The ACHILLITO CHIESA COLLECTION «+: Part / FLEMISH AND DUTCH PAINTINGS AND ITALIAN PRIMITIVES «+ «+ + AMERICAN ART ASSOCIATION: INC. | New York aul oA oy ms SDR = bene ‘ 7 oo ee : ~ 3 2 of a oe Dae eer ay he i SEXHIBITION & UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES MADISON AVENUE : s6tx to 57TH STREET NEW YORK. Te Achillito Chiesa Collection 7 Part I Paintings y Catalogue Numbers 1-63 Will Be Sold on Friday Evening, Novem- emo 7.1925, at 8:30 O'Clock +. 7 » The Collection Will Be On Free Public View from Saturday, November 21, Until Time of Sale y Weekdays from g a.m. to 6 p.m. Sunday, November 22 from 2 to 5 p.m. Sales Conducted By Mr. O. Bernet and Mr. H. H. Parke AMERICAN ART ASSOCIATION: INC, Managers “yee... | ‘oe an 1 On ae « ol gy ; ee Whig nhs THE COLLECTION OF ACHILLITO CHIESA .- ESQ. of MILAN dee PETE Pievidoll AND DUTCH: PAINTINGS Seger AV - XVI- XVII CENTURIES ITALIAN PRIMITIVES AND RENAISSANCE EXAMPLES A SMALL GROUP of CANVASES BY ENGLISH » FRENCH AND SPANISH ARTISTS OF THE XVI-XIX CENTURY CATALOGUE WRITTEN BY HOFSTEDE DE GROOT + The Dutch Expert G:J: HOOGEWERFE » Director of the National Folland School of Cfine Arts in Rome And GIACOMO DE NICOLA »* Director of the Bargello Museum * Florence u CONDITIONS OF SALE I. REJECTION OF BIDS: Any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance, may be rejected by the auctioneer if in his judgment such bid would be likely to affect the sale injuriously. II]. THE BUYER: The highest bidder shall be the buyer, and if any dispute arises between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. III. IDENTIFICATION AND DEPOSIT BY BUYER: The name of the buyer of each lot shall be given immediately on the sale thereof, and when so required, each buyer shall sign a card giving the lot number, amount for which sold, and his or her name and address. A deposit at the actual time of the sale shall be made of all or such part of the purchase prices as may be required. If the two foregoing conditions are not complied with, the lot or lots so pur- chased may at the option of the auctioneer be put up again and re-sold, IV. RISK AFTER PURCHASE: Title passes upon the fall of the auctioneer’s hammer, and thereafter the property is at the purchaser’s risk, and neither the consignor nor the Association is responsible for the loss of, or any damage to any article by theft, fire, breakage, however occasioned, or any other cause whatsoever. V. DELIVERY OF PURCHASES: Delivery of any purchases will be made only upon payment of the total amount due for all purchases at the sale. VI. RECEIPTED BILLS: Goods will only be delivered on presentation of a re- ceipted bill. A receipted bill presented by any person will be recognized and honored as an order by the buyer, directing the delivery to the bearer of the goods described thereon. If a receipted bill is lost before delivery of the property has been taken, the buyer should immediately notify the Association of such loss. VII. STORAGE IN DEFAULT OF PROMPT PAYMENT AND CALL- ING FOR GOODS: Articles not paid for in full and not called for by the purchaser or agent by noon of the day following that of the sale may be turned over by the Asso- ciation to some carter to be carried to and stored in some warehouse until the time of the delivery therefrom to the purchaser, and the cost of such cartage and storage and any other charges will be charged against the purchaser and the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. In any instance where the purchase bill has not been paid in full by noon of the day following that of the sale, the Association and the auctioneer reserve the right, any other stipulation in these conditions of sale notwithstanding, in respect to any or all lots included in the purchase bill, at its or his option, either to cancel the sale thereof or to re-sell the same at public or private sale without further notice for the account of the buyer and to hold the buyer responsible for any deficiency and all losses and expenses sustained in so doing. VIII. SHIPPING: Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, but the Association will, however, afford to purchasers every facility for employment at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. IX. GUARANTY: ‘The Association exercises great care to catalogue every lot correctly and endeavors therein and also at the actual time of sale to point out any error, defect or imperfection, but guaranty is not made either by the owner or the Association of the correctness of the description, genuineness, authenticity or condition of any lot and no sale will he set aside on account of any incorrectness, error of cata- loguing or imperfection not noted or pointed out. Every lot is sold “as is’ and with- out recourse. Every lot is on public exhibition one or more days prior to its sale, and the Association will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued and in its judgment may there- after sell the lot as catalogued or make mention of the opinion of such expert, who thereby will become responsible for such damage as might result were his opinion without foundation. X. RECORDS: The records of the auctioneer and the Association are in all cases to be considered final and the highest bid shall in all cases be accepted by both buyer and seller as the value against which all claims for losses or damage shall lie. XI. BUYING ON ORDER: Buying or bidding by the Association for responsible parties on orders transmitted to it by mail, telegraph, or telephone, if conditions per- mit, will be faithfully attended to without charge or commission. Any purchases so made will be subject to the foregoing conditions of sale, except that, in the event of a purchase of a lot or one or more books by or for a purchaser who has not through himself or his agent been present at the exhibition or sale, the Association will permit such lot to be returned within ten days from the date of sale, and the purchase money will be refunded, if the lot differs from its catalogue description. Orders for execution by the Association should be given with such clearness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Association, a deposit must be sent or reference submitted. Shipping directions should also be given. PRICED CATALOGUES: Priced copies of the catalogue, or any session thereof, will be furnished by the Association at charges commensurate with the duties involved in copying the necessary information from the records of the Association. These conditions of sale cannot be altered except by the auctioneer or by an officer of the Association. AMERICAN ART ASSOCIATION, Inc. OTTO BERNET MANAGERS HIRAM H. PARKE AUCTIONEERS ? _ INTRODUCTION a “ 1 ait © 7 ri f cot Ty s oT ead A FOREWORD HROUGH inscrutable prank of Fate or Fortune the great Chiesa Collection of paintings, assembled through years of devotion of a father and years of indefatigable enthusiasm of a son, is to be dispersed at public salein New York. The elder collector, Achille Chiesa, amassed a fortune at Milan in the business of exporting and importing, and devoted the faculty of astuteness that had brought him wealth to the study and acquisi- tion of works of art. His son Achillito Chiesa inherited a share of the fortune and a disproportionate share of the collector’s instinct, which made it impossible for him to resist the lure of fine works of art. He bought until the magnitude of the Collection reached a remark- ably high total in dollars. And he bought largely on credit—which led to the inevitable end, and committees of bankers and other creditors were formed. The Italian Government was called into con- sultation in accordance with law, and a way sought to preserve the Collection. When sale was finally decided upon, the Government exercised its legal right and inventoried certain paintings and objects as national treasures. But it was not in funds to make purchases. Collectors in Italy hesitated at the huge sums requisite, although many of them wanted some of the canvases. : Finally the Government relinquished its hold and the way was opened for the disposal of the Collection. It was decided to send it to America as the great art market of the world, and the American Art Association, Incorporated, was selected as manager of the auction, strictly on the usual commission basis. The Collection is so large that its dispersal at one sale is impracticable on numerous grounds, and there will be several sessions at different dates. The first will be a single evening’s sale of some three score Italian, Dutch, Spanish, French and Flemish paintings, comprising a display of higher quality than has been offered in New York in recent years. Byzantine art, Italian Primitives and Renaissance painters, and the fascinating Dutchmen of the sixteenth and seventeenth centuries; now and again a Spaniard or a Frenchman or an Englishman, some as late as the eighteenth and early nineteenth century. The paintings have been catalogued in Europe for this sale, those of the Dutch and Flemish schools by Hofstede de Groot, the recognized Dutch expert, and by G. J. Hoogewerff, Director of the National Holland School of Fine Arts in Rome, and those of the Italian School by Giacomo De Nicola, Director of the Bargello Museum, Florence. Some have been passed upon by Bernard Berenson. The Chiesa Collection has been visited, and revisited, by American collectors and picture buyers, some of whom heard of it and of its possessor upon learning that desired and sought-after canvases which they found in the galleries of European dealers had already been bespoken by Mr. Chiesa. And once he had them they were not again to be bought—until now. Some notable and coveted canvases were loaned to friends—and recovered with difficulty. Some, loaned to museums, have been mentioned and commented upon in conspicuous and conservative guide books. The Memling, of which Mr. Hoogewerff speaks, is surely worthy of a wider mention and will repay study, as will The Madonna and Child by the Master of the Death of the Virgin. The characters in the Portrait of a Gentleman by Miereveld and the Portrait of a Lady by van Santvoort are alive today as the day they were put upon canvas. As much may be said for the van Ceulen Portrait of a Lady, while the Man with a Black Skullcap Holding a Book by Rembrandt’s pupil Ferdinand Bol has a solidity and richness far deeper than the same painter’s portraits of a more superficial elegance which are more frequently seen here. Benjamin Cuyp’s Annunciation to the Shepherds has the wealth of color and depth of religious feeling which characterize the work of the American President of the Royal Academy who followed Sir Joshua Reynolds in office, Benjamin West; and Bellegambe’s Holy Virgin with the Child has a resignation and aspiration inescapable and a piety naive in the expression of its accessories. Van Dyck comes in with a more modern stroke in the fine Life- sized Bust Portrait of a Lady; and the Portraits of a Donor and his Wife in the Act of Adoration—although in the catalogue only attribu- ted to Bartholomew Bruyn the Elder—are of a staunch validity and artistic perception which commend themselves to a discerning eye. For a thorough enjoyment of painting peruse the two panels by the Master of the Half-length Female Figure, the Virgin with Child at a Table and the Virgin Looking Down at the Nude Child in her Arms. The Portrait of a Dutch Humanist by van Scorel, whose interesting life included employment by the Dutch Pope, Adrian VI, is a master- piece of expression, and the portraits of SS. Catherine and Barbara by an earlier painter eloquently depict the piety of the fifteenth- sixteenth century. Passing to the Italian School, Piazzetta’s Annunciation is a touching and analytical tribute in pigment, and the composition and color in A Bishop Reading the Prayer point unmistakably to Tiepolo and his Venetian exuberance. The Portrait of a Man witha Beard is a digni- fied contribution from the F airfax-Murray Collection, and Sienese painting is exhibited in Andrea di Bartolo’s Madonna and Child, as it is again in San di Pietro’s Madonna and Child between Saints and Angels on a gold background. Two other Madonnas of the Italian School which claim attention are by Leonardo’s pupil Boltrafho— Romer Crespi Collection, Milan—and by the Florentine Filippino ippi. At variance with the predominant religious pictures of the Collection are two eighteenth century canvases from Spain and France, Goya’s Inside a Wine Shop and Boucher’s Sleeping Woman—the latter a soberly colorful nude from the Fairfax-Murray Collection. New York, October, 1925 Dana H. Carroui OF GW PAINTINGS OF THE DUTCH AND FLEMISH SCHOOLS HE present Collection is of special importance on account of the numerous and excellent paintings belonging to the early schools of the Netherlands and surrounding countries. In very few private galleries now existing are the principal masters of the fifteenth and sixteenth centuries better represented. The Memling is a very recent discovery and means an unexpected addition to the oeuvre of the painter. Adriaen Isenbrandt, certainly not less interesting than his master Gerard David, is represented by a charming little panel in the well known, almost mystical style he used later. There are two beautiful pictures of Joos van Cleve the Elder, who after a sojourn in Italy, was acclaimed a genius of even greater inspiration than before. This group is completed by two panels of the always noteworthy and gentle artist called ‘““The Master of the Half-length Female Figures.”’ The two wings of a lost altarpiece and the Holy Virgin by Jean Bellegambe will be judged of special interest by everyone familiar with the art of the painter, who, together with Quentin Metsys and others, closes the century and at the same time opens a new era. Hardly any portrait of the early West-European schools is so im- pressive as the marvelous head of a woman donor (Life Size Half- length Figure of a Lady in the Attitude of Prayer), attributed by us to the ‘Master of Moulins,” whose enigmatic but powerful art has been the subject of interesting studies during the last years. This panel, dating from the end of the fifteenth century, forms a worthy pendant to the portrait of a Humanist, by Jan van Scorel, a master who held a high position in Dutch art in the period of transition. This masterpiece is considered the most striking masculine character- study the artist ever produced. Joachim Patinir is the first landscape-painter of the Flemish School, that is to say, the first artist who reduced the figure element to a pleasant detail only. Of this original and very attractive work the Collection counts two small specimens of nearly the same size. Of Peeter Baltens no picture of greater importance is known than the splendid animated landscape with the Parable of the Sower, formerly in the Collection of Count Delaroff, whilst the art of the first Brueghels is happily represented by the Harvest painted by Peter the Younger from the drawing his famous father had left to him. As to the Dutch and Flemish pictures of the seventeenth century, there are several of no common interest. Although the present Collection does not count a Rembrandt nor can boast a Rubens, the authentic portraits by Anthony van Dyck and Cornelis de Vos supply that want—if a “want” there be. As for the Flemish School, Dutch portraitists of various types, as Michiel van Miereveld, Cornelis Janssens van Ceulen and Dirck van Santvoort—the latter a pupil of Rembrandt—are auspiciously represented with characteristic works of their brush. Sir Peter Lely, the Dutch follower of van Dyck, who stayed forty years in England, completes the group in a fortunate way. Of special interest is the Interior with a Family eee by Isaac Koedyck, a master who has come to the front of ate Of the Dutch painters of genre the Annunciation to the Shepherds by Benjamin Cuyp will appeal to many a connoisseur, while the presence of an authentic and typical work of Jan Steen is always noteworthy. Jacques van Oost, on the other hand, may be considered a substitute for Teniers, but where the paintings of the latter master are very numerous, the Merry Company signed by his fellow-country- man is a rather scarce specimen of its type. Jacob van Ruysdael too is absent but yet in evidence, owing to the fine landscape of one of his best followers, Nicolaas Molenaer. Works of his and of Roelof de Vries are often attributed to their master. The more heroic interpretation of nature much ex vogue in the latter part of the century, 1s demonstrated by the Landscape with Sunset of Jacques d’Arthois of Brussels. Rome, August, 1925 G. J. HooGEwerFF PAINTINGS OF THE ITALIAN SCHOOL HE Chiesa Collection made with an exquisite understand- ing of art, with the passion of the man who collects for himself only and for the satisfaction of his own spirit, offers to the lovers of Italian art in its various periods an assemblage of objects of value that few collections of the present day could achieve. From the ingenuous and austere primi- tives, with their early attempts at artistic perfection, to the grandeur and the grace of the successive periods, everything that has con- tributed to the evolution of art is here represented. 3 The Italo-Byzantine ¢avoletta showing The Descent from the Cross is a painting of exceptional rarity both in respect to its period and its preservation. Representing the Venetian School of the Trecento are two pictures by the rare artist, Lorenzo Veneziano. The skill with which The Birth of Saint Nicholas is represented, and the preservation of the surface of the paintings accords a great importance to these two pieces. Segna di Bonaventura, the most accurate and faithful pupil of Duccio di Buoninsegna, the great founder of the Sienese School, is represented by an agreeable example of the primitive period of this aie. a picture in which sentiment and jeraticita are mingled in amicable accord; while a pleasing picture by Sano di Pietro, almost certainly executed under the guidance and in the workshop of his master Sassetta, and a most gracious and delightful little painting by Andrea di Bartolo complete the examples of the great Sienese School, which left such an important influence in the field of art. What can we say of such a picture as the Madonna and Child of Filippino Lippi? The great Florentine Quattrocentist in this painting unites to the beauty and grace of the figures a pleasant background of landscape, which constitutes in itself a charming little picture. The female portrait by Sebastiano Mainardi was certainly executed in the studio of Ghirlandaio, his master and relation, and is a work of undeniable artistic interest. The Virgin with The Book by Giovanni Antonio Boltraffio which came from the Crespi to enrich the Chiesa Collection is a most inter- esting work of the Lombard School of the XV-XVI century. Boltraffio, one of Leonardo’s beloved pupils, and worthy follower of the master from whom he learned the science of sculpture, skilful and rich color, and certainty and diligence of execution, and whom he may be said to have approached in the facility of his drawing, executed this picture during the period of his full artistic maturity. Madonna and Child was painted between 1510 and 1515, a space of time in which the painter completed the fresco of the Madonna with Founder in S. Onofrio at Rome and painted the Madonna and Child of the Loeser Collection at Florence. The Venetian Renaissance with its color comes to life with its characteristics of freedom of action and breadth of view in the works of three separate artists: The double portrait by Vittore Belliniano, which was for many years in the Kaiser Friedrich Museum in Berlin (No. 56 of the catalogue) is undeniably a work of sufficient interest and importance to have justified the exchange which was effected by the offer of a painting by Albrecht Durer. The virile half-length portrait by Vincenzo Catena, nobleman and painter and pupil of Giambellino, is a work valuable both for its truth and for the technical quality of the painting visible in it; while Autumn of Paris Bordone is a pleasant and notable painting which could lead one to think, with a great Italian critic, that “Paris was always lively and sometimes exquisite.” We come to the Venetian XVIII Century School with its greatest master Tiepolo; and a second painter of note, Giovanni Battista Piazzetta. Tiepolo, a painter of inexhaustible fantasy, geniality and grandeur of conception, is represented in this Collection by a small study depicting a bishop in prayer. The intrinsic qualities of the painting and the fantasy visible in it being certain grounds for the attribution. The Annunciation of Piazzetta, certainly one of his best works, was chosen for the exhibition of paintings of the XVII and XVIII centuries at the Pitti Palace in Florence. The delightful signed and dated picture by Boucher, rightly called the painter of the graces and a beautiful feminine portrait signed by ee offer interesting Cnn of two diverse periods of the French Schoo Not least, the art of Spain, is shown in two beautiful canvases (one signed) by Francesco Goya, master of color and of vivacity. Mian, September, 1925. Lurc1 ALBRIGHI Note: Mr. Albrighi has had an intimate acquaintance with the entire Collection during the greater part of its assembling by the Chiesas, father and son. JEAN BAPTISTE MONNOYER Born at Lille 1634, Member of the Academy in Paris 1665. Died in London 1699. I—FLOWERPIECE A bouquet of flowers in a gilt chased vase standing on a grey stone slab. There are tulips, roses, pinks, gardenias, and other flowers. On canvas: height, 26 inches; width, 19% inches. No. 1—FLOWERPIECE By JEAN BAPTISTE MONNOYER No. 2—A BASKET WITH FLOWERS ON A RED MARBLE TABLE By RACHEL RUYSCH RACHEL RUYSCH Born at Amsterdam 1664. Wife of the portrait painter, Jurian Pool. Died at Amsterdam 1750. 2—d BASKET WITH FLOWERS ON A RED MARBLE TABLE White, pink and red roses with other flowers, some hanging over the border of the basket. On one of the flowers a bee; on the table a big fly and above the flowers a butterfly. On wood: Height, 16% inches; width, 14 inches. SIMON JOHANNES VAN DOUW Born about 1630. Master in Antwerp 1654. From 1656 to 1657 in the Guild of Middelburg. 3—TWO HORSEMEN WATERING THEIR HORSES AT A FOUNTAIN NEAR A WALL OF ROCKS One has dismounted from his spotted white horse, the other, in a blue dress and a white turban, is mounted on a brown mare. In the right foreground a dog; in the distance a farm. Signed and dated 1654. On wood: Height, 834 inches; length, 11% inches. MlOd NVA SANNVHOL NOMIS 44 SMOOU AO TIVM V AVAN NIV.LNDOW V LV SASYOH MAHL ONIVALVM NAWASYOH OML—* ON No. 4—WINTER LANDSCAPE By NICOLAAS MOLENAER NICOLAAS (KLAES) MOLENAER Born evidently at Haarlem, about 1630. From 1651 in the Guild. Died at Haarlem 1676. Pupil of Jacob van Ruysdael. 4—WINTER LANDSCAPE A winter scene at the outskirts of a town, seen on the left. A white horse is eating from a box, while beside it is a brown horse; two men are near a sledge. In the left foreground a man is buckling on the skates of another and in the background several people are skating. On wood: Height, 1514 inches; width, 1134 inches. ADAM FRANS VAN DER MEULEN Born in Brussels 1632. Pupil of Peter Snayers. In 1665 Colbert invited him to the Royal Gobelins fac- tories in Paris. In 1673 member of the Academy. Died in 1690. s—A WOODED LANDSCAPE WITH A COMPANY OF NINE PEOPLE To the right cavaliers and their servants halting before an inn; on the left a group of three resting. In the centre a view towards the distance, where still further people are seen. On canvas: Height, 23 inches; length, 29% inches. NATOAW AATd NVA SNFUI WFP 42 ATdOdd ANIN JO ANVAWOO V HLIM Fd VOSGNVT GAGOOM V—S ON AYMAAPS LGNVTAION “J AdVOSGNVI GNVIGOOM AMOOU V—9 ON ROELANDT SAVERY Born at Courtrat 1576. Died in Utrecht 1639. 6—A ROCKY WOODLAND LANDSCAPE On the right a group of lions before trees; various remains of ani- mals devoured by them in the foreground. On the left, near a high cascade, several panthers, and in the sky a large bird of prey. On wood: Height, 15% inches; length, 2814 inches. GUILLIAM (WILLEM) VAN HERP Born at Antwerp about 1614. Pupil of Damuiaan Wortelmans, and later, in 1628, of Biermans. Died at Antwerp 1677. 7—THE FOUR SEASONS (4) SPRING; symbolized by shearing sheep, done by an old man, assisted by a boy. On the right two women are preparing dinner; one gives a bowl to a boy, and a young man, with a stick over his shoulder to which are attached two cocks, is looking at the scene. On wood: Height, 1734 inches; length, 25% inches. (B) SUMMER; symbolized by a huntsman with three dogs on the left, and a group of four peasants, two men and two women on the right. One of the women is milking a goat. On wood: Height, 17% inches; length, 25% inches. [Continued NWOLAV (9) panurjuog | duadH NFA (WATTIM) WPITTIND “9g SNOSVHUS UNOA AH.L—4 ON YaAWINAS (7) ONIUdS (FP) dudH NFA (WHTTIM) WPITTIND 44 (P9p]2u0D) SNOSVAS ANOA AHIL—4 ON UALNIM (qd) GUILLIAM (WILLEM) VAN HERP Born at Antwerp about 1614. Pupil of Damiaan Wartelmans, and later, in 1628, of Biermans. Died at Antwerp 1677. 7—THE FOUR SEASONS (Concluded) (C) AUTUMN; symbolized by the vintage. On the right various persons collecting grapes accompanied by a dog; in the centre a man with bare feet treading grapes; on the left a man putting grapes into a tub and a woman on her knees testing the mash. On wood: Height, 1734 inches; length, 254 inches. (D) WINTER; a snowy landscape symbolizing winter. In the cen- tre of the landscape two men are loading fire-wood on an ass, a third one, on the left is chopping wood, near him a dog. On the right two ducks are swimming and in the background is a house, with people before it preparing the meal. On wood: Height, 17% inches; length, 25 inches, JACQUES D’ARTHOIS Born at Brussels 1613. Pupil of Jan Mertens. Died at Brussels in 1686. 8—LANDSCAPE WITH SUNSET A hilly, wooded landscape; on the left, the setting sun reflected in a pond; on the right, on a road along the wooded hills, a shepherd in red, playing the flute as he leads his flock, followed by another shepherd. Behind, a gentleman with a white dog. On wood: Height, 19 inches; length, 36% inches. Note: An autograph certificate of authenticity and description signed by Com. Hofstede de Groot accompanies this painting and will be given the purchaser on request. SIOH.LYUF.d SANODKL *¥ LASNOS HLIM AdVOSANVI—S8 ON No. 9—THE CONVALESCENT By JAN STEEN JAN STEEN Born at Leiden 1626. Studied probably with Nicolas Knupfer at Utrecht and later with Jan van Goyen at the Hague. Student in the Leiden University 1646; in the Corporation of painters at The Hague, 1649-54; in Haarlem 1661-69; at Leiden in 1672; died there 1679. g—THE CONVALESCENT A woman seated on a bench facing front, with clasped arms, hold- ing in the right hand a medicine-bottle. She wears a dark red petti- coat with a black jacket and hood. On canvas: Height, 16 inches; width, 1334 inches. JACOB DUCK Born at Utrecht about 1605. Died after 1660. IoO—LOVE AND BACKGAMMON A cavalier, seated at the right, is playing backgammon with a young woman, seated at the left; she is just making a play. Behind the table an old woman sits smoking and looking at the game. On wood: Height, 13 inches; width, 11% inches. No. 10-LOVE AND BACKGAMMON By JACOB DUCK No. 11—VIRGIN AND CHILD WITH ST. ANNE SCHOOL OF HANS MEMLING SCHOOL OF HANS MEMLING Flemish, born about 1425, died at Bruges between 1492 and 1495. Historical painter and probably pupil of van der Weyden. II—VIRGIN AND CHILD WITH ST. ANNE In the left foreground the seated figure of St. Anne in an olive-green robe covered with a crimson cloak; her head is shrouded in a white veil, and her face bent down towards the closed missal on her lap. At the right, the seated Mother, in dark green gown with crimson sleeves and grey cloak, holds on her knees the standing nude Child, to whom St. Anne proffers a bunch of grapes. Meticulous back- ground of a renaissance shrine lavishly sculptured and with a semi- circular pediment, before the walls and trees of a city. On canvas: Height, 20% inches; width, 15% inches. FLEMISH SCHOOL OF THE XV CENTURY I2—PORTRAIT OF CHARLES VII, KING OF FRANCE Head and shoulders portrait facing half-right; the body draped in a dark undergarment covered by a scarlet cloak edged at the neck with fur, on the head a low-crowned hat of dark green velvet trimmed with leather braid. The face that of a man of perhaps thirty, with brown eyes and long, vulpine nose. On wood: Height, 10 inches; width, 8 inches. No. 12—PORTRAIT OF CHARLES VII, KING OF FRANCE FLEMISH SCHOOL OF THE XV CENTURY No. 13--MADONNA AND CHILD By THE FLEMISH MASTER OF THE DEATH OF THE VIRGIN FLEMISH MASTER OF THE DEATH OF THE VIRGIN Flourtshed in the first half of the XVI century at Cologne, the picture of that name being in the Cologne Museum. The artist has been identified with Josef Cleef or Cleve the Elder (Joos van der Beke) circa 1490-1540. I3—MADONNA AND CHILD The Virgin is clad in blue and draped in a scarlet cloak, holding the Child, in a loose robe of light blue; the Infant is seated on a moss- green velvet cloth spread over a stone table. A faience pot at the left holds flowers, of which the Child has plucked one with the tight hand. An embrasure at the upper right in the paneled wall behind offers a view over wooded landscape beyond. On wood: Height, 17% inches; width, 1244 inches. Ay fy } »yY bf tt dpe Pi TV). hy AA GE ISAAC KOEDYCK Born at Leyden about 1616. Died after 1677, probably in Amsterdam. I4—-AN INTERIOR WITH A FAMILY GROUP In the centre is a table, before which the father, in black, is stand- ing on the left side. Behind the table, two sons also in black. On the right before the table the mother is seated; a little daughter is leaning against her knees, while a still younger daughter is sitting in a chair, a basket of flowers on her lap. A maid servant with an infant child is standing behind the table. On canvas: Height, 3234 inches; width, 27% inches. No. 14—AN INTERIOR WITH A FAMILY GROUP By ISAAC KOEDYCK No. 15—PORTRAIT OF A BEARDED GENTLEMAN By MICHIEL JANSZOON VAN MIEREVELD MICHIEL JANSZOON VAN MIEREVELD Born at Delft 1567, where he studied under W. Wil- lems and Augustyns In 1579 he went to the school of Antonio Blockland (Monfoort) at Utrecht. From 1613 in the Delft Guild; from 1625 in the Guild of The Hague. Portrait painter to the Princes of Orange. Died in Delft 1641. I5—PORTRAIT OF A BEARDED GENTLEMAN Life size, three-quarter length, standing, turned a little to the right, but facing the spectator; the right hand before the breast, the left on a book, placed on a table covered with a green cloth. On the left: Aetatis suae 35. A° 1615. On wood: Height, 44 inches; width, 33 inches. DIRCK VAN SANTVOORT Born at Amsterdam 1610. Died there 1680. Pupil of Rembrandt. I6—PORTRAIT OF A LADY Life size, three-quarter length, standing, facing the spectator, turned a little to the left, in a black dress, a white ruff, the bonnet bordered with lace and similar cuffs. In the left hand colored gloves and in the right the “chatelaine.” In the left top corner: Aetatis suae 40, Anno 1633. On wood: Height, 48 inches; width, 34% inches. 16—PORTRAIT OF A LADY By DIRCK VAN SANTVOORT No. No. 17—PORTRAIT OF A LADY By CORNELIS JANSSENS VAN CEULEN CORNELIS JANSSENS VAN CEULEN Dutch painter, born at London 1593, where he worked between 1618 and 1643. He went to Amsterdam in 1646 and died there in 1664. Influenced by Paulus van Somer and Antony van Dyck. 17—PORTRAIT OF A LADY Life size, three-quarter length, standing, turned to the left, touch- ing, with the right hand, a pearl necklace on the table at her side, which is covered with a red cloth. Clad in a black dress over a white underdress, curled hair, pearls at the ears, around the neck and the left wrist. On canvas: Height, 44% inches; width, 35% inches. ae NO SH if "yr Pee ad i ot & A C1 790. Yi bye Ne = FERDINAND BOL Dutch, born at Dordrecht 1611, died in Amsterdam 1680. Pupil of Rembrandt, whose studio he entered about 1630. I8—MAN WITH A BLACK SKULL-CAP, HOLDING A BOOK Half-length figure seated in an armchair, facing the observer; clad in sober black, with a white ruff and black skull-cap covering a head fringed with white hair. In the left hand a book—a Latin treatise on botany—in the right, horn spectacles. The face is of great dignity, with blue eyes, full straight nose, white moustache and straggling beard. At the right is the inscription: “Aetatis 66 ANo 1641.” On Panel: Height, 32% inches; width, 25 inches. No. 13—MAN WITH A BLACK SKULL-CAP HOLDING A BOOK By FERDINAND BOL No. 193—PORTRAIT OF A LADY By SIR PETER LELY SIR PETER LELY (PIETER VAN DER FAES) Born at Soest 1618. Pupil of Frans Ptetersz de Greb- ber at Haarlem. 1641 he went with Prince William the II of Orange to London, where he lived until 1680. IQ—PORTRAIT OF A LADY Life size, three-quarter length, seated. Dressed in a light violet gown, cut low, with a blue scarf and a pearl necklace. Her right hand rests on a pedestal; with her left hand she caresses a small dog. The background on the left is sculptured and on the right is a curtain. On canvas: Height, 50 inches; width, 40% inches. BENJAMIN GERRITSZ CUYP Born at Dordrecht 1612. Died there 1652. 20—THE ANNUNCIATION TO THE SHEPHERDS At the upper left the Angel, who appears to six astonished shepherds below. On both sides are huts and on the right a number of sheep and cows. | On wood: Height, 33% inches; length, 45% inches. “a . a hey cia ‘ = £ Dalal tis at OEY oe | ee se f ce 8 -, Ft Mi os ae “ST : te & A 2 ‘f. ° 5 4 dXND ZSLIAAAD NIWFINAD *2 SGYaHdaHS AHL OL NOILLVIONONNV FHL ON No. 21—(4) A MOUNTAINOUS AND WOODED LANDSCAPE By JAN TILENS No. 21—(B) A MOUNTAINOUS LANDSCAPE By JAN TILENS JAN TILENS Born at Antwerp 1589. Master in the Guild 1612. Died 1630. He painted his landscapes in the manner of Joos de Momper and Lucas van Uden. 2I—(A) A MOUNTAINOUS AND WOODED LAND- SCAPE On the right a cascade. Scattered about the foreground stags and hinds, nine altogether. On wood: Height, 1934 inches; length, 36% inches. (B) 4 MOUNTAINOUS LANDSCAPE On the right are rocks, with a church on the summit. In the centre a view towards the distance. In the foreground various groups of figures. 7 On wood: Height, 19% inches; length, 36% inches. JACQUES VAN OOST THE ELDER Born at Bruges 1601, died 1671. (Or perhaps Jacques van Oost the Younger, his son and pupil, born at Bruges 1639, and died there 1713.) 22—MERRY COMPANY A group of eight at a table before a farmhouse. A man on the left is sleeping on his arm, resting on the table. A man in the centre, in a red costume, faces the spectator, a third one is drinking, and a fourth holds up his left hand; the fifth one plays his violin. On the right a pig near some barrels. Before the table an overturned chair. Authentically signed. On wood: Height, 22% inches; length, 28% inches. daadTdT AHL LSOO NVA SANOOPL 4G ANVdINOO AYAAN—~e *ON No. 23—THE MOURNING FOR CHRIST SCHOOL OF THE LOWER RHINE SCHOOL OF THE LOWER RHINE About 1525, under influence of Dutch masters. 23—THE MOURNING FOR CHRIST The dead Saviour resting against the knees of Joseph of Arimathea, standing on the left; to the right the Holy Mother, supported by St. John and at the feet of Christ, Maria Magdalena in a somewhat declamatory attitude, seen from the back. The composition espe- cially on the right side, expresses great movement, the coloring of the whole scene is vivid and bright. In the background on the left, the grave, already prepared, is watched over by an angel; on the right a view of hilly country. A fine picture, very characteristic of the period. Oak Panel, joined crosswise: Height, 18% inches; width, 14 inches. JOACHIM PATINIR Born about 1485 at Dinant. Settled at Antwerp in 1515. Died October s, 1524. 24—(A) LANDSCAPE WITH A CONVENT Of the same character and almost of the same size as the following. The hollow mountain with the fortresslike monastery, at the en- trance of the semicircular huge cavity, is also seen in Patinir’s more detailed picture representing the Rest on the Flight to Egypt, prop- erty of the Museum at Berlin. Right above the convent, the glori- fication of a saint (St. Mary of Egypt’), caught up to Heaven, is faintly visible. Oak Panel: Height, 10% inches; length, 14 inches. Note: The little owl, visible just above the saint, is by no means to be interpreted as the “signature” of Henri met de Bles, called ‘Civetta,’ whose technique and colorings are very different, A PA SS ee ee [ Continued { Jf mniedteQoy + camel YINLLFd WIHOVOL 44 LNAANOO V HLIM AdVOSANVI (7)—?2 ON YINILELFd WIHOFOL 49 LINYAH SV AWOL LS HLIM AdVOSANVI (4j—?e °ON JOACHIM PATINIR Born about 1485 at Dinant. Settled at Antwerp in 1615. Died October 5, 1524. 24—Concluded (B) LANDSCAPE WITH ST. JEROME AS HERMIT A view of rocks, seashore, a town on a bay, etc. The scenery is ani- mated by buildings of various kinds and miniature figures. The whole is whimsical but pleasing; the workmanship refined to a high degree. Patinir repeated the same motive of curious rock formation and background in a large landscape under a quite similar sky, now in the Prado Gallery at Madrid. Oak Panel: Height, 10 inches; length, 13% inches. Ss’ 2 ) } : 3 2 ie 7 | 79 ie e) f ,O3 ) ‘< G — CYP AMM bth JOOS VAN DER BEKE (Called JOOS VAN CLEVE THE ELDER) Born in Antwerp 1520. Died 1556. 25—THE HOLY VIRGIN WITH THE CHILD, SITTING ON A RICH THRONE OF MARBLE The Madonna wears an ample dress of vivid red. ‘The Child is playing with a coral rosary or necklace. Characteristic are the orna- ments of the throne in the style of the Renaissance. Landscape in the background, on both sides. A very good picture from his studio. Oak Panel: Height, 20 inches; width, 13V% inches. No. 25—THE HOLY VIRGIN WITH THE CHILD, SITTING ON A RICH THRONE OF MARBLE By JOOS VAN DER BEKE No. 26—THE HOLY VIRGIN WITH THE CHILD EGAMBE By JEAN BELL ‘o) ?) JEAN BELLEGAMBE Born about 1470. Died about 1530 at Douat. 26—THE HOLY VIRGIN WITH THE CHILD Seated on a white marble throne with two young angels at her feet, playing on musical instruments. In the style of Memling and exe- cuted with characteristics seen frequently in the paintings by this master. Oak Panel: Height, 1534 inches; width, 934 inches. 0: 4 & §° Me ead SCHOOL OF JAN GOSSAERT 27—THE HOLY VIRGIN ENTHRONED With the Child on her lap, surrounded by three female saints with- out attributes. | Oak Panel: Height, 18 inches; width, 1334 inches. 27—THE HOLY VIRGIN ENTHRONED SCHOOL OF JAN GOSSAERT No. No. 22—THE HOLY VIRGIN AND ST. JOSEPH ADORING THE CHILD IN: THE RUINED, STABLE SCHOOL OF ANTWERP. FOLLOWER OF QUENTIN METSYS SCHOOL OF ANTWERP. FOLLOWER OF QUENTIN METSYS 28—THE HOLY VIRGIN AND ST. JOSEPH ADORING THE CHILD, IN THE RUINED STABLE From the background two shepherds are approaching and beyond is a view of a landscape. The Child is lying on a kind of altar. In the foreground a staff, a gourd and a linen bag. Oak Panel: Height, 17 inches; width, 13% inches. ANTHONY VAN DYCK Born at Antwerp 1599. Pupil of Hendrick van Balen in 1609. Entered Rubens’ studios 1618 as his assistant. Visited England and Italy. In 1632 King Charles I invited him to England to paint himself and his fam- tly. On Rubens’ death he went to Antwerp and Paris, but returned to London in 1641 and died there. 29—A LIFE SIZE BUST PORTRAIT OF A LADY Turned to the left, looking at the spectator. In a rich dress, em- broidered in gold, and having a lace collar. She wears costly pen- dants with pearls in the ears. With the right hand, the only one visible, she is touching a necklace about her neck. On copper: Height, 20 inches; width, 1534 inches. Ne. 29—A) LIFE. SIZE BUST (PORTRAIT OF A LADY By ANTHONY VAN DYCK No. 30—PORTRAIT OF A LADY By CORNELIS DE VOS CORNELIS DE VOS Born at Hulst 1585. Pupil of Rubens. Died at Ant- werp 1651. 30—PORTRAIT OF A LADY The life-sized head of a lady with a ruff and a plain bonnet, looking downwards to the left. On canvas: Height, 17% inches; width, 14 inches. Noth “. h : 4 SCHOOL OF THE CLOUETS XVI CENTURY 31—PORTRAIT BUST OF LORD BURGHLEY, BAILIFF, KNIGHT OF THE ORDER OF THE GARTER Wearing a chain and holding a short white staff, the sign of his office. Dressed in a black robe, set off with brown fur, and small lace collar. On his black cap the medal of the Order and a little black ostrich-feather. Grey background. In the upper right corner the name, written on a strip of paper, fastened by two seals: “Lord Burghley, Baliv.” The name is written over again, but seems au- thentic. Over the right shoulder, a coat of arms, surrounded by the “garter,” added afterwards to the background. Oak Panel: Height, 11 inches; width, 834 inches. No. 31—PORTRAIT BUST OF LORD BURGHLEY, BAILIFF, KNIGHT OF THE ORDER OF THE GARTER SCHOOL OF THE CLOUETS STRATE 2—PORTRAIT OF A YOUNG MAGI 3 No. E YOUNGER OMEW BRUYN TH HOL a | By BART BARTHOLOMEW BRUYN THE YOUNGER Son of Bartholomew Bruyn the Elder. Painter of Cologne. Follower of his father. Mentioned since 1550. Died 1610. 32—PORTRAIT OF A YOUNG MAGISTRATE Half-length figure, dressed in black with small cap of the same color; against background of brown speckled marble. In his hands he holds his gloves and a letter. In the background the following inscription: Anno Dnt. 1554. Aetatis suae 20. Oak Panel, one piece with the frame, rounded at the top: Height, 1634 inches; width, 1234 inches. BARTHOLOMEW BRUYN THE ELDER (Attributed to) Born 1493 at Wesel. Settled at Cologne. Died there 1555: 33—PORTRAITS OF A DONOR AND HIS WIFE IN THE ACT OF ADORATION The wings of a triptych; landscape backgrounds. The man, wearing a long, fair beard, is dressed in an ample black robe and a cap of the same color. The woman is wearing a white headdress and black raiment with white lining and a broad belt of gold leather. On wood: Height, 26 inches; width, 9% inches. Formerly in the Collection J. E. Taylor. The central panel accord- ing to reliable information in the de Merode Gallery at Brussels. ; > ‘ 'p pa . rae a ~ CA Yet . ALO oO >. 22s % t 2, OAS Fi * ie ko - ff = 2 i Wis Pe JRA AA AA : ‘ A Ni i No. 33—PORTRAITS OF A DONOR AND HIS WIFE IN THE ACT OF ADORATION By BARTHOLOMEW BRUYN THE ELDER No. 34—LIFE SIZE HALF-LENGTH FIGURE OF A LADY IN@HE ALDIITDUDE OF PRAYER By “THE MASTER OF MOULINS” “THE MASTER OF MOULINS” Identical with the “Painter of the Bourbons.” French school, second half of the XV Century. Active still about 1500. 34—LIFE SIZE, HALF-LENGTH FIGURE OF A LADY IN THE ATTITUDE OF PRAYER She is represented in a garden, bounded by a brick-wall, and wears a brown dress, set off with dark brown fur. The cherry-red sleeves of her undergarment are just visible at the wrists. Same color in her headdress, bordered with faint gold, and a necklace of gold. Important fragment of the right wing of a very large triptych, asis | proved by the reverse side showing the vertical broad drapery of a standing figure, undoubtedly a saint. A masterpiece of most sincere expression. Oak Panel: Height, 21% inches; width, 1834 inches. (In the right upper corner, behind the head of the woman, a piece of wood is set in.) ib4. 620 CW Fnshy _ A a A wr a # Chiari ; ey > « aX tA D 2 L ePRA@O eo WL See be PAINTER KNOWN AS THE “MASTER OF THE HALF-LENGTH FEMALE FIGURES” Flemish school, beginning of the XVI Century. 35—THE HOLY VIRGIN WITH THE CHILD AT A TABLE With downcast eyes she is looking at an illuminated prayerbook, of which Our Lord, seated on a little cushion and dressed in a trans- parent shirt, is turning the leaves. The Mother wears a blue-green dress with crimson mantle. The table is covered by a dark-green cloth. Oak Panel: Height, 11% inches; width, 9 inches. This attractive picture comes from a convent near Burgos. No. 35—THE HOLY VIRGIN WITH THE CHILD AT A TABLE By the “MASTER OF THE HALF-LENGTH FEMALE FIGURES” No. 36—THE HOLY VIRGIN WITH THE CHILD SEATED IN A LANDSCAPE By ADRIAEN ISENBRANDT ADRIAEN ISENBRANDT Born at Haarlem. Came to Bruges in the very first years of the XVI Century. Pupil there of Gerard David. Master in the Guild 1510. Dred 1551. 30—THE HOLY VIRGIN WITH THE CHILD SEATED IN A LANDSCAPE Almost twilight. The Virgin is represented resting on the flight to Egypt. In the background on the right, at the entrance of a dark wood, St. Joseph is drawing water at a spring. On the left a view over hills and distant mountains, where a castle is seen and beyond a town, with its citadel. The landscape is beautiful in atmosphere. The dress of the Madonna is dark green, completed by a long cloak of green-gray, a shade lighter. At her feet an underskirt of very dark crimson is just visible. Before her in the foreground a long staff and a basket. Oak Panel: Height, 14% inches; width, 11% inches. PAINTER KNOWN AS THE “MASTER OF THE HALF-LENGTH FEMALE FIGURES” Flemish School, beginning of the XVI Century. 37—THE HOLY VIRGIN LOOKING DOWN AT THE NUDE CHILD IN HER ARMS The Madonna is dressed in grey-green with dark green mantle, edged with gold. Over her hair a white kerchief is knotted. Background dark. Old frame with inscription: “Pater in manus tuas commendo spiritum meum. Luc. 23.” Oak Panel: Height, 15% inches; width, 11% inches. tera imation gt * co MRA a dele SMe ee eee, ase sense test ah RERUN Nn Nine < Nh << No. 37—THE HOLY VIRGIN LOOKING DOWN AT THE NUDE CHILD IN HER ARMS By the “MASTER OF THE HALF-LENGTH FEMALE FIGUR ES” No. 38—THE HOLY VIRGIN WITH THE CHILD STYLE OF DIRCK BOUTS STYLE OF DIRCK BOUTS Born at Haarlem 1n the beginning of the XV century. Settled at Louvain and dted there 1475. 38—THE HOLY VIRGIN WITH THE CHILD Half-length figure, dressed in grey with a red mantle, standing in front of a screen of gold-leather. On either side view of a land- scape. The Child leans its head on the bosom of the Mother, who bends hers towards her Son in a very tender attitude, holding Him closely in her arms. (This attractive picture may be an ancient copy of a lost original.) Oak Panel: Height, 17% inches; width, 1114 inches. a jy Shes f sa {ff S ae a ee oe “y a _ —th a a) fy <=, > ¥ ee 2 17a, Pi? 5 < £ , bef} ioe” J f : ; £m wo. ie a a yee GA F MZ 7 ¢ HANS MEMLING Born about 1430. Pupil of Rogier van der Weyden. Settled at Bruges. Died August 11, 1494. 39—THE PENANCE OF ST. JEROME IN A LANDSCAPE The right wing of a rather large triptych, reduced to become com- plete in itself. The Saint is dressed in a ragged coat of a violet- brown color. Behind him in the foreground iris and other flowers are growing. In the background two hermits praying near a spring, and (on the left, half missing) the group of St. George liberating the princess by killing the dragon. Landscape and figures are excel- lent in workmanship and perspective. The picture is extraordinarily expressive. Oak Panel: Height, 18% inches; width, 13% inches. Formerly in the Collection of Vicomte Bernard d’Hendecourt, London. ( j POY a? oat No. 397—THE PENANCE OF ST. JEROME IN A LANDSCAPE By HANS MEMLING No. 4o—PORTRAIT OF A DUTCH HUMANIST By JAN VAN SCOREL JAN VAN SCOREL Born 1495. Pupil at Haarlem of Willem Cornelisz, and afterwards at Utrecht of Gossaert Mabuse. Trav- eled 1520 to Niirnberg where he stayed some time with Albrecht Diirer, and continued thence to Venice and Palestine. On the way back he was employed in Rome by the Dutch pope, Adrian VI (1523). Settled at Haarlem and Utrecht. Died 1562. 40—PORTRAIT OF A DUTCH HUMANIST Half-length figure with a landscape background. The scholar, nearly full-face, is beardless, fair and blue-eyed, slightly sunburnt; his expression both earnest and resolute. He is dressed in an ample black robe with a cap of the same color. At the neck the white shirt with yellow embroidery is visible and just the tip of a cherry-red waistcoat. The left hand is resting on a sleeping brown dog; with a self-possessed gesture of the right he is pointing to the deserted bulk of the tower of Babel, rising in the background. At the foot of it a man, stripped by a robber, and some people hurrying away from the scene. On the right a slender tree and behind the scholar some monuments of ancient Rome are indicated: Trajan’s Column, the Pyramid of Caius Sextus, an obelisk. Sky with white clouds. The gesture, in showing the background, is intended to remind of the wickedness of mankind. The hand resting on the dog alludes to fidelity. A noble portrait of high importance, painted about 1540. Oak Panel: Height, 26%4 inches; width, 201% inches. Note: See E. J. Hoogewerff, Jan van Scorel, peintre de la Renaissance hollandaise (‘The Hague 1923), p. 78. No. 14. i B >. ry I> «4 f? # ao zg ff “frm rf 72% FD me ~yP e a cd if. i wes. & F Ag Ces PETER BRUEGHEL THE YOUNGER Son of Peter Brueghel the Elder. Born at Brussels 1564. Died in 1637 or 1638. Pupil of Gillis van Co- ninxloo. (He signed either Brueghel or Breughel.) 4I—HARVEST Peasants harvesting in a cornfield. In the foreground one is drink- ing from a large stone bottle while a woman brings fruit in a basket for refreshment. In the distance a village and view over a valley. Painted by Peter Brueghel the son, from a drawing left by his famous father and dated 1568, now in the Kunsthalle at Hamburg. The “old” Brueghel died 1569. After his sketch the well-known engraving was made by Peter van der Heyden and a picture by Abel Grimmer in the Museum at Antwerp (n. 831). Our picture shows, in the middle distance, the figure of a boy bearing two pitchers, seen neither in the engraving nor in the composition as given by Grimmer. This detail and some others are important, because they prove that Peter Brueghel the son did not copy the print (nor Grimmer) as others have done. The landscape with church and tower is very like that in the copy the younger Brueghel made of his father’s picture representing the “Parable of the Blind.” (at Vienna; the original, also dated 1568, at Naples.) Signed, P. Breughel. Evidently transferred from a panel at some time. Height, 1644 inches; length, 22% inches. Note: See Van Bastelaer et de Loo, Peter Brueghel l’Ancien (1907), p. 261, and Friedlander, Peter Brueghel (1921), p. 122, YAONNOK AHL THHDANUT AYILAd *F LSAAUVH— IF on BARBARA ATHERINE AND ST ie By JEAN BE 42—S1 No LEGAMBE J JEAN BELLEGAMBE Born at Douat before 1480. Died there 1535. Con- temporary and follower of Quinten Metsys. 42—ST. CATHERINE AND ST. BARBARA The wings of a triptych. The saints are represented nearly full- length, St. Catherine, crowned, holds in her hand the ring as sign of her betrothal with the Celestial Bridegroom. Behind her a dramatic landscape with mountains is visible. St. Barbara wears a red little cap and holds an open book with a palm. In the back- ground a fortified tower, her attribute. On the inner side of each panel an ornamented column in Renaissance style: and in the dis- tance the martyrdom of both saints. Oak Panel: Height, 32% inches; width, 11 inches. JOOS VAN DER BEKE (Called JOOS VAN CLEVE THE ELDER) Born at Antwerp about 1480. Master there in 1511. Died 1540. Worked several years in Italy and at Co- logne. Formerly known as “The Master of the Death of the Virgin.” 43—THE HOLY TRINITY ENTHRONED AND TWO ANGELS God the Father is sitting on a monumental throne, supporting Christ as the Man of Sorrows; the Dove on His left shoulder; in the fore- ground two angels are holding a long linen sheet. In the beautiful coloring the crimson mantle of God and the pale yellow dress of the left angel predominate; special attention is given to the rich drapery. The typical landscape, visible on both sides of the throne, is less elaborate than is usual with the painter; but the atmosphere improves by the somewhat larger touch. The picture is the central panel of a triptych, the wings being lost and the top cut off. The composition closely follows a painting of the “Master of Flemalle” (contemporary of the Van Eycks), now in the Museum at Louvain. . Joos van Cleve borrowed the arrangement of his figures from that artist on other occasions. On the reverse side in characters of the seventeenth century, the following inscription: C. Dosena. Mele- gnano per Carpiano, in Certosa. Franco dt porto. (Melegnano is a little town halfway between Milan and Lodi.) Oak Panel: Height, 31% inches; width, 2234 inches. ae vont Sy « i No. 43—THE HOLY TRINITY ENTHRONED AND TWO ANGELS By JOOS VAN DER BEKE No ie H } i oe 44—CHRIST SHOWN TO THE MOB SCHOOL OF THE NETHERLANDS SCHOOL OF THE NETHERLANDS By an artist near to the Master of “Solomon’s Idolatry” in the Museum of Amsterdam. Second half of the AV Century. 44—CHRIST SHOWN TO THE MOB With Pilate and Councillors He is standing under a Gothic porch to which a stone staircase from the right conducts. A man mount- ing the steps may be supposed to bring the message from Pilate’s wife. Before the palace a crowd of Jews. In the foreground two schoolboys fighting, and a dwarf. In the background a street where the two thieves are led to Golgotha. The hill is visible in the dis- tance. The colors are vivid but harmonious. The several heads are characterized in a remarkable way. Oak Panel: Height, 37% inches; width, 2734 inches. PEETER BALTENS Painter and engraver of Antwerp. Master of 1m- portance in the Guild since 1540. Died 1598. Worked in the style of Peter Brueghel the Elder. 45—THE PARABLE OF THE SOWER, IN A LARGE LANDSCAPE In the foreground a field, where the devil, disguised, is sowing the tares, whilst the husbandmen sleep. ‘The field is bounded on the left by a country road, beyond which are several high elm trees, beau- tifully painted; in the middle distance a farm where linen is being bleached, and to the right a hamlet with a castle or abbey, not far from a river. In the background a fine view of mountains; from drifting clouds varying shadows are cast over the landscape. ‘The sleeping peasants with their horses and tools are well distributed over the foreground and middle distance. The picture, harmonious in coloring and splendidly preserved, must be considered, by its quality and size, a masterpiece of the painter. Only six or seven of his works are known, and this one appears the largest. Panel cut from one plank, without any joins. Signed on the left, on a stone, PEETER BALTENS. On the right the following inscription in Latin: “Zyzaniam pravus seminat sed tempore messis Videbunt Stygium crimina facta canem, Lucida quum coeli ducetur ad atria justus, Impius eterni preda Charontis erit.” (The evil-one sows the tares, but at the time of the harvest the crimes committed will reveal the infernal dog, when the just will be conducted to the shining courts of heaven, and the impious will be the prey of everlasting Charon.) Oak Panel: Height, 46 inches; length, 64% inches. Note: See Van Bastelaer et de Loo, Peter Brueghel l’Ancien, son oeuvre et son temps (Bruxelles 1907), p. 373. Formerly in the collection of M. Paul Delaroff, Petrograd. SNA.LIVA MALATd §¢ HAdVOSAGNVI ADUVI V NI UAMOS AHL AO AIGVUVd AHL—S? ON PLLAZZVId VLSILLVG INNVAOID 49 NOLLVIONOANNV FAHL—9?P “ON GIOVANNI BATTISTA PIAZZETTA Born at Pietrarossa, 1682. Died in Venice, 1754. The most genial, after Tiepolo, of the Venetian patnt- ers of the XVIII Century 406—THE ANNUNCIATION The Virgin is represented in an attitude of stupor, near the praying stool, at the announcement which the Angel, coming into her pres- ence, borne by a cloud, makes to her. The look of transport on the face of the Angel is very beautiful and the coloring of the Virgin, the white lining of her blue robe seeming to illumine the scene, is also very striking. i Height, 21 inches; length, 29 inches. Note: See, Aldo Rava, G. B. Piazzetta, Alinari (Firenze, 1921), page 63 (reproduction) ; Mostra della pittura Italiana del sei e Settecento in Palazzo Pitti; Bestetti e Tuminelli. 1922. No. 751. GIOVANNI BATTISTA TIEPOLO Born in Venice 1696. Died 1770. Piazzetta and Paolo Veronese were his teachers; but he has, by his great genius, elevated the Venetian style of painting of the “Settecento” to a height which excelled even that of the French painting of the same period. 47—A BISHOP READING THE PRAYER The background is niche-fashioned, and in the extrados two figures in grisaille are lying along the curve of the arch. In the niche a bishop, assisted by an acolyte, reads the prayer from a book which a page, kneeling, holds up to him. A sketch for some unknown pic- ture. Tiepolo is particularly happy in his sketches, which show more the freshness of his imagination than the great compositions for which they are intended. The composition, forms and color all unite in pointing to Tiepolo as the author. wy r At ~ Height, 23% inches; width, 1334 inches. Rae SRR Ra rhea BR MPP Tee NE copes aay | No. 47—A BISHOP READING THE PRAYER By GIOVANNI BATTISTA TIEPOLO No. 48—PORTRAIT OF A MAN WITH A BEARD By VINCENZO CATENA VINCENZO CATENA Venetian painter; worked under Giovanni Bellini. Died 1531. 48—PORTRAIT OF A MAN WITH A BEARD Bust-size, three-quarter turned to right, with cap and dress of brown- ish-crimson on a dark background. The cold and flat treatment of the face, the breadth of the shoulders and other peculiarities point quite distinctly to Catena as the author. The picture was, long ago, enlarged by about one inch to the right, in order to make it fit the old frame. | Height, 18 inches; width, 15 inches. From the Fairfax Murray Collection. ANDREA DI BARTOLO A Stenese painter of the early XV Century, but still liege to Simone Martini and Lippo Memmi. 49—MADONNA AND CHILD The Madonna is seated on a cushion in a flowering meadow, hold- ing the Child at her left. On high against a gold background, two angels praying. The tabernacle is modern, after the Venetian style. Andrea di Bartolo, who repeated his Madonnas in several paint- ings, never expressing himself in more than two or three themes, is here a little different, and more original than usual, but not less characteristic. Scalloped Panel: Height, 21 inches; width, 13 inches. Note: See, Andrea di Bartolo in Rassegna d’Arte Senese XIV. n. 1. p. 14, by Giacomo de Nicola. ; —) «/ ‘ a + : C Psd i Senta Rnier Mee ona a oe ee ee ee ee ee a va aa a na ne am me eee ct No. 49—MADONNA AND CHILD By ANDREA DI BARTOLO No. 505—-MADONNA WITH CHILD BETWEEN TWO SAINTS AND TWO ANGELS ON A GOLD BACKGROUND By SANO DI PIETRO SANO DI PIETRO Born in Siena 1406. Died 1481. The most popular, perhaps, of the Stenese painters of the XV Century. He was a pupil of Sassetta. 50—MADONNA WITH CHILD BETWEEN TWO SAINTS AND TWO ANGELS ON A GOLD BACKGROUND That this is a painting by Sano di Pietro, the typical composition of the Master proclaims, but the style of the forms (more minute, more detailed, more realistic) suggests Sassetta’s. The picture may be considered, therefore, as being the work of Young Sano executed in Sassetta’s studio, and, on that account, has an importance which cannot be gainsaid. Scalloped Panel: Height, 27 inches; width, 19 inches. fe { rl £. oa (Pomaas_ ee ho J 2a eae ay Ye FUG x A “ES FR ORFS pp. *§ "i ITALO-BYZANTINE, XII-XIII CENTURY 5I—THE DESCENT FROM THE CROSS With the traditional figures of Mary, John, the Magdalene, another Mary, Joseph of Arimathea and Nicodemus, it is truly a work of exceptional interest. It bears all the nobility of the Byzantine art of the golden period; the expression is more Roman than Ro- manesque. Observe the figure of Nicodemus, in the act of removing the nails from the feet of Christ; he is represented as a rough type of man with unkempt hair and beard and sinewy limbs; the treatment being somewhat after the impressionistic manner of some frescoes at Pompeii. The picture probably came from the East and may have been painted by a Greek artist, at Venice. Height, 20 inches; width, 18 inches. ies, iaiew f 4 j Samay 4 — a of pouD. | Th -lovheaane FEA M THE CROSS HE DESCENT FRO AII-XIII Century ITALO . No. 51—I a -BYZANTINE NICHOLAS LORENZO VENEZIANO No. 52—LHE BIR RHLORES i y B LORENZO VENEZIANO (Worked at Venice between 1357 and 1359) 52—THE BIRTH OF ST. NICHOLAS In a room, the mother is lying in bed assisted by two women. In the foreground, two other women are tending the babe; and one of them, miraculously, receives the knowledge that the infant will be a Saint. ‘The description of this work, as well as that of No. 53, is derived from the narrative of the Saint’s life according to the Leggenda Aurea (The Golden Legend). The “enamel” of the colors and the general state of preservation are truly extraordinary. In original trilobed frame. Panel: Height, 29 inches; width, 2134 inches. LORENZO VENEZIANO (Worked at Venice between 1357 and 1359) 53ST. NICHOLAS’ BOUNTY In a room, standing in an attitude of humility, before their father, are the three maidens whom St. Nicholas saves from dishonor by throwing to them, from a window, the three golden balls which are to be their dowry. It is a pendant to No. 52, and like it, is beautiful and perfectly preserved. Height, 29% inches; width, 2134 inches. BOUNTY CHOLAS’ mI oT LORENZO VE S Same J No. B O NEZIAN ) No. 54—MADONNA AND CHILD By SEGNA DI BONAVENTURA Me i J Cwrwnd GUd, Joke, , SSsl 0-6 Worked between the end of the XII and the begins = NxoOYANC. (| [ tue (4 &Y ning of the XIII Century. With Ugolino, he was the in: ‘ Wied be most fatthful disciple of Duccto, the founder of the ; r) Soe tate Aor cee Stenese school of painting. ewe SEGNA DI BONAVENTURA Nee Mickel fe. 54—MADONNA AND CHILD Ub Tae Cen On a gold background is the half-length figure of the Madonna, turned three-quarters to the right, holding the Child. The face and hands of the Virgin distinctly point to Segna as the author. It was evidently the centre panel of a polyptych. Height, 34 inches; width, 23% inches. Formerly of S. Mintato det Tedescht, near Florence. AOA aN Note: See, Duccio and his School by G. De Nicola in the “Burlington Magazine,” Dec. 1912, p. 146. GIOVANNI ANTONIO BOLTRAFFIO Born in Milan 1467. Died 1516. The most gifted of Leonardi da Vinci's pupils: a Madonna at Budapest and the “Casio” panel at the Louvre are among his works. 55—THE VIRGIN WITH THE BOOK The half-length figure of the Madonna is shown behind the parapet on the ledge of which the Child is seated. Her right hand rests on a book, and with her left she is offering a flower to the Child. From two openings in the rear is seen the landscape of the back- ground. The pretty and novel idea of this composition pleased the Master so much that he reproduced it in a | picture which was in . the Loeser Collection at Florence. ( ©“! Gat .) Height, 21 inches; width, 15% inches. From the Crespi Collection at Milano, and Po ote that 1t was in the Colbacchint Collection at Venice. Note: See, A. Venturi, The Crespi Gallery (Milan, Hoepli 1900), p. 237. See, G. Carotti, G. A. Boltraffio in the National Italian Gallery (Rome, 1899), vol. IV, pp. 305 and 329. See, B. Berenson, North Italian Painters of the Renaissance. Mentioned in the catalogue of the Musée de Breca de Milan, pp. 181-182; also in Baedeker and in the Guide Joanne. 2a i « f FE 4 ~ c te ‘ i: 42 fon px-te tf fe PS ont 4 g * Lae - a i ee < F 3 TP ae wt g % ¢% ws ft, No. 55—THE VIRGIN WITH THE BOOK By GIOVANNI ANTONIO BOLTRAFFIO ONFINITTAYI AMOLLIA 49 SHTHON NVILANAA DNOOA OML AO SLIVULYOd—9S ON “ENG Rad as We Mek Vn ale Nel Sane Udit? Lacipwe Gnaleae Cadbak eathot VITTORE BELLINIANO A Venetian painter of the first decade of the XVI Cen- tury. He was, for a time, assistant to Giambellino. 50—PORTRAITS OF TWO YOUNG VENETIAN NOBLES Busts, turned slightly towards each other, dark background. The above is the description given to the picture by the authorities of the Kaiser Friedrich Museum of Berlin where it was on view until 1922 (see, H. Posse, Die Gemdlde Galerie des Kaiser-Friedrich Museum |, 1913, p. 127. n. 12), in which year it was allowed to go in order to make place for a Durer. Because of the steadiness of the drawing and a certain grandiosity in the style of reproducing the characteristics of his subject, one were inclined rather to assign the work to Cariani. In the Louvre there is a replica of this, but not so powerful and of a later period. Height, 1734 inches; length, 24% inches. From the Solly Collection in London. a FILIPPINO LIPPI Born at Prato 1457. Died at Florence 1504. One of the most interesting (after Botticelli, to whom he owes much of his artistic attainments) of that phalanx of Florentine painters who made the XV Century famous. 57—MADONNA AND CHILD The Madonna is seated, turned three-quarters to the left. She holds the Child in the act of blessing. The wall has two apertures which allow the landscape to be seen; very luminous and simple. ‘The composition, except the background, recalls the celebrated picture of Filippino in the Church of Santo Spirito at Florence, but one would say it belongs to a Jater period. Beautiful old frame. Height, 2634 inches; width, 19% inches. Ar. -y a oh) owe [yi 4 A Th (“TA / 7] Arn. , f