a Princess of Florence. (52X41½.) _Agnolo Bronzino._

(_Bryan Collection._)

B-52. Portrait of a Noble Florentine as St. Barbe. (35X30.) _Agnolo Bronzino._

(_Bryan Collection._)

B-53. Portrait of a Venetian Lady as Mary Magdalen. (42X30.) _Copy from Palma._ (_Vecchio._)

(_Bryan Collection._)

B-54. Charity. (9X6½.) _Giuseppe Cesari d'Arpino._

(_Bryan Collection._)

B-55. Virgin and Child. (8X6½.) _Annibale Caracci._

(_Bryan Collection._)

B-56. St. Joseph holding the Infant Jesus. (8X6½.) _Annibale Caracci._

(_Bryan Collection._)

B-57. St. Paul borne to Heaven by Angels. (19½X15.) _Domenichino._

"Three angels bear aloft the interpreter of the divine will: one has the form of infancy, another of youth, the third of adolescence. The minister of our Lord raises his hands to heaven, on which he gazes with an expression of burning hope. How he seeks to discover the first rays of the eternal light! How he longs for the moment in which he shall appear before the Almighty! What enthusiasm animates his countenance! I doubt if the ardor of faith could be better shown. The little angel has those brilliant eyes, and that expressive visage, which this master knew so well how to paint; it is certainly not inferior to those which we admire in the grand salon of the Louvre. The angel of the second age charms the eye by a grace and an easiness of attitude extremely remarkable; upon his countenance burn the veneration and the love with which the Apostle inspires him. The entire group seems actually to mount in the air. Mr. Bryan had the good taste to purchase it at the sale of M. Forbin-Janson."

To this just and graphic description, from the pen of M. Michiels, which appeared in the _Gazette de France_, it is needless to add anything more.

This picture was formerly in the gallery of the Cardinal Lambruschini, and afterwards in the collection of M. Forbin-Janson, Director of the Louvre, at whose sale it was purchased by the donor.

(_Bryan Collection._)

B-58. Christ Crowned with Thorns. (24½X20.) _Guido._

If not original, it is the best copy ever seen by the donor.

(_Bryan Collection._)

B-59. Magdalen in a Trance. (46½X36.) _School of Guido._

This picture is from the collection of Louis Philippe. The head of the Magdalen is evidently a reminiscence of the Niobe discovered at Rome at the epoch of the painter.

(_Bryan Collection._)

B-60. The Young Bacchus. (33X24.) Oval. _School of Carlo Dolci._

(_Bryan Collection._)

B-61. Lucretia. (33X24.) Oval. _School of Carlo Dolci._

(_Bryan Collection._)

B-62. Magdalen. (34X28.) Oval. _School of Carlo Dolci._

(_Bryan Collection._)

B-63. St. Dorothea. (34X28.) Oval. _School of Carlo Dolci._

(_Bryan Collection._)

B-64. Christ disputing with the Doctors. (39X54.) _Gentileschi._

(_Bryan Collection._)

B-65. Portrait of Galileo Galilei. (30½X24½.) _Justus Sustermans._

From the collection of Louis Philippe.

(_Bryan Collection._)

B-66. Virgin and Child. (18½X15½.) _Sassoferrato._

Found at Rome.

(_Bryan Collection._)

B-67. Landscape, with Historical Figures. (48X79.) _Salvator Rosa._

(_Bryan Collection._)

B-68. Landscape. (38½X46.) _School of Salvator Rosa._

(_Bryan Collection._)

B-69. Landscape. (24X38.) _School of Salvator Rosa._

(_Bryan Collection._)

B-70. Landscape. (24X38.) _School of Salvator Rosa._

(_Bryan Collection._)

B-71. Marine View, with Architecture. (34X50½.) _Canaletto._

Figures by TIEPOLO.

(_Bryan Collection._)

B-72. Autumn. (18½X24½.)

Purchased of Mr. TERRY, artist, Rome.

(_Bryan Collection._)

B-73. Philip IV. of Spain. (26X21½.)

Bought at Sienna.

(_Bryan Collection._)

B-74. Don John of Austria. (26X21½.)

Bought at Sienna.

(_Bryan Collection._)

B-75. A Theologian Decorated with the Order of the Golden Fleece. (26X21½.)

Bought at Sienna.

(_Bryan Collection._)

B-76. Portrait. (29X24.)

Bought at Sienna.

(_Bryan Collection._)

B-77. Portrait. (29X24.)

Bought at Sienna.

(_Bryan Collection._)

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-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'oeuvre_. 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-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._