Catalogue of the Gallery of Art of The New York Historical Society
Part 6
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-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. Roehn, 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-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-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-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._)
GERMAN SCHOOL
B-196. Venus and Cupid. (19½X13.) _Lucas Cranach._
(_Bryan Collection._)
B-197. Portrait of a Lady. (28X22.) _Lucas Cranach._
It is from this painter's pencil that we have the only known or recognized portrait of Martin Luther. Collection D'Espinoy.
(_Bryan Collection._)
B-198. Portrait. (20½X17.) _Balthazar Denner._
An old Lady, with a silk hood. The marks of age are given with great accuracy and truthfulness.
(_Bryan Collection._)
B-199. St. George and the Dragon. (16½X13.) _Albrecht Dürer._
(_Bryan Collection._)
B-200. Triumph of Christianity. (26½X38.) _School of Dürer._
This picture is from the collection Quedeville.
(_Bryan Collection._)
B-201. Interior of a Private Chapel. (33½X25.) _Hans Holbein._
The family of Count Valkeniers are at prayers--the father and the two eldest sons being in armor, ready to depart for war.
From the collection of Joseph M. Meert de Domberg, New York.
(_Bryan Collection._)
B-202. Portrait of a Professor. (30½X23½.) _Hans Holbein._
(_Bryan Collection._)
B-203. The Judgment of Paris. (6½X9.) _Joachim Uytenwael._
(_Bryan Collection._)
B-204. Adoration. (43X32.) _Martin Schoen._
On the right will be seen a Priest, holding a book, and supposed, by General D'Espinoy, from whose collection it came, to be a portrait of Luther, in his youth.
(_Bryan Collection._)
B-205. Landscape, with Figures. (11½X16½.) _Valkenburg._
(_Bryan Collection._)
B-206. Landscape. (13X20.) _Valkenburg._
These pictures possess great interest, in being historically known as the earliest landscapes painted otherwise than as a mere accessory to some historical, religious, or other subject. Both of them are from the collection Quedeville.
(_Bryan Collection._)
SPANISH SCHOOL
B-207. Philip IV. of Spain, as David with Goliath's Head. (74½X43.) _Diego Velasquez._
From the collection of Marshal Sebastiani.
(_Bryan Collection._)
B-208. Landscape. (37X43½.) _Diego Velasquez._
Found at Rome. A picture of a similar style--the only one ever seen by the donor--is in the possession of Mr. Madrazo, the Director of the Royal Gallery of Madrid.
(_Bryan Collection._)
B-209. Portrait of the Infanta Margarita of Spain. (28X24.) _Diego Velasquez._
From the collection of R. W. Meade, U. S. Consul at Cadiz. 1808.
(_Bryan Collection._)
B-210. Still Life. (27½X76.) _Diego Velasquez._
Preparation for an _olla podrida_, from the collection of R. W. Meade.
(_Bryan Collection._)
B-211. Adoration of the Magi. (42X64½.) _Murillo._
In the style and color of the three pictures now in the Vatican--a late gift to his Holiness by the Ex-Queen of Spain.
(_Bryan Collection._)
B-212. Adoration of the Shepherds. (57X80.) _Murillo._
From the Gallery of Marshal Soult.
(_Bryan Collection._)
B-213. The Vision of St. Francis. (23½X19.) _Murillo._
(_Bryan Collection._)
B-214. St. Joseph. (65½X47.) _Murillo._
St. Joseph is bearing Christ in his arms, who is looking at the Carpenter's tools. From the collection of R. W. Meade.
(_Bryan Collection._)
B-215. The Entombment of Christ. (78X92.) _Sebastian Llanos y Valdes._
From the Gallery of Marshal Soult.
(_Bryan Collection._)
B-216. Christ borne to the Tomb. (70X50½.) _Spanish School._
A repetition of a Spanish picture in the Church of St. Pietro, in Montorio, Rome.
(_Bryan Collection._)
B-217. Portrait of a Queen of Spain. (29X23.) _Spanish School._
Imitation of VELASQUEZ.
(_Bryan Collection._)
FRENCH SCHOOL
B-218. The Entombment of Christ. (27X9.)
(_Bryan Collection._)
B-219. The Resurrection. (27X9.)
(_Bryan Collection._)
B-220. Head of Christ. (15X11.)
It is upon leather, which was stamped and gilded so as to form around it a strange quadrangular halo, in which _fleur de lis_ is prominent. Upon the edge is an inscription, of which only ADORO--REDENTOR, I. H. S., is legible. It is probably not older than the latter part of the fourteenth century, and was, doubtless, an object of adoration to some devout Catholic.
(_Bryan Collection._)
B-221. Diana of Poictiers, as Judith with the Head of Holofernes. (39X27.) _Martin Freminet._
The ornaments in gold, and precious stones, are from the compositions of the celebrated BENVENUTO CELLINI, and have been copied by modern jewelers.
(_Bryan Collection._)
B-222. The Repose in Egypt. (36½X30.) _Nicholas Poussin._
The attitude of the Virgin is remarkable, not only for its graceful dignity, but for its perfect expression of the fact that she is listening calmly but intently to the narrative which Joseph is evidently relating. The landscape, though not highly finished, is grandly composed; and upon it the twilight of dawn is made to fall with sweet solemnity.
(_Bryan Collection._)
B-223. The Daughter of Pharaoh about to bathe in the Nile. (25½X29.) _Nicholas Poussin._
Two attendants are about to disrobe the Princess; a third kneels at her feet with a vase of anointing oil. Before her is a figure emblematic of the river. The group is finely composed, and the forms and attitudes are simple and chaste almost to statuesqueness.
Both these pictures display the knowledge of form, the classical taste, and the color which are characteristic of this Master, recognized as the _Peintre des Gens d'Esprit_. This sketch is in the best manner of POUSSIN, and was formerly in the collection of M. de St. Aubin.
(_Bryan Collection._)
B-224. Classic Landscape. (29X36½.) _Nicholas Poussin._
(_Bryan Collection._)
B-225. Diana and her Nymphs bathing. (44½X56.) _Nicholas Poussin._
This is an unfinished sketch.
(_Bryan Collection._)
B-226. Portrait of Duchesnois, the Flemish Sculptor. (27½X23.) _Nicholas Poussin._
Duchesnois lived with POUSSIN in Rome. From the collection of Gen. D'Espinoy.
(_Bryan Collection._)
B-227. Landscape. (9½X7½.) _Guaspre Poussin._
(_Bryan Collection._)
B-228. Landscape. (9½X7½.) _Guaspre Poussin._
(_Bryan Collection._)
B-229. Grand Landscape: Hagar in the Desert. (37½X50½.) _Guaspre Poussin._
This picture, which has been engraved, is in the finest manner of the Master. The figures are by PHILIPPE LAURI. It is from the collection of Marshal Sebastiani.
(_Bryan Collection._)
B-230. Landscape, with Figures. (39½X50½.) _School of Claude Lorraine._
The peasants in the foreground are designed after DOMENICHINO; but the figure who leans against a tree, in the shadow on the left, and plays upon a pipe, is like CLAUDE. CLAUDE was so conscious of the want of merit in his pictures, he used to say that he sold his landscapes and gave away the people in them. Collection of Marshal Sebastiani.
(_Bryan Collection._)
B-231. A Grand Landscape, Marine View, and Figures, an Ancient Group in marble representing Echo punished. (46X59.) _School of Claude Lorraine._
This picture belonged to M. Forbin-Janson, Director of the Louvre; it was believed by him to be an original.
(_Bryan Collection._)
B-232. Landscape, with a Sea-View. (14X17.) _School of Claude Lorraine._
(_Bryan Collection._)
B-233. Landscape. (15½X15½.) Round. _School of Claude Lorraine._
(_Bryan Collection._)
B-234. Portrait of a Lady at her Toilet. (40½X32½.) Oval. _Pierre Mignard._
(_Bryan Collection._)
B-235. Holy Family. (14X12.) _Pierre Mignard._
(_Bryan Collection._)
B-236. The dead Christ supported by the Virgin. (18X17.) _Eustache le Sueur._
From the collection of the Abbé Genoud.
(_Bryan Collection._)
B-237. Portrait. (19X15.) _Charles Le Brun._
From the Parant Collection.
(_Bryan Collection._)
B-238. Battle-Piece. (9X19.) _Jacques Courtois._
(_Bryan Collection._)
B-239. Battle-Piece. (9X19.) _Jacques Courtois._
(_Bryan Collection._)
B-240. Christ in the Wilderness, ministered to by Angels. (36X46.) _Charles de la Fosse._
This picture was formerly in the collection of Cardinal Fesch. After its arrival in Paris, in the possession of the donor, it was solicited for the Gallery of the Louvre.
(_Bryan Collection._)
B-241, B-242. Scenes from the Life of St. Charles de Borromeo. (25X38½.) _Jean Jouvenet._
(_Bryan Collection._)
B-243. Portraits of two Ladies. (57X44½.) _Nicholas de Largillière._
This picture was also sought from the donor for the Gallery of the Louvre.
(_Bryan Collection._)
B-244. Portrait of a Marshal of France. (32X25½.) Oval. _Hyacinthe Rigaud._
From the Collection Vien. It is a very fine specimen of the Master. Our own STUART thought the Portraits of RIGAUD'S two sisters, by him, the most natural and true he ever saw.
(_Bryan Collection._)
B-245. Musicians. (18X15.) _Antoine Watteau._
This picture is evidently cut from a large and important work.
(_Bryan Collection._)
B-246. A Venetian Fête, or Ball, by day. (25½X31½.) _Antoine Watteau._
A composition unrivalled for picturesqueness of design and richness of color.
(_Bryan Collection._)
B-247. Landscape, with Figures. (18X22.) _Antoine Watteau._
This is but a sketch, in the style of GIORGIONE. (See No. B-32.)
(_Bryan Collection._)
B-248. Landscape, with Figures. (17½X22.) _Jean Baptiste Pater._
(_Bryan Collection._)
B-249. Portrait of the Cardinal de Rochechouart. (53½X39.) _Pompeo Battoni._
From the Chateau Courcelle, the seat of the Cardinal's family.
(_Bryan Collection._)
B-250. Head of a Boy. (11½X9.) _Pompeo Battoni._
(_Bryan Collection._)
B-251. Still Life. (16X24.) _Jean B. S. Chardin._
The viands for a _jour maigre_ under the rule of the Church.
(_Bryan Collection._)
B-252. Portrait of Louis XVII., Dauphin. (22½X17½.) _School of Greuze._