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PAINTINGS 
 IN THE COLLECTION OF 
 JOSEPH WIDENER 
 AT LYNNEWOOD HALL 
 
 ELKINS PARK, PENNSYLVANIA 
 PRIVATELY PRIUN TED 
 
 1923 
 
) 
 
 THE FOUNDER OF THIS COLLECTION 
 
 DEDICATED TO. 
 THE MEMORY OF MY FATHER 
 
 
 
 TO WHOM 
 ALL~ WHO MAY ENJOY=I? 4 
 “ARE INDEBTED 
 
 JosepH WIDENER 
 
 
 
 2 " 
 Pa ‘ 
 1.) ae 
 ’ ~'¢, a ie 
 ie 
 * oe 
 Copyright 1923 . 
 FOSEPH WIDENER a tty, 
 me 
 ‘ ’ A i 
 a 
 
ale handbook, containing brief descriptive 
 
 notes of one hundred pictures in Mr. Joseph 
 Widener’s collection, is an abbreviated edition 
 of the catalogue de luxe, in three volumes, 
 prepared by B. Berenson, C. HorsrepeE bE 
 Groot, W. Roserts and W. R. VaLenTINER. 
 A number of paintings have been included 
 which have been added to the collection since 
 
 the last volume of this catalogue appeared 
 [19 16]. 
 
 W.R. VaLENTINER 
 

 
PIU Re IE (GyaN DAC eRe NY 
 
THOMAS GAINSBOROUGH, R. A. 
 
 (1727-1788) 
 * PORTRAIT OF MRS. METHUEN 
 
 GORN at Sudbury, Suffolk, son of a clothier; died 
 S| in London in 1788. Studied art in the St. 
 a clNA * Martin’s Lane Academy under Francis Hay- 
 
 vets] man; settled in Bath in 1760; a foundation 
 member of the Royal Academy in 1768; removed to 
 London in 1774. 
 
 Mathilda, elder daughter of Sir Thomas Gooch, third 
 baronet of Benacre Hall, Suffolk; married in 1776 Paul 
 Cobb Methuen of Corsham; died in 1826. Her eldest 
 
 son was created Baron Methuen in 1838. 
 
 
 
 — 
 
 Half figure, directed to left, head turned and looking 
 to right; age about twenty-five to thirty; bluish-white 
 low dress garnished with pearl ropes and drops; pow- 
 dered hair, dressed high with pearl band and white 
 feathers and falling in curls over neck; brownish back- 
 ground. 
 
 On canvas: Height, 33 inches; width, 28 inches. 
 Painted about 1776. 
 
 From the family, purchased 1893. 
 

 
SIR JOSHUA REYNOLDS, P.R.A. 
 (1723-1792) 
 
 PORTRAIT OF THE HON. MRS. GRAY 
 
 orn at Plympton, Devonshire, son of a school- 
 
 master; studied under Thomas Hudson; visited 
 
 Italy and France; settled in London in 1752. 
 Foundation member and first president of the 
 
 
 
 A it 
 
 Royal Academy; died in London 1792. 
 
 Half figure, age about thirty, seated on a bank at the 
 foot of a clump of trees, directed to front, looking to 
 right; whitish low dress with brown ribbon bow at sleeve, 
 and brown girdle; left hand upraised and holding spray 
 of flowers; fair or powdered curly hair partly covering 
 forehead and ears. 
 
 On canvas: Height, 30 inches; width, 25 inches. 
 
 Collection: Philip Longmore of Stevenage, Hertfordshire. 
 

 
GEORGE ROMNEY 
 (1734-1802) 
 
 Born at WALTON-IN-FURNESS, LANCASHIRE; 
 DrEDIN KENDALIN 1802 
 
 PORTRAIT OF MRS. BLAIR 
 
 AARY JOHNSON, born in 1750, married Alexander 
 Blair, Esq., of Castle Bromwick, Warwick- 
 shire, died in 1827. She was a well-known 
 
 atex*=d| figure in the fashionable circles of London 
 during the latter part of the eighteenth century and an 
 intimate friend of Kitty, Duchess of Queensbury ; Mrs. 
 Blair’s manuscript memoir of this eccentric duchess is 
 still extant. 
 
 
 
 Three-quarter length of a handsome woman, seated in 
 a red-upholstered and carved gilt chair, directly to right 
 and looking at spectator; white satin dress with short 
 sleeves, edged with white muslin; large black felt hat ; 
 fair or powdered curly hair; right hand holding a sheet 
 of music, arm resting on lap; left arm on red-covered 
 table on which are two volumes and pad of paper ; scal- 
 loped pillar and red-curtained background ; cloudy sky. 
 
 On canvas: Height, 50 inches; width, 40 inches. 
 Painted in 1787. 
 
 Collections: William Beckett, Esq., the banker of Leeds. 
 Ernest W. Beckett, Esq., M. P., his son. 
 

 
JOSEPH MALLORD WILLIAM TURNER,R.A. 
 CI7 7521851) 
 
 VENICE: DOGANA AND S. GIORGIO MAGGIORE 
 
 orn in Maiden Lane, London, in 1775, son of a 
 
 $4, barber ; formed an early friendship with Girtin 
 
 os; the artist ; entered the Royal Academy School 
 
 EA) in 178g, and first exhibited at the Academy 
 
 in 1790; elected A.R.A. in 1799 and RU Agana 
 He died in Chelsea in 1851. 
 
 A brilliant sun-bathed view of the entrance of the Grand 
 Canal from a spot opposite the step of the Salute; on 
 the right the Dogana, with the church and campanile 
 of San Giorgio seen beyond it ; on the left the buildings 
 of the Riva degli Schiavoni retreating into the distance, 
 the canal crowded with barges, sailing vessels and gon- 
 dolas with people in gaily colored holiday attire; blue 
 sky with fleecy clouds. 
 
 
 
 On canvas: Height, 36 inches; width, 48 inches. 
 
 Painted in 1834, and exhibited in the Royal Academy of that year, 
 No. 175. The painting was commissioned by Mr. Henry McConnel 
 of Manchester in whose Collection it remained until 1849, when it 
 was sold privately to John Naylor of Leighton Hall, from whom i it was 
 acquired. 
 

 
THOMAS GAINSBOROUGH, R.A. 
 
 (1727-1788) 
 PORTRAIT OF THE EARL OF DARNLEY 
 
 550 a son of the third Earl of Darnley and Mary, 
 a Le daughter and heiress of John Stoyte, Esq., born 
 A Pe June 30, 1767; educated at Eton and Christ 
 Church College, Oxford; succeeded his father 
 as Serek Earl of Darnley in July, 1 78 i; Di@gh sige 
 married Sept.19,1791, Elizabeth daughter bfthe Right 
 Hon. W. Brownlow; died March 17,1831 at Cobham. 
 
 
 
 Bust, in an oval, of a handsome young man about twenty 
 directed to left and looking at spectator, clean-shaven ; 
 plum-colored coat with high collar and partly buttoned, 
 white lace rufle, and powdered curly wig ; brownish 
 
 background. 
 
 On canvas: Height, 30 inches; width, 25 inches. 
 Sir Walter Armstrong, “Gainsborough,” 1898, p. 194, and 1904, p. 263. 
 
 Exhibited: Burlington House, 1877. 
 Grosvenor Gallery, 1885. 
 Agnew’s Gallery, 1905. 
 Knoedler’s Gallery, 1914. 
 
 Collection: The Earl of Darnley. 
 

 
JOHN HOPPNER, R.A. 
 
 (1758-1810) 
 PORTRAIT GROUP OF THE HOPPNER CHILDREN 
 
 group of three whole-length figures of golden- 
 oS) haired children by a shallow pool in an open, 
 73) uneven landscape. On the left, Richard Bel- 
 grave Hoppner, apparently the last to leave 
 the water and entirely nude, is pulling on his stocking. 
 The child in the centre, Henry Parkyns Hoppner, is 
 partly dressed. The eldest boy, Catharine Hampden 
 Hoppner, is standing to right and has just finished dress- 
 ing; he is inared suit with a broad white collar, white 
 socks, black shoes, and is looking at the spectator. Rich 
 autumnal scenery forms the background; to left, clouds 
 through which the rays of the sun are piercing. 
 
 
 
 On canvas: Height, 60 inches; width, 50 inches. 
 Engraved in mezzotint by James Ward in 1799. 
 
 The picture was left by Mrs. Hoppner, who died in 1827, to her eldest 
 son, and it remained in the family until 1893. 
 

 
JOSEPH MALLORD WILLIAM TURNER,R.A. 
 (1775-1851) 
 
 KEELMEN HEAVING IN COALS BY MOONLIGHT 
 
 PX TENSIVE view of the river Tyne in the glow of 
 
 g moonlight; on the right colliers are filling 
 the bunkers of sailing ships from barges, a 
 weird effect being added to the scene by 
 numerous flaring torches; to left full-rigged ships are 
 going and coming; inthe forepart of the picture are 
 a buoy and a roughly constructed raft. 
 
 
 
 On canvas: Height, 36 inches; width, 48 inches. 
 
 Painted in 1835, and exhibited in the Royal Academy of that year, 
 No. 24. The picture was commissioned by Mr. Henry McConnel 
 of Manchester. 
 
 Exhibited: Burlington House, London, 1887. 
 Knoedler’s Galleries, New York, 1914 
 
 Collections: H. McConnel of Manchester until 1849, when it was 
 sold privately to John Naylor of Leighton Hall, from 
 
 whom it was recently acquired. 
 

 
GEORGE ROMNEY 
 
 (1734-1802) 
 
 LADY ARABELLA WARD 
 
 
 
 —= HE was the younger daughter of William Cros- 
 Ss bie, Baron Beant ae became Viscount 
 D Ds Cannieint 771 and Parl of Glasndenne 17706 
 
 << of Ardfert Abbey, County Kerry, Ireland. The 
 ee family has been eminent in Ireland for two or 
 more centuries. The family into which Lady Arabella 
 married on becoming the bride of the Hon. Edward 
 Ward in 1783 was even more ancient than that of her 
 own, for it isof Norman origin. His father was advanced 
 to Viscount Bangor in 1781. 
 
 
 
 Lady Arabella began to sit for her portrait on March 15, 
 1783, the month after her marriage, and three other sit- 
 tings are recorded to May 31. Then there comes a lapse 
 of over four years, during which interval two of Lady 
 Arabella’s children were born, and the sittings were not 
 resumed until November 1g, 1787, and six other sittings 
 are recorded up to January 12, 1788. 
 
 On canvas: Height, 30 inches; width, 25 inches. 
 
 Purchased from the present Viscount Bangor, Castleward, Down- 
 patrick, County Down, Ireland. 
 

 
STR ae a No irk ae P..Ry Ag 
 
 (1723-1792) 
 PORTRAIT OF LADY CORNEWALL 
 
 (CATHERINE, Born In 1752, MarRIED, in 1771, 
 Sir GeorcE AmyAnbD; DieD 1835) 
 
 Se CCRT length figure, age about twenty- 
 (| five to thirty, seated on a stone bench near an 
 cokes 2) open balcony, directed and looking to left; 
 =! white low dressand lace neckerchief, black lace 
 shawl across shoulders; powdered hair in curls, large 
 -broad-brimmed black felt hat with ribbon rosette and 
 white feathers; both hands resting on lap; to right rich 
 crimson curtain, to left trees and large sculptured vase 
 seen through balcony; cloudy sky effects. 
 
 
 
 On canvas: Height, 50 inches; width, 40 inches. 
 
 Sat in 1780; the second and finished picture paid: for June 6, 1786, 
 £73 10s. The first and unfinished portrait, 1779, belonged to Miss 
 Alice Duff-Gordon in 1884. 
 
 “A splendid example of English patrician beauty of the eighteenth 
 century.” —YWV. Roberts. 
 
 Collection: Rev. Sir George H. Cornwall, the grandson of the Lady. 
 

 
THOMAS GAINSBOROUGH, R.A. 
 
 (1727-1788) 
 PORTRAIT OF THE HON. MRS. GRAHAM 
 
 Rea ARY, second daughter of ninth Lord Cathcart ; 
 
 pea! born March 1,1757; married December 26, 
 J af 1774, Sir Thomas Graham of Balgowan, after- 
 wade t=} wards Lord Lynedoch, one of the heroes of 
 the Peninsular campaign ; died on shipboard off Hyeres, 
 June 26, 1702: 
 
 
 
 Half figure, standing in the open, directed slightly to 
 right and looking to left, lilac shot-silk low dress edged 
 with gold braid and trimmed with narrow white lace, 
 pearl drop at centre of corsage; arms crossed, holding 
 fold of dress in right hand; powdered hair with pearl 
 band, strand falling over right shoulder ; trees in back- 
 ground ; blue sky with white clouds to right. 
 
 On canvas: Height, 3514 inches; width, 2714 inches. 
 
 Painted in 1775-76. The artist’s unfinished whole-length portrait 
 of the same lady as ““The Housemaid” is in the National Gallery, 
 London. 
 
 Exhibited: British Institution, 1860. 
 National Portraits, South Kensington, 1867. 
 Burlington Fine Arts Club, 1906. 
 Burlington House, 1907. 
 Cent Portraits de Femmes, Igto. 
 Knoedler’s Gallery, 1912. 
 Knoedler’s Gallery, 1914. 
 
 Collections: Lord Lynedoch. 
 A. G. Maxtone-Graham of Cultoquhey, Perthshire. 
 

 
SIR JOSHUA REY NO#DS;*P2 Ree 
 PU gon ng?) 
 PORTRAIT OF NELLY O'BRIEN 
 aeqne of the most celebrated demi-mondaines of 
 & ay the eighteenth century, of whom very few 
 
 4: biographical facts are known. She sat to Sir 
 
 sO), Joshua frequently from 1760-1767. 
 
 
 
 Half figure, seated to front and looking at spectator; 
 blue-and-white-striped low dress, black lace shaw]; arms 
 crossed on lap and holding a little white spaniel; flat 
 crowned ‘“‘Woffington”’ straw hat trimmed with light 
 blue ribbon; pearl necklace; background, rustic wall, 
 pillar with climbing plants. 
 
 On canvas: Height, 30 inches; width, 25 inches. 
 
 This portrait 1s a small version of the picture in the Wallace Collection, 
 London. 
 
 Collections: William Angerstein, 1874. 
 William Sterling Crawford, who died in 1883 and who 
 left it to his wife Agnes, Duchess of Montrose. 
 

 
EL GRECO 
 (DOMENICO THEOTOCOPULD 
 (Between 1545 and 1550-1614) 
 
 ST. MARTIN AND THE BEGGAR 
 
 qORN probably in Crete between 1 $45 and 15 40, 
 died in Toledo in 1614. He studied very 
 likely under Titian and was influenced by 
 
 e y /) ) 
 Le 2! Tintoretto. 
 
 A whole-length life-size figure of the saint as a young 
 man in armor on a white charger walking to right. 
 His head of yellow, curly hair is uncovered; his elab- 
 orately patterned suit of armor is richly damascened 
 with gold, and his ruff and cuffs are starched and pleated. 
 With his left hand he holds the bridle, and with his 
 sword in his right is about to divide his green mantle, 
 which partly covers the nearly nude figure of the youth- 
 ful beggar, who is standing to left and who holds his 
 portion of the garment with his left hand. Through 
 the legs of the horse is seen a view of Toledo. Blue 
 sky with masses of clouds. 
 
 
 
 Signed in full in Greek characters, at bottom to the right. 
 On canvas: Height, 761% inches; width 40% inches. 
 
 Painted 1597-99, for the chapel of San José, Toledo. The original 
 contract is dated November 9g, 1597. 
 
 A smaller version of this subject is in The Art Institute, Chicago. 
 
 The picture remained in the chapel of San José, in Toledo, until 1906, 
 when it was sold by the authorities of the chapel to a dealer in Paris, 
 of whom Mr. Widener purchased it. 
 

 
EL GRECO 
 (DOMENICO THEOTOCOPULI) 
 (Between 1545 and 1550-1614) 
 
 THE VIRGIN WITH SANTA INES AND SANTA TECLA 
 
 eaasque Virgin, enthroned and among clouds, hold- 
 a om ing the nearly nude golden-haired Tarant on 
 SS) her lap, occupies the centre of the picture. 
 sae} She wears a rich red dress, blue mantle, and 
 white lace head-dress. The Child halde in His tight 
 hand the index finger of His mother’s right hand. ‘Two 
 youthful angels, one in green and the other in pink 
 robes, are in adoration on either side of the holy group, 
 and above are heads of cherubim. Below are two female 
 saints; to left one, in pale blue with golden cloak, sup- 
 ports a palm leaf, her right hand resting on a carved 
 lion’s head ; to right, in deep scarlet cloak, holds a lamb. 
 
 
 
 
 Signed with initials in Greek characters on the temple of the carved 
 lion. 
 
 On canvas: Height, 761 inches; width, 40% inches. 
 
 Painted 1597-99, for the chapel of San José, Toledo, together with 
 “St. Martin and the Beggar.” (See note to this picture.) 
 

 
JAN STEEN 
 
 (1626-1679) 
 THE MERRYMAKERS 
 
 orn at Leyden about 1626, died there in 1679. 
 Studied at the University. Pupil of Nicolaes 
 Knupfer and Jan van Gogen. Greatest Dutch 
 genre-painter. | 
 
 
 
 G <a ae / < q 
 va Mas pu, 
 
 A group of diners seated about a table beneath a vine- 
 covered trellis. In the centre of the foreground, fac- 
 ing the spectator, a woman in a brown dress with a 
 blue jacket holds an empty glass in her outstretched 
 right hand. On her right, seated on a stone balustrade, 
 a man is playing a cithern; on the left a jovial old man, 
 with a jug in his hand, smiles upon the spectator; be- 
 hind him a clown embraces a maid who is serving the 
 company; at her left, a man playing a flute, and a smil- 
 ing old man raising a wineglass toward a child held in 
 the arms of an old woman; beyond them at the right, 
 other rollicking guests. In the left of the foreground 
 a small boy has harnessed a dog to his toy horse, and 
 on the right is an overturned wine-jug. 
 
 Signed to the right: J. Steen. 
 On canvas: Height, 57 inches; width, $3 inches. 
 
 Sale, G. Schimmelpenninck, Amsterdam, 1819. 
 Sale, David Sellar of London, Paris, 1889. 
 Exhibited: Royal Academy, London, 1888. 
 

 
ATM BERL Groh yar 
 
 (1620-1691) 
 LADY AND GENTLEMAN ON HORSEBACK 
 
 qORN at Dordrecht in 1620; died there in 1691. 
 #4 Pupil of his father, Jacob Gerrits Cuyp. In- 
 “| fluenced by Jan Van Goyen, later Oy Rem- 
 brandt. 
 
 
 
 In the foreground, on the right, two mounted figures 
 advance toward a young lady, in blue dress, with slashed 
 sleeves and black hat with blue and white feathers, 
 mounted on a white horse with dark red saddle. A 
 gentleman, very likely her father, is mounted on a black 
 horse, in brown dress, bareheaded, with long flowing 
 hair. Three dogs are at the heels of the white horse. 
 A man following the mounted figures holds two gray- 
 hounds in leash. On the left, toward the rear, two 
 mounted figures are passing. Behind is a castle. Light 
 
 blue in the lower part; gray, clouded sky. 
 
 On canvas: Height, 4814 inches; width, 6734 inches. 
 
 Painted about 1660. 
 
 Collections: Thomas Emmerson, London, 1832. 
 Higginson of Saltmarsh Castle, London, 1860. 
 Adrian Hope, London, 1894. 
 

 
GERARD DAVID 
 (1460-1 523) 
 
 THE ST. ANNE ALTARPIECE 
 
 WORN at Oudewater in Holland about 1460, died 
 y4 at Brugesin 1523. Pupil of the Haarlem mas- 
 A=) ea) tersand influenced in Bruges by Memling. The 
 
 <4 most important artist of the Flemish Primi- 
 tives at the end of the fifteenth century. 
 
 
 
 In the centre St. Anne holding on the right knee the 
 Virgin who is supporting the Christ Child. In the left 
 panel St. Nicholas, in the right St. Anthony of Padua. 
 In the background the tower of Notre Dame in Bruges. 
 
 On panel: Centre—Height, 94 inches; width, 38 inches. Sides— 
 Height, 94 inches; width, 28 inches. 
 
 Painted about 1500-1510. ‘The six predella pieces belonging to this 
 altar are in the possession of Lady Wantage and represent stories in 
 the lives of St. Nicholas and St. Anthony. 
 
 Exhibited: New Gallery, London, 1899. 
 Universal Exhibition, Paris, 1goo. 
 Bruges, 1902. 
 
 Collections: Cardinal Despuig, Palma (Isle of Majorca). 
 Gaston de Somzee, Brussels; sold 1902. 
 

 
AELBERT CUYP 
 
 (1620-1691) 
 
 HORSEMEN AND HERDSMEN WITH CATTLE 
 
 95 eee one, in blue, is mounted on a gray 
 ove horse ; ; sites stisa in scarlet, rides a bay. The 
 
 man in scarlet points with his whip to two 
 herdsmen who, with a flock of sheep, a cow, and a laden 
 ass, are resting in the shade of lofty trees. A third cav- 
 alier gallops toward them from the left, where another 
 herdsman stands near two cows—one standing, the other 
 lying down. In the distance is a winding river on which 
 are ships; farther away are buildings on lofty hills. A 
 fine and sultry summer day. 
 
 
 
 On canvas: Height, 4736 inches; width, 66% inches. 
 
 Collections: J. v. d. Linden Van Slingeland, Dordrecht, 1786¢. 
 Alexander Baring, London, 1834. 
 Lord Ashburton, The Grange. 
 

 
BARTOLOME ESTEBAN MURILLO 
 
 (1617-1682) 
 A GIRL AND HER DUENNA (LAS GALLEGAS) 
 
 TVORN at Seville in 1617; died there in 1682. In 
 41643 he visited Madrid where he made the 
 =) ky] acquaintance of Velasquez. He founded the 
 Academy of Seville in 1669. 
 
 
 
 Two women at a window looking and smiling at the 
 spectator. The elder is standing to the left and is 
 partly hidden behind the window, which she holds 
 with her left hand; with her right she is holding a fold 
 of her white headkerchief to her mouth. The plump, 
 brown-cheeked young woman in low white bodice 
 edged with green band, is leaning on the window-sill, 
 her cheek resting on her right hand; her hair and the 
 centre of her corsage are decorated with red ribbon. 
 
 On canvas: Height, 4914 inches; width, 411% inches. 
 
 Collections: Duque de Almodovar. 
 Sir William A’Court (afterward first Baron Heytesbury). 
 Lord Heytesbury. 
 

 
JAN LYS 
 
 (1600-1629) 
 THE SATYR AND THE PEASANT 
 
 =_@eqORN in Oldenburg about 1600; pupil of Huetrik 
 941 Goltzuis in Haarlem. Went to Paris, Venice 
 S| and Rome where he was influenced by Cara- 
 os RIL 
 4] vaggio, and painted pictures for the cardinals 
 Aretino and Ponphilio. Removed to Venice where he 
 painted the altarpiece in the Tolentini Church, He 
 died there in 1629. 
 
 
 
 The picture illustrates the Greek fable of the satyr who 
 visits a peasant’s family and, asked to stay for the meal, 
 finds that the peasant is blowing his porridge before 
 eating it; at the sight of which the satyr, having heard 
 his reason for so doing, rises and quits the room in dis- 
 gust that from the same lips should proceed both hot 
 and cold. The satyr, being the emblem of pure, uncon- 
 taminated Nature, refuses to be in company of a people 
 of such uncertain character. 
 
 On canvas: Height, 5214 inches; width, 6514 inches. 
 
 Formerly attributed to Velasquez. The remarkable artist of this 
 picture, Jan Lys, has become better known only within recent years, 
 especially through the exhibition of Italian seventeenth-century art 
 in the Palazzo Pitti, Florence, in 1922. The present painting is 
 described as one of his most important works in the biography of the 
 artist by R. Oldenbourg. (Jan Lys, Roma, 1921.) 
 

 
PARIS BORDONE 
 (1500-1571) 
 
 THE BAPTISM OF OUR LORD 
 
 FISAENETIAN painter, 1500-1571; early pupil of Titian 
 a e9ee| and influenced by Giorgione and Michel- 
 RAs\}] angelo. 
 
 
 
 Christ stands ankle-deep in the Jordan, with hands 
 folded in prayer, turning and bending slightly to our 
 right to receive the water which the Baptist, who stands 
 on the bank, pours over his head from a shallow bowl. 
 On the other bank is an angel in the shape of an adoles- 
 cent clad in a garment of crushed strawberry, pink and 
 yellow, with his head in profile to our right. All this 
 in the foreground of a lush romantic landscape with a 
 storm gathering in the sky. High up on our left, child 
 
 angels float in the clouds. 
 
 On canvas: Height, 51 inches; width, 52 inches. 
 
 A characteristic achievement of this most “opulent and sensuous of 
 Venetian painters. Few works surpass it for luscious saturation of 
 color and fascinating play of light.””—Berenson. 
 
 Collections: Ambrogio Doria. 
 W. Earle. 
 C. Meigh. 
 J. Heugh. 
 

 
REMBRANDT ROOM 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 (1606-1669) 
 HEAD OF ST. MATTHEW 
 
 ~qVORN in Leyden in 1606; died in Amsterdam in 
 911669. Pupil of Pieter Lastman. Lived in 
 Ays Leyden until 1631; then in Amsterdam. In 
 4/1634 he married Saskia van Uilenburgh, who 
 died in 1642. His second wife was Hendrickje Stoffels, 
 
 who died in 1663. Greatest artist of the Dutch School. 
 
 
 
 7 
 
 The head is turned three-quarters to the right, and the 
 face, framed in the luxuriant beard ‘and grizzled hair, 
 is very animated. All the light is concentrated on the 
 furrowed torehead, the cheek-bones, and the beard, 
 
 leaving the eyes in mysterious shadow. The head is 
 half life-size. 
 
 On panel: Height, 976 inches; width, 734 inches. 
 
 Painted probably in 1661. Study for the head of the Evangelist 
 St. Matthew in the Louvre. 
 
 Bode, “Complete Works of Rembrandt,” No. 522. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 174. 
 Valentiner, “Klassiker der Kunst,” p. 455. 
 
 Collections: A. Buckley, London. 
 Rodolphe Kann, Paris. 
 

 
JAN VERMEER 
 (1632-1675) 
 
 A WOMAN. WEIGHING GOLD 
 
 orn in Delft in 1632; died there about 1675. 
 ” Pupil of Karel Fabritius. Bu early works 
 
 
 
 Pa eS 
 As 
 blue predominating. There are at the present time 
 
 thirty-six authenticated pictures by him, of which eight 
 are in America. 
 
 later his coloring became cooler, yellow aed 
 
 The woman, nearly in whole figure, is standing to the 
 right of a table, holding in her right hand the scales and 
 placing her left hand on the table. On the oak table, a 
 jewel-box from which a string of pearls is hanging, and 
 a dark blue cover which is thrown carelessly back. Over 
 the table, a mirror ina black frame, and behind it a win- 
 dow, scarcely visible, with an orange-yellow curtain. On 
 the wall behind the woman hangsa picture representing 
 the Last Judgment. Black and white tiles on the floor. 
 
 Signed. 
 On panel: Height, 1614 inches; width, 14"inches. - : 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. fo. 
 
 Bode in “Jahrbuch der kgl. preuss. Kunstsammlungen,” 1910. 
 Amsterdam Sales, 1696, 1701, 1777, 1826. 
 
 Sale, Casimir-Périer, London, 1848. 
 
 Collection: Ségur-Périer, Paris. 
 

 
REMBRANDT 
 
 (1606-1669) 
 HEAD OF AN AGED WOMAN 
 
 qust, the head turned three-quarters to the right. 
 4] She wears a white cap which appears under® 
 “| the ample hood of her brown cloak. A white 
 
 ! collar with bands is indicated at the throat. 
 On the deeply furrowed face, with its flabby cheeks and 
 eyelids wrinkled by tears A vigils, age and vicissitudes 
 have laid their implacable fingers. 
 
 
 
 Rey 
 
 Signed on: the left: “Rembrandt f. 1657.” 
 On panel: Height, 814 inches; width, 634 inches. 
 
 Engraved by J. F. Bause, 1765. 
 
 Bode, “Complete Works of Rembrandt,” No. 472. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 1508. 
 Valentiner, ““Klassiker der Kunst,” p. 444. 
 
 Collections: G. Winckler, Leipzig, 1768. 
 Rodolphe Kann, Paris, No. 74. 
 

 
ANTON VAN DYCK 
 
 (1599-1641) 
 THE ASSUMPTION OF: THE; VIRGIN 
 
 orN in Antwerp in 1599, died in London, 1641. 
 ier of Hendrik van Balen and worked in 
 
 Ds 3 the atelier of Rubens. 
 
 
 
 The me in white drapery with blue ribbons crossed 
 over her breast, is borne aloft, her eyes upturned and 
 arms extended. She is seen in front and has long, 
 yellowish hair. Ten cherubim, five on each side, are 
 flying around her. Three of them hold her dress, 
 One on the left stands on a globe, representing the 
 earth, and carries a crucifix; another, above, crowns 
 her with a wreath of roses. On the right, angeher has 
 enveloped his head in a white shawl]; another, above, 
 has a piece of paper in his hands. In warm blond 
 colors with prevailing white. | 
 
 On canvas: Height, 4614 inches; width, 4014 inches. 
 
 Painted in Italy between 1622 and 1627 under the influence of Titian. 
 
 Collections: Thomas Hope, London.) » —. $3 
 Lord Francis Pelham Clinton—Hope Deepdene mt 
 

 
MEINDERT HOBBEMA 
 
 (1638-1709) 
 HUT AMONG TREES 
 
 qorn at Amsterdam in 16398; died there in 1709. 
 Hi) Educated under influence of Jacob Van 
 ey) Jes) Ruisdael. 
 
 
 
 A winding road leads from the background to the centre 
 of the foreground. To the right, a hut with ruined 
 straw roof in the shadow of trees. In the foreground, 
 through the whole width of the canvas, are oak trees. 
 In the left foreground, a tall tree. In the middle dis- 
 tance, a sunny square among the trees and a house in 
 sunlight. In the foreground a woman, in red costume 
 and dark blue coat, advances with a boy holding her 
 hand. A dog is before them. Farther back, horsemen 
 within the shadow of the trees. Gray clouded sky. 
 
 Signed in the left foreground: ““M. Hobbema.”’ 
 On canvas: Height, 38 inches; width, 42% inches. 
 
 Smith, “Catalogue Raisonné,” Suppl., No. 28. 
 
 Hofstede de Groot, ‘‘Catalogue Raisonné,” No. 181. 
 Exhibited in the Royal Academy, 18g0, No. 86. 
 
 Sale, H. Hamersley, London, 1841. 
 
 Collection: Lord Ashburton, The Grange; sold in 1907. 
 
 
 

 
REMBRANDT 
 
 (1606-1669) 
 THE CIRCUMCISION 
 
 age » Virgin, with the Babe on her lap, is seated 
 : wd] under an awning in the stable at Bethlehem. 
 : aN A kneeling priest in a yellow robe performs 
 zee} the rite of circumcision on the Child, who is 
 dressed entirely in white. Mary wears a dull red dress, 
 a white and green- striped veil, and a white head-cloth. 
 To the left of this group ends Zachariah ina green 
 robe and a white turban, writing in a ook held in his 
 
 
 
 left hand. A man with a red beard standing beside him 
 glances i in the book. Behind them, on the exteme left, eo 
 
 isa group of five men, one of them in ae light and another 
 ina red turban. In ae rear, two men and a maid-ser- 
 vant looking out of a window. Inthe penumbra to the 
 
 right, a cow turned to the right. The full light falls 
 
 from the left upon the principal group. In the shed is 
 
 the manger, which serves as a cradle. Small full- -length 
 
 figures. 
 
 Signed below on the right: “Rembrandt f. 1661.” 
 On canvas: Height, 2214 inches; width, 29% inches. 
 
 Bode, “‘Complete Works of Rembrandt,” No. 518. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 82. 
 Valentiner, “Klassiker der Kunst,” No. 465. 
 
 Collections: J. v. de Bloken, Amsterdam, 1707. 
 Earl of Spencer, Althorp. 
 
 Me densihe 
 ries OA SOE TE NOR Tae te . ie 
 
 Ai Lis ee ap 
 

 
REMBRANDT 
 
 (1606-1669) 
 SASKIA VAN UILENBURGH, THE WIFE OF THE ARTIST 
 
 qust, turned to the right. She wears a dark blue 
 4) mantle with a narrow gold trimming at the 
 ae) | throat, showing a fine, plaited chemisette be- 
 neath. A gold chain hangs across her breast. 
 A transparent veil with a colored pattern rests on her 
 golden-red hair and falls over her shoulders and on her 
 back. A pearl on a long loop is in her ear. 
 
 
 
 On panel: Height, 2334 inches; width, 19% inches. 
 
 Painted about 1633. (The conception is somewhat similar to that 
 of the well-known drawing in Berlin, executed according to Rem- 
 brandt’s own inscription, three days after their betrothal in June, 
 
 1633.) 
 
 Bode, “Complete Works of Rembrandt,” No. 153. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 615. 
 Valentiner, ‘‘Klassiker der Kunst,” p. 129. 
 
 Collections: De Gaignat, Paris, 1768. 
 De Calonne, Paris, 1788. 
 De Choiseul-Praslin, Paris, 1793. 
 Bouc Cloeve. 
 Wells, Redleaf, 18g0. 
 Bingham-Mildmay, London, 1893. 
 

 
REMBRANDT 
 
 (1606-1669) 
 THE APOSTLE PAUL 
 
 mFE-sizE, more than three-quarter length. Seated 
 j) in an armchair, turned in profile to the left, 
 4) leaning his head thoughtfully on his left hand, 
 and resting his right, in which he holds a pen, 
 on his thigh. He has a grizzled beard and wears a black 
 skull-cap and a brown, fur-trimmed gown with red 
 sleeves. On the table to the right lie some sheets of 
 paper, and on the wall above hangs a sword. Dark back- 
 ground. Light from above on the left. 
 
 
 
 ol 
 
 Signed on the right: “Rembrandt f.” 
 
 Painted very likely in 1657, at the same time as the Apostle Andreas, 
 in the Cassel Gallery, and the Apostle Bartholomew, in thé collection 
 of Mr. Henry Goldman in New York. These three paintings very 
 likely formed part of a series of the twelve Apostles. 
 
 Bode, “Complete Works of Rembrandt,” No. 382. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 178. 
 Valentiner, ‘“‘Klassiker der Kunst,” p. 384. 
 
 Collections: Pourtales-Gorgier, Paris, 1865. 
 Lord Wimborne, Canford Manor. 
 

 
REMBRANDT 
 
 (1606-1669) 
 THE MILL 
 
 WINDMILL rises high above the rounded rampart 
 “7 ANaa| of a ruined bastion, overlooking a wide moat ; 
 WA V| two or three huts stand beside it. The road 
 
 zs from the mill leads to the left over a little 
 bridge of a lock to a mooring-post in the foreground. 
 A woman and a child advance toward the water; a man 
 pushes a cart up an incline. Below is a woman washing 
 linen; a man watches her. A ferry-boat advances from 
 the right, rowed by a man. On the farther bank are 
 some cows among the trees, and farther back a house. 
 Evening twilight. The last rays of the sun light up 
 the right-hand part of the sky and surround the mill 
 
 with a luminous shimmer. 
 
 
 
 On canvas: Height, 3378 inches; width, 401% inches. 
 Painted about 1650. 
 
 Bode, “Complete Works of Rembrandt,” No. 345. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 952. 
 Valentiner, “‘Klassiker der Kunst,” p. 313. 
 
 Engraved by Mathieu in the Orléans Gallery, 1786, Vol. I. 
 
 Collections: Duc d’Orléans, Paris. 
 Marquis of Lansdowne, Bowood. 
 

 
REMBRANDT 
 
 (1606-1669) 
 PORTRAIT OF A MAN HOLDING A LETTER 
 
 = SSHREE-QUARTER length. About forty years of age. 
 
 oy ee) Seated, turned slightly to the left, looking at 
 
 os re the spectator. His left hand rests on the arm 
 
 ZS of the chair, and he holds a letter in his right. 
 He wears a plain black costume, and a broad-brimmed 
 black hat over his curly brown hair. In the background, 
 on the left, is a table with a red cover; on the right, a 
 dull red curtain. Dark background. A full light falls 
 on the hat and on the hands. 
 
 
 
 On canvas: Height, 4734 inches; width, 37 inches. 
 Painted about 1662. 
 
 Bode, “‘Complete Works of Rembrandt,” No. 487. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 781. 
 Valentiner, “Klassiker der Kunst,” p. 500. 
 
 Collection: Lord Wimborne, Canford Manor. 
 

 
REMBRANDT 
 
 (1606-1669) 
 PHILEMON AND BAUCIS 
 
 =<e===qHis moral illustration is represented as passing 
 Ce, in a large room of a rustic and picturesque 
 appearance, on the left of which are the deities, 
 =! Jupiter and Mercury, sitting at a table; the 
 former, habited in a rich Oriental dress, is on the farther 
 side of the table; the attention of both is riveted on the 
 ancient couple who stand together before them. Baucis 
 is presenting the goose to her visitors,and Philemon, 
 with his hands united, seems to be imploring their accep- 
 tance of it. 
 
 
 
 
 Signed in the left lower corner: “Rembrandt f. 1658.” 
 
 On panel: Height, 2114 inches; width, 27 inches. 
 
 Among the studies for this picture, two pen-drawings are in the Berlin 
 printroom, a third is in the Amsterdam printroom. 
 
 Engraved in mezzotint by Thomas Watson, 1772. 
 
 Bode, ‘“‘Complete Works of Rembrandt,” No. 407. 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 212. 
 
 Valentiner, Klassiker der Kunst, p. 388. 
 
 Collections: Charles Sedelmeyer, Paris. 
 Charles J. Yerkes, New York. 
 

 
REMBRANDT 
 
 (1606-1669) 
 THE PHILOSOPHER 
 
 qust, facing the spectator, the head and eyes are 
 i turned to the left. Short dark-brown beard. 
 oG Ay On his head isa large black cap. He wears a 
 ‘etsz4} lig ht-yellow doublet over a finely plaited shirt, 
 on which hangs a gold neck-chain. Dark coat with red 
 and gold stripes. Light brownish-gray background. 
 
 
 
 On panel: Height, 2414 inches; width, 19% inches. 
 Painted about 1650. 
 
 Bode, “Complete Works of Rembrandt,” No. 582. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 449. 
 Valentiner, “Klassiker der Kunst,” p. 365. 
 
 Collection: Maurice Kann, Paris. 
 

 
MEINDERT HOBBEMA 
 
 (1638-1709) 
 VILLAGE NEAR A POOL 
 
 N THE middle distance, a village, with a church, 
 
 bea) extends around a square which is lighted by 
 Sopa the sun. ‘Trees are standing between the 
 Efecexs=d| houses, which are partly thatched with straw 
 and with red tiles. In front, a pool, and near it, in the 
 foreground, a group of high trees. In the right fore- 
 ground, a shadowed road upon which a huntsman, in 
 yellow costume, mounted on a white horse and accom- 
 panied by four dogs is riding. A boy, holding a falcon 
 ring, gives him a falcon. To the right, in the shadow, 
 a peasant hut with red roof. To the left of the pool a 
 fisherman, with reddish-brown coat, is angling. In the 
 left distance, a view through trees; and on a road a 
 peasant with a cow. Rich composition in a warm 
 golden tone. 
 
 
 
 On canvas: Height, 32 inches; width, 42 inches. 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 47. 
 
 Collection: Count Santar in Lisbon; brought by him from England 
 about 1850. 
 

 
REMBRANDT 
 
 (1606-1669) 
 
 PORTRAIT OF A GENTLEMAN WITH TALL HAT 
 AND GLOVES IN HIS LEFT HAND 
 
 seqcED about forty-five. Three-quarter length life- 
 
 Sq) size. Standing, turned tothe right, and looking 
 
 7 XWo\| at the spectator. He is clean-shaven, save for 
 
 pies} a Small mustache, and wears a black cloak, 
 open in front and showing an under-dress of a lighter 
 tone. He wears a broad-brimmed black hat on his long 
 dark curling hair, a plain white collar edged with lace 
 and fastened with cordsand tassels, and full white sleeves, 
 puffed over his wrists. He holds his gloves in his left 
 hand, and points to one side with his right. A bright 
 light falls from above on the left, throwing the shadow 
 of the hat over the upper part ef ihe face. Dark back- 
 ground with the embrasure of a window indicated on 
 
 the right. 
 
 
 
 On canvas: Height, 39 inches; width, 32! inches. 
 Painted about 1667. Companion piece to the following picture. 
 
 Bode, “Complete Works of Rembrandt,” No. 489. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 779. 
 Valentiner, “Klassiker der Kunst, p. 484. 
 
 Collection: Prince Youssoupoff, St. Petersburg. 
 

 
REMBRANDT 
 
 (1606-1669) 
 
 PORTRAIT OF A LADY WITH AN OSTRICH FEATHER 
 FAN IN HER RIGHT HAND 
 
 Reece about forty. Three-quarter length life-size. 
 Yaa] Standing, confronting the spectator, but look- 
 1} ing to the left, her hands crossed. Her short 
 curling hair hangs on either side of her face, 
 and is drawn into a little cap at the back of her head: 
 She wears heavy earrings, thick gold chains around her 
 wrists, and at her breast a brooch and a bow of white 
 ribbon, fastening her broad, flat white collar. Large plain 
 cuffs are turned over her short wide sleeves. Her left 
 hand is laid on her right, in which she holds a white 
 ostrich feather fan. A strong light comes from above 
 
 on the left. Dark background. 
 
 
 
 * 
 
 Signed on the left: ‘““Rembrandt f. 166” (the last figure illegible). 
 On canvas: Height, 39 inches; width, 32% inches. ~ 
 Painted about 1667. Companion piece to the preceding picture. 
 
 Bode, “Complete Works of Rembrandt,” No. 490. 
 Hofstede de Groot: “Catalogue Raisonné,” No. 880. 
 Valentiner, “Klassiker der Kunst,” p. 485. 
 Collection: Prince Youssoupoff, St. Petersburg. 
 

 
MEINDERT HOBBEMA 
 
 (1638-1709) 
 THE TRAVELLERS 
 
 road winds from the foreground in the centre 
 | around a hillock and 1s lost in the middle dis- 
 XA ve] tance. To the left, a water-mill with a roof 
 pices! made partly of tiles and partly of straw, to 
 _which a wooden bridge is leading. A large oak tree is 
 in the foreground before the mill. On the right side, 
 ~and in the middle distance, trees, behind which a church 
 spire is standing out. Down the road, in the centre, 
 approach two horsemen — one, dressed in yellow, on a 
 white horse; the other, in red costume, on a brown 
 horse. In front of them, two dogs. A peasant is seated 
 
 in the foreground to the right. Gray clouded sky. 
 
 
 
 Signed to the right: ““M. Hobbema, 1660”’ (the last figure is uncertain). 
 On canvas: Height, 397 inches; width, 57 inches. 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 94. 
 Sale, Amsterdam, July 5, 1833. 
 Sale, Earl of Dudley, London, 1892. 
 

 
FRANS HALS 
 
 (1584-1666) 
 PORTRAIT OF A MAN 
 
 qoRN at Antwerp in 1584; died in Haarlem in 
 
 
 
 
 
 
 
 By 1666. Pupil of Karel van Mander. Worked 
 S| mostly in Haarlem. Next to Rembrandt the 
 Bee) create 
 
 greatest portrait painter of the Dutch school. 
 Half length, turned to the left, facing the spectator. 
 He has long, straight black hair. His right hand is in 
 the folds of his cloak. A square, white cambric collar. 
 
 On canvas: Height, 25 inches; width, 21 inches. 
 Painted about 1645. 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 311. 
 Bode, “Frans Hals, His Life and Work,” No. Ig1. 
 
 Valentiner, “Klasstker der Kunst,” p. 238. 
 

 
PIETER. -de-HOOCH 
 (1629-1667) 
 
 THE BEDROOM 
 
 WORN at Rotterdam in 1629; died at Amsterdam 
 soon after 1667. Said to be a pupil of N. 
 %| Berchem. He first worked mostly in Delft, 
 later at Amsterdam (from 1665). 
 
 
 
 A young woman in a red bodice, with a white kerchief 
 over her head, stands on the right as she takes some 
 clothes from a wooden box-bed and throws them over 
 a chair. She stands in profile and smiles at a little girl 
 in the open doorway on the left, who holds an apple in 
 her hand. The child’s figure is illumined by light from 
 a high window on the left and from a door in the 
 background. This door leads from a little ante-room 
 into the open air, where walls and garden hedges are 
 visible. In the left foreground, a table with a jug. On 
 each side of the door, a chair. 
 
 On canvas: Height, 20 inches; width, 23% inches. 
 About 1660. 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 78. 
 Sale, T. Stinstra, Amsterdam, 1822. 
 
 Collections: Lord Radstock, London, 1826. 
 Lord Stafford. 
 C. Scarisbrick, London, 1861. 
 Adrian Hope, London, 1894. 
 

 
FRANS HALS 
 
 (1584-1666) 
 PORTRAIT OF A GENTLEMAN 
 
 p= EaSHREE-QUARTER length, slightly turned to the right. 
 
 sy eS) He wearsa small black mustache and curly gray 
 awe, hair; black costume and black mantle, which 
 Reese} he holds with his right hand; and high, broad- 
 brimmed black hat. He holds a gray glove in the left 
 hand. The right arm hangs loosely, while the left is 
 pressed against the side. 
 
 
 
 On canvas: Height, 45 inches; width, 3314 inches. 
 
 Painted about 1650; companion piece to the portrait of a lady in the 
 Louvre, Paris (La Caze bequest, 1703 Cat. No. 2385). 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 294. 
 
 Bode, “Frans Hals, His Life and Work,” No. 247. 
 
 Valentiner, ““Klassiker der Kunst,” p. 242. 
 
 Bequeathed by Lord Frederick Campbell to an ancestor of Earl 
 Amherst. 
 
 Collection: Earl Amherst, Montreal, Seven Oaks, England. 
 

 
REMBRANDT 
 
 (1606-1669) 
 THE DESCENT FROM THE CROSS 
 
 ox N THE left stands the Cross, from which the body 
 ey le Christ is being lowered. A man on a ladder 
 Bee to the left holds the trunk firmly with his right 
 eZ: arm. An old man with a long white beard 
 oars ae hips. On a ladder to the right stands a man 
 with a torch, shading his eyes from the light with his 
 left hand. In the right foreground, there are several 
 figures, cut off at the knees by the lower edge of the 
 picture. Among these on the extreme right is the Virgin 
 Mary, turned to the left; she collapses in a faint and is 
 caught by an old woman beside her. Close to her on 
 the left is an old man in Eastern dress, probably Joseph 
 of Arimathaea. In the background on the extreme left 
 another Aer is visible. 
 
 
 
 Signed: “Rembrandt f. 1651”” (the last figure uncertain). 
 
 On canvas: Height, 5614 inches; width, 42 inches. 
 
 Mentioned in the inventory of Rembrandt’s goods sold in Amsterdam 
 in 1656, No. 293,37. 
 
 Hofstede de Groot, “Catalogue Raisonne,” No. 133. 
 
 Valentiner, ““Klassiker der Kunst,’ Supplement p. 71, 72. 
 
 Sale, Viscountess Hampden, London, 1834. 
 
 Collections: J. A. Beaver, Lancashire, 1840. 
 E. W. Parker, Skirwith Abbey, Cumberland. 
 F. Gans, Frankfort-on-Main. 
 

 
REMBRANDT 
 
 (1606-1669) 
 PORTRAIT OF HIMSELF 
 
 ALE length. Rembrandt, aged forty-four. Turned 
 half to the right. His right hand rests on his 
 I side ; his left, gloved, on a stick. He wears a 
 en inasmehe and chin tuft, and on his pale 
 art haira red net under a feddishebravee biretta with 
 a narrow gold border. A pearl in hisear. He is dressed 
 in a dark doublet with slashed olive-green sleeves, cut 
 square at the throat, and showing a yellow neck-cloth 
 and a gold-embroidered collar of a fine shirt. 
 
 
 
 Signed on the right: “Rembrandt f. 1650.” 
 Gn canvas: Height, 361% inches; width, 29 inches. 
 
 Bode, “Complete Works of Rembrandt,” No. 346. 
 Hofstede de Groot, “Catalogue Raisonné,” No. 574. 
 Valentiner, “Klassiker der Kunst,” Digt9! 
 Sale,-Sebastien Erard, Paris, 1832. 
 
 Exhibited at the Royal Academy, London, 1899. 
 
 Gollections:. W. Williams Hope, sold in 1849. 
 Sir Anthony de Rothschild, London. 
 

 
PIETER de HOOCH 
 
 (1629-1667) 
 WOMAN AND CHILD IN A COURTYARD 
 
 SERVANT-GIRL Wearing a light brown jacket and 
 
 34) a white apron over a red skirt is crossing a 
 
 AWA NS courtyard with a little girl at her side. She 
 
 =| carries a flat basket in her right hand, a jug in 
 
 her ae and looks at the child, who is holding a bird- 
 
 cage. Both are going toward a pump built against the 
 
 wall in the left foreground. In the middle distance the 
 
 town wall is seen, above which are tree-tops. On the 
 
 right, a lady, and two gentlemen wearing slouch hats, 
 are seated in an arbor, drinking wine. 
 
 
 
 Signed in the lower left-hand corner: “‘P. de Hooch.” 
 On canvas: Height, 29 inches; width, 26 inches. 
 Painted in the best period of the artist, about 1600. 
 
 The scene is laid in a courtyard near the city wall of Delft. 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 294. 
 

 
ISACK VAN OSTADE 
 
 (1621-1649) 
 THE “HALT AT THE INN 
 
 orn in Haarlem in 1621; died there in 1649. 
 Pupil of his brother Adriaen. Worked in 
 
 Haarlem. 
 
 
 
 Sa 
 oe 
 ise cay |p 
 a BA 
 =o 
 
 At the front of an inn. on the right, with a church 
 steeple in the background, several horsemen have halted; 
 a gentleman, who has just dismounted from a gray horse 
 with a blue velvet saddle-cloth, converses with another 
 at his right, mounted on a dun-colored horse, while a 
 peasant is putting fodder in a trough. At the right, a 
 man sitting on a bench, eating soup; at the left, other 
 figures, and poultry, before a small cottage. In the fore- 
 ground, a woman and two children. 
 
 Signed on the right: “Isack van Ostade, 1645.” 
 On panel: Height, 19% inches; width, 26 inches. 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 37. 
 Collection: Duchesse de Berri, 1837. | 
 

 
JACOB VAN .RUISDAEL 
 
 (Between 1628 and 1629-1682) 
 FOREST. SCENE 
 
 saaeGORN at Haarlem 1628-29, died there in 1682. 
 4 ieezh| Probably a pupil of Cornelius Vroom and in- 
 
 
 
 
 ob D> fluenced by Salomon Ruysdael, the-uncle of 
 3) Jacob. Worked at Haarlem and Amsterdam. 
 
 A stream in the centre flows from behind a hillock, 
 falls over some rocks, and spreads over the centre and 
 left foreground. To the right, a fallen silver birch trunk, 
 the branches of which dip in the stream. Behind it, 
 rocky hills and a thick forest with tall oak trees. The 
 forest extends to the left in the middle distance, where 
 a road leads over a low hill. On the road, a man and 
 woman walking away. At the roadside some sheep are 
 feeding. A blue sky through heavy dark and white 
 
 clouds. 
 
 Signed in the lower-right corner, “J. v. Ruisdael.” 
 On canvas: Height, 4114 inches; width, 514 inches. 
 Painted during the best period of the artist, about 1660-65. 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 285. 
 Collection: Sir Hugh Hume Campbell, Bart, London. 
 

 
REMBRANDT 
 
 (1606-1669) 
 STUDY OF AN OLD MAN 
 
 ust. He is leaning forward and looks down to 
 SoD: the right, with the light falling on his fore- 
 
 =) head, nose and long gray beard. He has curly 
 ray Fait and wears a brown coat. Reddish- 
 
 biGeA background, lighter behind the left shoulder. 
 
 
 
 On panel: Height, 111% inches; width, 8% inches. 
 About 1645. 
 
 Hofstede de Groot, “Catalogue Raisonné,”’ No. 448. 
 W. R. Valentiner, “Klassiker der Kunst,” Supplement No. 53. 
 

 
PAUL POTTER 
 
 (1625-1654) 
 A FARRIER’S SHOP 
 
 qorn at Enkhuizen in 1625; died in Amsterdam 
 yin 1654. Pupil of his father, Pieter Potter, 
 | and Jacob de Wet. Worked at Delft, The 
 
 i Hague, and Amsterdam. 
 
 
 
 To the left is the smithy; through the open door an 
 assistant is seen hammering a red-hot iron. Near the 
 door a recalcitrant black horse is fastened into a brake, 
 and the smith, an old man with a white beard, pulls out 
 one of the teeth of the beast. The operator, spectacles on 
 nose, is dressed in ared jacket, and his trousers are pro- 
 tected by a leather apron. An assistant in a white hat 
 holds the horse’s head, and a boy in a black felt hat, his 
 hands in his pockets, looks on at the operation. Behind 
 them is a dapple-gray horse, seen from behind. Near 
 the threshold, a dog lies gnawing a bone, unresponsive 
 to the advances of another, a short-haired yellow dog, 
 which wants to play. To the right, a cock and a hen 
 look for food on the ground. In the background and 
 to the right stretches a plain where cattle are browsing; 
 it is masked by a‘clump of trees. 
 
 Signed on the frame of the door: “Paulus Potter f. 1648.” 
 
 On panel: Height, 1g inches; width, 18 inches. 
 
 Mae Je d 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 154. 
 Sales, Gent, 1777; Rotterdam, 1825; Paris, 1841. 
 
 Collections: Madame Autran, Marseilles. 
 
 Rodolphe Kann, Paris, No. 64. 
 

 
JAN VERMEER 
 (1632-1675) 
 
 YOUNG GIRL WITH A FLUTE 
 
 a=em=sqgHie young lady is wearing a dull bluish-green 
 Dy) fe “| jacket with large white fur cuffs and a_ broad 
 eye) band of the same fur down the front. Both 
 hands rest on a balustrade or table, and in her 
 left ne she holds a ight brown flute. Her throat is 
 slightly uncovered, and under her jacket is seen a white 
 kerchief which wraps the throat in broad folds. A Gob- 
 elin tapestry, through which faint greens and yellows 
 run, forms the background. The one cheek and the 
 forehead are in shadow, while the light falls on the left 
 cheek. A strong light also falls on the red lips of the 
 half-open mouth. 
 
 
 
 On panel: Height, 776 inches; width, 7 inches. 
 
 This picture was discovered by Dr. Abraham Bredius in 1906, in the 
 house of Jonkheer de Grez, Brussels. Dr. Bredius gives an account of 
 his discovery in the “Kunst Kronik,” Vol. XVIII, No. 24, under the 
 title “The 36th Vermeer.” 
 
 Exhibited at the Royal Picture Gallery, The Hague, 1907, and at the 
 Pinakothek, Munich, 1921. 
 
 Collections: Jan. Mahie van Boxtel en Liempde, of Boisle-Duc, 
 Holland. 
 Madame Maria de Grez (née Mahie van Bove) en 
 Liempde), of Brussels. 
 Jonkheer de Grez, of Brussels. 
 August Janssen, of Amsterdam. 
 

 
ANTON VAN DYCK 
 
 (1599-1641) 
 
 LADY D’AUBIGNY 
 
 en 4) white shawl. The right hand is stretched out to 
 ean) the right and holds a wreath of red and white 
 roses. A few small red and blue blossoms are fastened in 
 her blonde hair. She wears large pearls in her ears, a 
 chain of pearls around her neck, and a piece of jewelry 
 
 at her shoulder. Black background. 
 
 
 
 Catharine, Lady d’Aubigny, born about 1615, married 
 George, Lord d’Aubigny in 1638, who was killed in the 
 battle of Edgehill in 1642. She married afterward James 
 Livingstone, Viscount Newburgh, and she and her hus- 
 band made a plan for the escape of Charles I from 
 Hampton Court which failed. After the execution of 
 the King they fled to The Hague, where Lady Newburgh 
 died in 1650. — 
 
 The inscription on the right, “Lady d’Aubigny,” is of later date. 
 On canvas: Height, 42 inches; width, 33% inches. 
 
 Painted about 1638; a characteristic and fine example of Van Dyck, 
 English period. 
 
 W. R. Valentiner, “The Art of the Low Countries,” p. 241. 
 Collection: Earl of Clarendon, The Grove. 
 

 
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BELLINI ROOM 
 
GIOVANNI BELLINI 
 
 (Between 1426 and 27-1516) 
 THE FEAST OF THE GODS 
 
 qORN at Venice in 1426 or 1427, died at Venice 
 in 1516. Younger brother of Gentile Bellini 
 Ky and son of Jacques, whose pupil he had been. 
 
 Influenced by Mantegna. Among his pupils 
 are Giorgione and Titian. Greatest painter of the Early 
 Renaissance in Venice. 
 
 
 
 The painting has been executed for the studio of Duke Alfonso of 
 Ferrara and is described by Vasari in his ““Lives of the Most Eminent 
 Painters” (published in Florence in 1550): 
 
 “Duke Alfonso of Ferrara having in the year 1514 furnished a 
 small room, some of whose panels he entrusted to Dosso . : 
 desired to have there some paintings from the hand of Gian Bellini 
 as well, who made in another panel a butt of red wine with Bacchantes, 
 musicians, satyrs and other drunken males and females aroundit . . 
 which work was in truth carried out and colored with as great care as 
 any one of the finest works that Gian Bellini ever did . . . which 
 work he himself not being able to finish on account of his extreme 
 old age, was taken over by Titian as superior to all others.” 
 
 From the technic it can easily be seen that Bellini finished almost 
 completely the main part of the painting, especially the figures; only 
 the landscape background and the wooded mountains to the left have 
 been added by Titian. “Yet so easy 1s the passage from Bellini’s art 
 to Titian’s that the transition creates no contrast. The tone through- 
 out is harmonized, and the art of the fifteenth and sixteenth centuries 
 meets and mingles in perfect fellowship.” —Crowe and Cavalcaselle. 
 
 Signed on the butt in the right corner: “Joanes Bellinus Venetus p. 
 1G ol 
 On canvas: Height, 67 inches; width, 74 inches. 
 
 After leaving Ferrara the picture passed into the collection of Cardinal 
 Pietro Aldobrondius and Cardinal Ludovico Ludovisi, Rome; after- 
 ward in the collection of the Duke of Northumberland, Alnwick 
 Castle. 
 

 

 
 4 
 ’ 
 
VAN DYCK ROOM 
 
TitiAN 
 (TIZIANO VECELLIO) 
 (Between 1477 and 1485-1576) 
 
 PORTRAIT OF EMILIA DI SPILIMBERGO 
 
 orN at Pieve diCadore sometime between 1477 
 4) and 1485 and died of the plague in Venice 
 7 in 1576.: Formed under the influence of 
 Giorgione. 
 
 
 
 Painted obviously as a pendant to her younger sister, 
 Irene. She faces slightly to our right, as the other faces 
 to our left, and is dressed in the same way, except for 
 the minutest differences in the earrings and the absence 
 of pearlsin her hair. In face and general appearance she 
 approaches far more than does her sister the typical lady 
 of rank and fashion as represented in the Venetian female 
 portraits of 1560-1570, but her nose and mouth are 
 similar to her sister’s, and there is a certain family like- 
 ness in the other features and in her expression. She 
 stands against a gray wall, with her right hand grasping 
 the band of her-cloak and her left resting on the balus- 
 trade of a loggia. This opens on a stormy sky lowering 
 over a choppy sea upon which a three-masted vessel is 
 tossing about. 
 
 Emilia di Spilimbergo, elder sister of Irene, whose portrait forms the 
 companion-piece on the wall to the left of entrance (No. 51). 
 
 On canvas: Height, 4 feet; width, 3 feet, 6 inches. 
 
 Painted in 1560. 
 
 Collection: Count Niccolo d’Attimis Maniago at Spilimbergo in 
 whose family the two portraits have been since they 
 were first painted. 
 

 
TITIAN 
 (TIZIANO VECELLIO) 
 (Between 1477 and 1485-1576) 
 
 PORTRAIT OF IRENE DI SPILIMBERGO 
 
 We the gray stone column of a portico and resting 
 7S Ray Der left hand on its pedestal. Her dress, with 
 a high lace collar, is of a golden brown, and 
 is cut ag Over it she has a long peach-colored Be iaks: 
 with slightly puffed sleeves of silk damask, embradenas 
 with gold. In her left hand she holds a idurel wreath, 
 and with her right she grasps a band made of the same 
 stuff asthe mantle, and swung over it from her left arm. 
 
 
 
 Irene di Spilimbergo, born in 1540, died in 1560. Her 
 mother, Giulia de Ponte was a famous Venetian beauty 
 and lady of rank, whom Titian had painted in her time. 
 Irene gave promise of talent in verse, music and even 
 painting in which art she had some instruction from 
 Titian himselfpgigs early death gave occasion to some 
 of the most fansir y “Jets of Venice like Ludovico Dolce, 
 Bernardo and Torquato Tasso to exercise their ingenuity 
 in her praise. 
 
 
 
 
 
 On the marble pedestal to the right, the inscription: 
 Si Fata Tulissent (‘‘if the Fates had allowed’’). 
 
 On canvas: Height, 4 feet; width, 3 feet, 6 inches. 
 Painted together with the companion piece in 1560. 
 “One can see that the idea which these two portraits embody is that 
 
 of Irene going in peace from the world, in which her sister is left to 
 encounter the storms and passions of life.” —Crowe and Cavalcaselle. 
 

 
ANTON VAN DYCK 
 
 (1599-1641) 
 GIOVANNI VINCENZO: IMPERIALE 
 
 WORN 1581 and died about 1645. He was Senator 
 S| in Genoa and for some time commander of 
 as. 4} the Genoese Navy. The sea view on the 
 picture seems to refer to this position. 
 
 
 
 Inscribed on the wall on the right: “IO. VINC® IMP’ ANN. SAL. 
 1625. AET. SUAE 44.” Above the inscription, his coat-of-arms. 
 
 On canvas: Height, 50 inches; width, 4114 inches. 
 
 Collection: Marchese Cesare Imperiale Lecari, Villa Dell’ Albero 
 d’Oro in Tenalba near Genoa, a descendant of Giovanni 
 Vincenzo. 
 

 
ANTON VAN DYCK 
 
 (1599-1641) 
 
 PAOLA ADORNO, MARCHESA DI BRIGNOLE-SALA 
 AND HER SON 
 
 SULL- aes life-size figures. The Marchesa is 
 es seated in a high-backed chair between two. 
 a By columns, in profile to the left, and holding the 
 
 
 
 She wears a pearl head-dress ahi a high lace ruff. Het 
 left hand rests on the arm of the chair. The boy in red- 
 flowered doublet and hose. 
 
 Paola Adorno, Marchesa di Brignole-Sala, was the wife 
 of Antonio Guilio, Marchese di Brignole-Sala, son of a 
 Doge of Genoa and Ambassador to Philip IV of Spain. 
 Van Dyck has painted him on a white horse in the 
 famous portrait in Palazzo Rosso in Genoa. It is true, 
 he painted her more frequently than any other woman 
 of the Genoese aristocracy, and certainly not with less 
 enthusiasm, so the tradition may not be without foun- 
 dation. There are two other full length portraits of 
 Paola Adorno painted by Van Dyck, one in Palazzo 
 Rosso in Genoa, the other in the possession of the Duke 
 of Abercorn, Hampden House. The present picture is 
 the most beautifil of the group. 
 
 On canvas: Height, 7414 inches; width, 55 inches. 
 Painted about 1625. 
 
 Collection: Earl of Warwick, Warwick Castle. 
 

 
ANTON VAN DYCK 
 
 (1599-1641) 
 THE PREFECT RAPHAEL RACIUS 
 
 SSSGHREE-QUARTER length, standing turned to the left, 
 
 Wd looking at the spectator, with the head slightly 
 
 Ay) bent forward. He wears armor and holds a 
 
 =28%| baton in his right hand; the left grasps the hilt 
 
 of his sword. Long, black, flowing hair and clean-shaven 
 
 face. A red scarf is tied on his left upper arm and hangs 
 
 down from the right shoulder over the sword-hilt. The 
 
 sun sets over the sea in the distance on the left. Warm 
 color. 
 
 
 
 Inscribed: “MDV (?) Raphael Racius, I. REIP. triremium pre- 
 
 fectus.’’ 
 On canvas: Height, 5156 inches; width 4156 inches. 
 Painted in Genoa about 1625. 
 
 Collection: Sir Walter Farquahar. 
 

 
ANTON VAN DYCK 
 
 (1599-1641) 
 
 CLELIA CATTANEO, DAUGHTER OF MARCHESA 
 ELENA GRIMALDI 
 
 wet THE age of thirteen years. Full length, stand- 
 f ing on a step against a column, looking at the 
 Ve yy spectator. She is dressed in white and has light 
 
 
 
 iL =! blonde hair. In her hand she holds an apple. 
 
 Behind her, a red cushion. Dark background. 
 
 On canvas: Height, 331% inches; width, 481 inches. 
 
 From the Cattaneo Palace, Genoa. 
 

 
ANTON VAN DYCK 
 
 (1599-1641) 
 
 MARCHESA ELENA GRIMALDI, WIFE OF MARCHESE 
 NICOLA ‘CATTANEO 
 
 TULL length; standing on a terrace looking at the 
 spectato rand holding aflower inher right hand. 
 yall She is followed by a young negro servant who 
 aes} holds a red parasol over her. She is dressed in a 
 black costume, decorated with gold buttons and trimmed 
 ‘at the lower edge with five gold’ bands. She has red 
 cuffs and wears a string of pearls in her hair. The negro 
 wears a yellow-brown costume. The Marchesa stands 
 at a corner of the palace, which is decorated with Cor- 
 inthian columns. A staircase leads down from the ter- 
 race to the garden. In the background, a hilly landscape 
 with trees in a warm brown tone. Light blue sky with 
 
 pink clouds and golden borders. 
 
 
 
 On canvas: Height, 68 inches; width, 97 inches, 
 Painted probably in 1623. - 
 
 From the Cattaneo Palace in Genoa. In a letter to Sir Robert Peel, 
 dated Madrid, 1828, Sir David Wilkie quotes a letter he has received 
 from Andrew Wilson, who was. at Rome at that time. In this letter 
 Wilson says he has tried to get this picture for Lord . . , but that 
 the family are not willing to part with it; and he adds: “What a prize 
 such a collection would befor the National Gallery!” 
 
 The picture is justly considered one of the master’s incomparable 
 achievements, in fact one of the masterpieces of portraiture. Nature 
 and Art combined to do honor to the queenly model, and everything 
 is arranged to enhance her charm. Life-size, full-length portraits 
 nearly always create an impression of dominance, but the physical 
 and spiritual supremacy of his model has seldom found such convince- 
 ing portrayal at an artist’s hand. 
 

 
ANTON VAN DYCK 
 
 (1599-1641) 
 
 FILIPPO CATTANEO, SON OF MARCHESA 
 ELENA GRIMALDI 
 
 ae THE age of seven years. Full length, standing 
 Wa] on a step, looking at the spectator. In black 
 
 5 costume with gold brocade pattern and light 
 ==} oold brocaded sleeves. He has his left hand 
 aleen on his side, and holds in his right the leash of a 
 young dog which stands behind re to the right and 
 is watching him. Dark background. 
 
 
 
 Signed: SA% 1637 Act: 4192). 3 
 On canvas: Height, 331 inches; width, 4814 inches. 
 
 From the Cattaneo Palace, Genoa. 
 

 
RAPHAEL ROOM 
 
COPY AFTER RAPHAEL’S HEAD 
 OF POPE JULIUS II 
 
 saqqs IN the best-known versions of this portrait— 
 namely, those in the Pitti Palace and the 
 Bm U fizi Gallery—the Pope looks slightly to our 
 nase! right. He wears a red velvet cap edged with 
 white fur, and a cape of the same material edged in the 
 same way. He is seen to the breast. 
 
 
 
 On wood: Height, 2234 inches; width, 1734 inches. 
 
 Copy, dating from the middle of the sixteenth century, of one of the 
 best-known portraits—that of Pope Julius II painted by Raphael 
 in 19:12: 
 

 
PONTORMO 
 
 (JACOPO CARUCCI) 
 (1494-1556) 
 FLORENTINE PAINTER 
 
 PORTRAIT OF A YOUNG WOMAN 
 
 Veo 
 
 
 
 about her throat a necklace of black stones, and across 
 her bosom a gold chain. In the background a shallow 
 niche. 
 
 On wood: Height, 22 inches; width, 17 inches. 
 
 Collection: Archduke Sigismund Franz, Castle Ambras, Austria. 
 

 
ANGELO BRONZINO 
 (1508-1572) 
 
 FLORENTINE PAINTER PupiL or PONTORMO 
 
 A YOUNG WOMAN AND HER LITTLE BOY 
 
 SHE 1S seen standing, visible nearly to the knees, 
 8s] full face, looking straight out, with her right 
 
 DS | hand resting on the shoulder ofthe child, who 
 
 <= grasps her thumb. Between the thumb and 
 ao of her left hand, which rests under her girdle, 
 she holds a pair of gloves. She wears a brocaded, close- 
 fitting turban, pendants in her ears, a chain over her 
 bosom, and a girdle of precious medals, as well as rings 
 on her fingers. Her dress of red brocade has puff-sleeves, 
 and is low-cut over the bosom. The throat, however, 
 is partly covered with’ a brownish kerchief, The page 
 ground is a greenish curtain. She appears to be scarcely 
 twenty, and the boy three or four. 
 
 
 
 On wood: Height, 371% inches; width, 301% inches. 
 
 Collection: Princesse de Sagan. 
 

 
RIDOLFO GHIRLANDAJO 
 (1483-1561) 
 
 FLORENTINE PAINTER, SON OF DOMENICO GHIRLANDAJO. 
 
 PORTRAIT OF LUCREZIA SOMMARIA 
 
 eae is seen to just below her waist, looking slightly 
 
 f 
 
 
 
 
 We 
 ee ae: to our left, with her wrist and right hand rest- 
 Cx ays ing on a ledge. Brown hair parted in the mid- 
 
 1445) dle and coiled around the head. Dark green 
 
 A 
 
 dress with full sleeves, cut square in front, showing white 
 -chemisette. In her hand she holds a folded, crumpled 
 parchment. On the ledge the inscription; Lucretia 
 Sumaria Effgies. 
 
 On wood: Height, 2434 inches; width, 18 inches. 
 

 
FRANCESCO BONSIGNORI 
 
 VERONESE PAINTER (1455-1519) 
 
 PORTRAIT BUST OF AN ELDERLY WARRIOR 
 
 ==<@e=qe 1s clean-shaven and is seen about three-quarter 
 
 Se 
 
 c 4 face, looking straight out to our left; he wears 
 
 | a stiff, round, flat-topped pink cap and armor 
 
 zaa| with pink straps and laces. ‘The background 
 
 is greenish blue. Inscribed on the armor in the middle 
 of the lowest part of the panel: 
 
 
 
 AN MANTINIA 
 PINX. ANNO. 
 MCCCC 
 Wg 
 
 On wood:. Height, 284 inches; width, 2414 inches. 
 
 Collection: Sciarra Colonna, Rome. 
 

 
VENETIAN, about 1505 
 
 PORTRAIT BUST OF A YOUNG MAN 
 
 aE 1S seen to just below the shoulders, with his 
 4 head slightly turned to our left, but looking 
 4| straight out from greenish eyes. His yellow 
 z4} hair falls in wavy locks from under a close- 
 fitting black cap down to the gray fur collar of his 
 brown coat. He wears a loose white shirt. Dark back- 
 ground with a forged monogram of Direr in the upper 
 right-hand corner. 
 
 
 
 On wood: Height, 11 inches; width, g inches. 
 
 The artist must have belonged to the close following of the Bellini 
 and been acquainted with the style of Antonello and Alvise Vivarini. 
 —Berenson. 
 
 Collection: Sir Charles Robinson, who purchased it at Cremona 
 about 1875. 
 

 
BENOZZO GOZZOLI 
 (1420-1497) 
 
 FLORENTINE PAINTER. FOLLOWER OF FRA ANGELICO. 
 
 THE RAISING OF LAZARUS 
 
 sa@qt THE head of ten of His disciples, our Lord, 
 say with noble mien and quiet gesture, calls the 
 XW, yy shrouded Lazarus out of his tomb. This tomb 
 yao is an arched vault cut into a hillside on our 
 left. Lazarus is supported by two other disciples. At His 
 feet are Mary Magdalen and Martha. To right and left 
 we see groups of interested and sympathizing spectators. 
 The scene is laid in the foreground of an elaborate, 
 romantic landscape of fell and stream, with distant peaks, 
 and splendid cities between. Almost over the head of 
 our Lord rises a tall pine. 
 
 
 
 On canvas: Height, 2534 inches; width, 3134 inches. 
 
 According to Berenson, perhaps the most delightful work of Benozzo’ S 
 later years. 
 

 
AMBROGIO. da PREDIS 
 (1482-1506) 
 
 MiILANESE PaInTER. FOLLOWER OF LEONARDO DA VINCI. 
 
 PORTRAIT OF BIANCA MARIA SFORZA 
 
 
 
 
 
 ae is seen to just below the waist, in profile, 
 ee §3| looking to our left. She has brown hair, wears 
 Eee a golden brown dress of rich brocade, and is 
 very elaborately decked with jewels. In her 
 head-dress appears the well-known Sforza motto, Merito 
 -et Tempore, which may be translated as ‘“‘Do your best 
 
 and bide your time.” 
 
 py Zs 
 
 Bianca Maria Sforza was a daughter of the Duke of 
 Milan, Galeazzo Maria Sforza. She was married to 
 the Emperor Maximilian in 1493. An account of her 
 and her wedding will be found in Julia Cartwright’s 
 ‘Beatrice, d‘ Este? ? 
 
 On wood: Height, 20 inches; width; 1234 inches. 
 
 Collection: Lippmann, Berlin. 
 

 
LORENZO di CREDI 
 (1457-1537) 
 
 PORTRAIT OF HIMSELF IN HIS THIRTY-THIRD YEAR 
 
 ZSSLORENTINE painter, 1457-1537. Pupil of Ver- 
 rocchio and fellow-student of Leonardo da 
 Vinci: 
 
 
 
 He is seen turned slightly to our left, but looking straight 
 out with the head tossed back a little. He wears a cap 
 over a shock of hair which tumbles down to his shoul- 
 ders and is swept away from his face in wisps that stand 
 out boldly against the sky. Background of cliffs and 
 pools and distant hills. 
 
 Inscribed in the back in a cursive, nearly contem- 
 porary -hand: 
 LORENZO ‘DI. CREDI, PITTORE ECC. 2.3 Bes 
 1488, AETATIS SUAE, 32, VIII 
 (In. English: ‘“‘Lorenzo di Credi, excellent painter, 
 
 1488. Aged 32 years and 8 months.’’) 
 
 On wood. 
 
 According to Berenson, Credi’s masterpiece as painting and portrai- 
 ture. | 
 
 Collection: Beattie, Glasgow. 
 

 
RAPHAEL 
 
 (1483-1520) 
 
 THE SMALL COWPER MADONNA 
 
 
 
 
 <=SGPPAPHAEL SANZIO was born at Urbino in 1483 and 
 NM rn G died in Rome in 1520. Pupil of Perugino 
 steess and Pintoricchio. 
 
 > 
 
 
 
 
 Our lady sits on a stone bench in the open air, in a quiet 
 landscape. She holds the naked Child in her left hand, 
 while He thrusts His left foot against her right hand 
 and throws His arms around her neck, at the same time 
 following her sweet, steady gaze at the worshipers as- 
 sumed to be present just outside the picture. The hair 
 of both is blond; the eyes warm, deep brown; the 
 Blessed Virgin’s dress red and her mantle blue lined 
 with green. The flesh is radiantly golden, and the sky 
 a pearly blue as it broods over the yellow green of the 
 landscape. On our right there is a country church on — 
 a hill, and on our left a stream. The church is almost 
 certainly San Bernardino, a Franciscan convent, a charm- 
 ing stroll from Urbino. 
 
 On wood: Height, 23 inches; width, 17 inches. 
 
 From Lord Cowper’s collection at Panshanger. Purchased in Florence 
 toward 1780, until which time it seems to have remained in private — 
 possession at Urbino. It is unanimously assumed that this perhaps 
 most completely characteristic of Raphael’s earlier Madonnas was 
 painted in 1505. .It would seem to be just later than the “Granduca”’ 
 in the Pitti.—Berenson. 
 
 The original drawing for the picture is in the Uffizi Gallery, Florence. 
 

 
NEROCCIO di BARTOLOMMEO LANDI 
 
 SIENESE PAINTER AND SCULPTOR 1447-1500. 
 Pupit or VECCHIETTA 
 
 PORTRAIT BUST OF A LADY 
 
 
 
 is almost straw-colored, is very elaborately dressed. Each 
 hair is spun out or daintily curled, and the whole flows 
 down in a mass over her bare neck and throat to her 
 shoulders, clinging fairly close to the temples but puffed 
 out over the ears, and crowned on the back of the head 
 with a jewelled cap. She wears a double string of pearls 
 around her neck, with an oval pendant, and lower down 
 over her throat and bosom a larger string with a cruci- 
 form jewel. Her dress,which is beautifully embroidered, 
 is cut low and square and is set with pearls. ‘The land- 
 scape consists of graceful trees watching over silent pools 
 and romantic castles. 
 
 On wood, with the original frame carved into a pattern of eagle’s 
 beaks: Height, 19 inches; width, 1234 inches. | 
 
 On the tablet is a Latin distich, which translated, means: “Although 
 by wondrous dexterity I may reach the.summit of human achieve- 
 ment, yet I am doomed to failure. A mortal, I am pitting my art 
 against that of the Gods.” On one of the handles of the tablet we 
 read the letters N E R, the abbreviated signature of the artist. On 
 the other handle are the letters A. P., the initials of the lady, who 
 surely must have belonged to one of the ruling families of Siena 
 (possibly Alessandra Piccolomini). 
 

 
PIER FRANCESCO FIORENTINO 
 
 (1470-1500) 
 MADONNA AND CHILD 
 
 SLORENTINE painter, active in the last three dec- 
 ades of the fifteenth century. Follower of 
 Benozzo Gozzoll. 
 
 
 
 a sl: 
 The Virgin is seen, half length, supporting the Child, 
 who stands naked on the edge ofa parapet. Background 
 of red and white roses. 
 
 On wood: Height, 2714 inches; width, 1814 inches. 
 
 Collection: San Donato, Florence. 
 

 
BENVENUTO di GIOVANNI 
 (1436-1518) 
 
 MADONNA WITH SAINTS BERNARDINE AND JEROME 
 
 (ema Vae Or 
 >» ¥ 
 ZWertaWy 
 y) 
 
 orN at Siena in 1436, and died there in 1518. 
 Pupil of Vecchietta. 
 
 
 
 59 
 
 | Are) 
 [PONS 
 
 é BA 
 
 ESS is 
 
 Our lady is seen down to the waist only. She puts her 
 right hand on the Child’s shoulder as He sits on a para- 
 pet blessing with one hand and holding a pomegranate 
 with the other. Behind Him we see St. Jerome with 
 a stone in his hand, and on the other side Bernardine 
 with the sign that he used to carry about with him at 
 his revivals. Gold ground. 
 
 On wood: Height, 2734 inches; width, 19 inches. 
 
 Painted about 1475. 
 

 
GIOVANNI BATTISTA MORONI 
 
 (Between 1520 and 1525-1578) 
 “TITIAN’S SCHOOLMASTER” 
 
 =<eqorN at Albino near Bergamo between 1520 
 gp! and 1525, and died there in 1578. Pupil of 
 
 A Sap | Moretto; influenced by Lotto and Titian. 
 to) 
 
 
 
 He sits sideways on the left, with his left arm extended 
 along the arm of his chair. He is a man between fifty 
 -and. sixty, and has an intellectual forehead, a strong 
 nose, and a close-trimmed, pointed gray beard. But 
 for a white linen collar, he is dressed in black. The 
 
 background is gray. 
 
 On canvas: Height, 38 inches; width, 29% inches. 
 
 The myth-making spirit of the old connoisseur was seldom more 
 happily inspired than in calling this masterpiece “Titian’s School- 
 master.” As a work of art it was regarded as in every way worthy 
 of Titian, and as the sitter had the appearance of a clever and genial 
 /-man,.1t was supposed that he must have been Titian’s ideal of a 
 schoolmaster. We know better now. The canvas is obviously by 
 - Moroni, and neither he nor any sixteenth century artist has elsewhere 
 produced a type of the genial scholar as modern as this. If it were 
 not for the costume, he might be living now, or indeed at any time.— 
 Berenson. 
 
 Van Dyck made a sketch after this masterpiece in his Italian sketch- 
 book, now in Chatsworth. . 
 
 In the eighteenth century the picture was in Rome in the Borghese 
 Gallery. In the beginning of the nineteenth century it was purchased 
 by the Marquis of Stafford (Waagan: “Treasures of Art in Great 
 Britain,’ 1854, Vol. II, p. 60). 
 
 Collection: Duke of Sutherland, Stafford House. 
 

 
UNKNOWN ITALIAN MASTER 
 
 EARLY SIXTEENTH CENTURY 
 PORTRAIT BUST OF BALDASSARE CASTIGLIONE 
 
 GEAE LOOKS straight out, although the face is turned 
 
 Lanes Ae slightly to our left and the shoulder is almost 
 Ces, in profile. Huis abundant reddish hair half 
 Sar x4} covers the ears, and he wears a full, slightly 
 farted beard. He has on a black cloth cap, a dee coat 
 with gray sleeves and.a purple linen collar. The back- 
 ground is a luminous gray. 
 
 
 
 Baldassare Castiglione, born near Mantua in 1478, died 
 at Toledo in 1529. Hewas connected with the courts 
 of Mantua and Urbino, and became Ambassador. to 
 England and Papal. Legate in Spain. He is known 
 especially through his book on the ideal gentleman 
 entitled “‘I] Cortegiano”’ and through his portrait painted 
 by Raphael, now in The Louvre. 
 
 On wood: Height, 2434 inches; width, 18% inches. 
 

 
VERONESE FOLLOWER OF MANTEGNA 
 
 MADONNA AND CHILD 
 
 GEHIND a parapet spread with a green cloth, Our 
 Lady towers massively over the landscape into 
 ee the sky. She looksdowna little to our left upon 
 
 the Child, whom she holds between her hands 
 
 as He reclines naked on a cushion, Hisright hand touch- 
 ing a fruit. He wears a necklace and wristbands, and 
 from the former hangs a coral talisman against the evil 
 eye. Our Lady wears a gauze kerchief over her head 
 under the disc-like halo. Her mantle is of deep blue, 
 worked with a simple but highly effective wheel pattern 
 in gold. Her dress is of pale gold in close-pleated folds, 
 adorned below the neck with a broad border of pearls 
 and jewels, in the middle of which is a Medusa’s head 
 —this again being, in antiquity at all events, a talisman 
 against the evil eye. On the ledge of the parapet stands 
 an earthenware bow] with yellow fruit and a red cherry. 
 Behind this a broad road winds through a meadow 
 -toward a cliff topped by a castle. In the meadow a 
 shepherd squats in the midst of his flock, and on the 
 road wayfarers are passing. Behind the Child meadows 
 stretch to a sheet of water covered with ships and sails. 
 Above, a greenish blue sky with horizontal fleecy clouds. 
 
 
 
 Wood, transferred to canvas: Height, 32 inches; width, 2234 inches. 
 Formerly attributed to Piero della Francesca; according to Berenson, 
 in the style of the closest and worthiest of Mantegna’s disciples, 
 Francesco Benaglio. | 
 
RE 
 - cS Me ee 
 ‘ ERE 
 en 
 
 
 
ANDREA MANTEGNA 
 (1431-1506) 
 
 PapuAN PAINTER 
 
 JUDITH AND HOLOFERNES 
 
 
 
 > ee clad in a white tunic reaching to ra feet, 
 rae Ss over which hangs a blue cloak, stands at fis 
 x door of a pale-rose-colored tent. In her right 
 2] hand she holds a short square-headed sword, 
 the hilt a gold, and with gold inlay on the blade. With 
 her left hand she holds the severed head of Holofernes 
 over the bag held open by her attendant. The tent bor- 
 der is yellow, and on it are traced Eastern characters in 
 a lighter shade of the same color. The attendant wears 
 white linen trousers and a short yellow full-sleeved tunic 
 tied above and below the elbow, over which is a red 
 cloak. The sole of the right foot bE Holofernes appears 
 on a gilt bed in the background. 
 
 On the back of the panel are the words “AN :MAN- 
 TEGNA” on a gesso surface ; this prepared surface and 
 the moulding which runs aroun three sides suggests 
 that the panel formed one of a series. 
 
 Abraham van der Noort, in his catalogue of Charles I’s pictures, 
 states that this picture, then attributed to Raphael, was given by the 
 King to Lord Pembroke in exchange for a “Portrait of a Young 
 Woman,” by Bellini, and “The a Christ and.St. Jona Embrac- 
 ing,’ “by Parmigiano. 
 
 On panel: Height, 12 inches; width, 71K inches. 
 
 Described by B. Berenson in “Art in America,” 1918, p. 127. 
 
 Collections: Charles I. 
 The Earl of Pembroke, Wilton House. 
 

 
ANDREA del CASTAGNO 
 
 (About 1410-1457) 
 THE YOUTHFUL DAVID 
 
 SLORENTINE SCHOOL. About 1410-1457. Developed 
 “4] under the influence of Donatello, Paolo 
 oi beni] Uccello and Masaccio. 
 
 
 
 He is tall and slender, but well-proportioned and lithe 
 of limb. His body is swung from left to right, while 
 his gaze is directed intently, alinost wistfully, toward 
 the point whither he is about to discharge his sling. He 
 wears a short, claret-colored tunic over a white shirt 
 which leaves his arms and legs bare. His flowing curls 
 stream in the direction of his gaze. At his feet lies the 
 head of Goliath. He stands in the foreground of a 
 jagged landscape, with palms in the middle distance 
 against a blue sky filled with fleecy clouds. The head 
 of Goliath was merely intended for a sign to identity 
 the slinger as David. ‘To the painter’s contemporaries 
 its presence under his feet would not have suggested, as 
 perhaps it does to some of us, that David had slain the 
 giant and decapitated him before he threw the sling. 
 
 Painted on a shield on leather: Height, 3 feet, 9 inches; width, 
 above 2 feet, 8 inches, below 1 foot, § inches. 
 
 “This painting has a triple interest. It is a great work of art, apart 
 from any consideration as to where, when and by whom it was done. 
 It is a masterpiece by one of the most famous painters of Florence 
 who, at the same time, happens to be very rare. It is painted on a 
 shield.” —Berenson.- ~ 
 
 Collection: Drury-Lowe, Locko Park. 
 

 

 
 ” 
 
 i 
 
 
 

 
EDUARD MANET 
 
 (1832-1883) 
 THE DEAD TOREADOR 
 
 SE GORN in Paris in 1832; studied under Couture; 
 Lat as 5 travelled in America, England, and on the 
 <9 ky) Continent; exhibited at the Salon in 1860, and 
 
 
 
 
 
 Mea el became the chief of the group of ‘‘Impression- 
 
 ists.”’ He died in Paris in 1883. 
 
 Whole length rigid figure of a dead toreador, stretched 
 at length on his back, and dressed in bull-fighting cos- 
 tume—black jacket, knee breeches and shoes, with white 
 stockings, waistband, and neckcloth; head towards the 
 foreground, right hand resting on his breast, left hand 
 holding banderilla by the corner, hilt of sword to right; 
 grayish background. 
 
 Canvas: Height, 29% inches; width, 6014 inches. 
 Signed in the lower right-hand corner: “Manet.” 
 
 The chief portion of the picture exhibited at the Salon in 1864, No. 
 1282, under the title of “Episode d’une Course de Taureaux.”’ One 
 of the Spaniards of Lola de Valence’s troupe was the model for this 
 figure. . 
 
 The second portion of the original picture belongs to Baron Villa, Paris. 
 
 Collection: Jean-Baptiste Fauré, the famous singer at the Grand 
 Opéra, and friend of the artist. 
 

 
JOHN. CONSTABLE, R.A. 
 
 (1776-1837) 
 
 THE WHITE HORSE 
 
 WORN at East Bergholt, Suffolk, in 1776; son of a 
 
 so miller; entered the Royal Academy School in 
 As 1799, and first exhibited at the Academy in 
 1802; eleeted A.R. A+ in 1619, ands Rigen 
 1829; exhibited in Paris, 1824. _He died in London 
 Ii Hoos 
 
 
 
 A suminer view of the River Stour, with barge contain- 
 ing two men and a white horse to left, close toa bank 
 covered with low-growing shrubs. The river, on which 
 the sun is reflected, occupies the foreground of the pic- 
 ture; on the farther bank, amid trees, are seen a red- 
 roofed white-walled cottage and other buildings, and on 
 the edge of the water a rustic boat-house and punt; to 
 right a paddock with hurdle fence, through an opening 
 of which three cows have passed to the water’s edge; 
 
 gray sky with clouds. 
 
 On canvas: Height, 50 inches; width, 72 inches. 
 
 Painted about 181g—20. 
 
 A variant of the picture, exhibited at the Royal Academy, 1819, which 
 is now in the Pierpont Morgan collection. 
 
 Exhibited: | Burlington House, London, 1872. 
 
 Collections: Sir-John Pender, London. 
 E. Fox White, London. 
 

 
JOHN CROME (“Old Crome”) 
 
 (1769-1821) 
 HARLING GATE, NEAR NORWICH 
 
 SOUNDER of the ‘‘Norwich School’’ of painting; 
 born in Norwich in 176g. Son of a publican; 
 eal patronized by Sir William Beechey, Gurney 
 exebs| of Earlham, ‘Dawson Turner, and others; ex- 
 hibited at the Royal Academy, and founded the Nene 
 Society of Artists, 1803; died at Norwich in 1821. 
 
 
 
 An early autumnal landscape, with a wood gate at the 
 entrance of a lane of tall trees; near the gate on the left 
 is a group of two seated figures and a dog; on the right 
 two donkeys and a clump of thistles; the foreground a 
 bank with shallow pool at foot; brilliantly illuminated 
 sky with golden clouds. : 
 
 On canvas: Height, 481% inches; width, 39 inches 
 
 Collection: The Hon. Mrs. Byng. 
 
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 pecguea ie, 5 
 
 
 
GEORGE ROMNEY 
 
 (1734-1802) 
 PORTRAIT OF CAPTAIN COOPER 
 
 SREDERICK GREY COOPER, second son of Sir Grey 
 a) Cooper, Bart., of Gogar, Midlothian; born 
 March 19, 1769; entered the army; Sazetted 
 
 =e) colonel First Foot Guards, August 31, 1798; 
 eee Tynes 7, 1805, Charlotte Dorothea, daughter 
 of Sir John Honywood, Bart.; ; succeeded his nephew as 
 sixth baronet in 1836; died at Barton Grange, Somerset, 
 
 February 23, 1840. 
 
 
 
 Three-quarter length of a young man about twenty-five, 
 standing directed to front, looking to lett, military uni- 
 form (red coat embroidered with gold and with blue 
 facings, gold epaulets, buff waistcoat and breeches); left 
 hand resting on hilt of sword; fair, curly hair; back- 
 ground of trees and foliage; distant view of hilly scenery 
 to left. 
 
 On canvas: Height, 50 inches; width, 40 inches. 
 Painted in June-July, 1795. 
 
 Collection: Colonel Honywood. (The Cooper and Honywood fam- 
 
 ilies were connected by marriage.) 
 

 
FRANCIS COTES, R.A. 
 
 (1726-1770) 
 PORTRAIT OF MRS. SAWBRIDGE 
 
 SS TERGORN in London in 1726 and studied under 
 - a? George K napton; excelled in painting portraits 
 
 : .4| In crayons; a member of the Society of Artists 
 and one of the foundation members of the 
 
 | Royal Academy in 1 hte died at Richmond, Surrey, 
 in 17.70. 
 Probably Anne, scents of Sir William Stephenson, Kt; 
 
 married, as his second wife, in June 1766, John Saw- 
 bridge, of Olantigh, Kent, alderman of Londonand Lord 
 Mayor in 1775; died September 30, 1805. : 
 
 
 
 Three-quarter length of a young lady, standing in the 
 open, directed to front, looking at spectator, head slightly 
 ‘inclined over right shoulder; white low dress, short 
 sleeves with gold brooches or fasteners, blue and gold 
 waistband; left arm leaning on stone ledge, on which 
 stands a large vase with plants; right hand holding fold 
 of dress; landscape background with sunset effect. 
 
 On canvas: Height, 50 inches; width, 40 inches. 
 
 Painted about 1770. 
 

 
SIR WILLIAM BEECHERY, R.A. 
 
 (1753-1839) 
 PORTRAIT OF MRS. HARRINGTON 
 
 orn at Burford, Oxfordshire, in 1753; entered 
 
 Royal Academy School in 1772; began to ex- 
 Ky hibit in 1776; elected A.R.A. in 1793; pat- 
 ronized by George III and portrait painter to 
 Queen Charlotte; died at Hampstead in 1839. 
 
 
 
 Nearly whole length of a young lady about twenty-two, 
 seated in the openat the foot of a stone balustrade directed 
 slightly to the right and looking at spectator; yellowish 
 satin dress with plain short sleeves, scarlet shaw] across 
 back, the end twined around right arm; left arm resting 
 on stone ledge; gold necklace; brown hair adorned with 
 flowers; background of distant hilly landscape, trees and 
 winding river; evening effect. 
 
 On canvas: Height, 50 inches; width, 40 inches. 
 Painted about 1818. 
 
 Formerly the property of Mr. Martin H. Colnaghi, London. 
 

 
GEORGE ROMNEY 
 
 (1734-1802) 
 PORTRAIT OF WILLIAM PETRIE 
 
 qoRN probably in.Scotland about 1748, died in 
 59411816. Governor of Madras and of Prince of 
 Rie? a) Wales Island. 
 
 
 
 Three-quarter length of middle-aged man, seated in the 
 open in red-upholstered chair; directed and looking to 
 right; dark coat with tassel-like buttons, white lace cuffs, 
 white waistcoat, breeches and stockings; left hand placed 
 against face, elbow resting on green-covered table with 
 booksand papers, right hand holding volume; gray wig; 
 background, trees and distant landscape, cloudy sky. 
 
 On canvas: Height, 50 inches; width, 40 inches. 
 
 Painted in 1777. 
 Exhibited: Agnew’s Gallery, London, June-July, 1907. 
 
 Collections: The late Miss M. H. A. Fergusson-Abbott, who be- 
 queathed at to Miss Evelyn Portal, who sold it at 
 Christie’s in 1906. | 
 
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SIR THOMAS LAWRENCE, Pi Ries 
 
 (1769-1830) 
 PORTRAIT OF LADY ROBINSON 
 
 GORN at Bristol in 1769 ; son of an innkeeper ; 
 painted portraits in pastels when quite a youth, 
 +) ky) and received much advice from Sir Joshua 
 
 Ue Reynolds; patronized by the King; first ex- 
 hibited at the Royal Academy, 1787; elected AVRS AY 
 in17go and R.A.in 1794; painter in ordinary to the 
 King, 1792; president of the Royal Academy, 1820; 
 died in London in 1830. 
 
 
 
 Emma, sixth daughter of Robert Willis Blencowe, Esq., 
 of Hayes, Middlesex, by Penelope, youngest daughter of 
 Sir George Robinson, of Cranford Hall, Northampton- 
 shire; married May 24,1827, her cousin, George Stamp 
 Robinson, who succeeded his uncle as seventh baronet 
 in 1833; died at Cranford Hall, January 20, 1874, aged 
 
 seventy-two - 
 
 Nearly whole length, age about tWenty-three, seated in 
 the open, at the footyof a tree, directed slightly to right, 
 looking at spectat@&. Park with deer grazing in the 
 ieee ; blue sky with gray clouds 
 
 On canvas: Height, 50 inches; width, 40 inches. 
 Painted about the time of her marriage. 
 
 From the family. 
 

 
 o 
 
GEORGE MORLAND 
 
 (1763-1804) 
 THE DEATH OF THE FOX 
 
 agorN in London in 1763, his father and grand- 
 iF] father being popular artists, as was also his 
 ‘| mother ; studied under Philip Dawe, painter 
 J and engraver; exhibited at the Royal Academy 
 in 1773 and at the Free Society of Artists in 1775; 
 many of his early pictures achieved great popularity 
 through engravings; died in London in 1804. 
 
 
 
 Group of six red-coated and other huntsmen, the whip 
 dismounted, assembled at the death of the fox at the foot 
 of a hillock; the fox attacked by three hounds with 
 others running to their assistance; a peasant in smock 
 on the right watching the scene; to left a belated hunts- 
 man is jumping a rustic tence; village and church in 
 the distance; blue sky with clouds. 
 
 On canyas: Height, 56 inches; width, 74 inches. 
 Signed at right near lowe® corner: .““G. Morland, Pinxt.” 
 Painted about 1794. 
 
 Exhibited: Burlington House, London, 1882, No. 267 (J. Page- 
 Darley). 
 
 Collection: John Page-Darley, London. 
 

 
JOSEPH MALLORD WILLIAM TURNER,R.A. 
 (1775-1851) 
 
 THE JUNCTION OF THE THAMES AND THE MEDWAY 
 (OR, MEETING OF THE WATERS) 
 
 eaiew from the Nore buoy of a stormy sea with 
 gae| Wavesrunning high; to left a boat with wind- 
 RéS\\| filled sails; to right a rowboat with three 
 sailors is putting off from one of the two full- 
 rigged fishing boats which are sailing with the wind; 
 in the middle distance a man-of-war is seen at anchor ; 
 in the background and on the horizon, Sheerness and 
 the Isle of Sheppey ; masses of black clouds overhead 
 and to right, relieved by gray clouds and two sea-gulls. 
 
 
 
 On canvas: Height, 4234 inches; width, 56% inches. 
 Painted: Circa 1805-10. 
 
 A pen-and-ink sketch, 1805-07, for this picture and the two smaller 
 versions at the University Galleries, Oxford, and in the National 
 Gallery, London (No. 813), 1s in Turner’s “Hesperides” Sketch Book, 
 bequeathed by the artist to the British Nation. 
 
 Exhibited: Art Treasures, Manchester, 1857. 
 French Gallery, London, 1894. — 
 
 Collections and Sales: John Newington Hughes of Winchester, April 
 15, 1848, No. 147; Joseph Gillot of Birmingham, April 27, 1872, No 
 306; Richard Hemming, J.P., of Grosvenor Place, London, and 
 
 Bentley Manor, Bromsgrove, until his death, circa 1893. 
 

 
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HANS MALER ZU SCHWAZ 
 
 Bi seg) Sg -unop) 
 PORTRAIT OF A WOMAN 
 
 orN at Ulm; worked at Schwaz; at Tyrol in. 
 y} 1500-1510. His pictures date from 1519 to 
 A I 529. Influenced by Bernhard Strigel. South 
 German School. 
 
 
 
 Half length, slightly turned to the left. She wears a 
 costume with deep, white collar and yellow sleeves. The 
 head is enveloped in a white scarf, with gold stripes at 
 the end, that hangs down on her right side. Behind her, 
 
 a dark green curtain. 
 
 On panel: Height, 18 inches; width, te inches. 
 
 Originally attributed to Hans Holbein. The correct attribution was 
 made by M. J. Friedlander. 
 

 
ADRIEAN VAN. OSTADE 
 
 (1610-1685) 
 - THE COTTAGE DOORYARD 
 
 ORN at Haarlem, 1610; died there in 1685. 
 94 Pupil of Frans Hals and influenced by Brouwer 
 As) wi) and later by Rembrandt. Worked at Haarlem. 
 
 
 
 On the right, a vine-covered cottage with an open case- 
 ment; at its side, a chicken-coop and pigeon-house, 
 which adjoin a wall surmounted by a picket fence 
 extending to the left. Leaning against an open door 
 in the wall stands a peasant looking at an old woman 
 who sits at his left preparing vegetables; at his right, 
 a woman and a child. In the foreground a girl ina 
 blue bodice and a yellow skirt watches a boy playing 
 with a dog. At the extreme right some red'and white 
 clothes are hung on a line, and lying on the chicken- 
 coop, near them, are a bunch of carrots and a towel. 
 
 _ Signed on the left: “A. v. Ostade 1673.” 
 
 On canvas: Height, 1738 inches; width, 1558 inches. 
 
 [em Ie 
 
 Hofstede de Groot, “Catalogue Raisonné,” No. 503. 
 
 Collections: Thomas Hope, London, 1829. 
 Lord Francis Pelham Clinton-Hope, Deepdene. 
 

 
JAN STEEN 
 
 (1626-1679) 
 THE DANCING COUPLE 
 
 INDER an arbor in front of a tavern a man and 
 “ woman are dancing; seated at a table at the 
 Ma) lett are an old couple and a young man and 
 1 woman, and nearest to the spectator a woman 
 in a yellow jacket and blue apron, holding a child 
 dressed in yellow who plays with a toy; seated at the 
 right in the foreground, a man in a brown waistcoat 
 with purple sleeves and scarlet stockings, and a woman 
 in blue; beside them, a boy with soap-bubbles; above 
 this group, two musicians with a flute and a violin. In 
 the background, two children and a man with a bird- 
 cage stand by a fence, and beyond him are two men and 
 a woman and the booths of a village fair. A church spire 
 is seen between the trees. 
 
 
 
 Signed in the lower left ‘corner: “J.-Steen 16632” 
 On canvas: Height, 40 inches; width, 56 ‘aeheee 
 
 Hofstede de Groot, ‘‘Catalogue Raisonné,” No. 655. 
 
 Exhibited: Royal Academy, London, 1881. 
 South Kensington, London, 1891. 
 
 Collections: Col. G. Bisschop, Rotterdam, 1752; purchased by the 
 Hopes, 1771. 
 Lord. Francis Pelham Clinton-Hope, London, 1883. 
 

 
PETER PAUL RUBENS 
 (1577-1640) 
 
 THE RAPE OF THE SABINE WOMEN 
 
 RGORN at Siegen, 1577. Died at Antwerp, 1640. 
 | Pupil of Adam van Noort and Otho van Veen. 
 By treed in Italy 1600-1608. He worked at the 
 courts of Paris, Antwerp, Madrid and London. 
 
 
 
 In the centre, a Roman soldier fias taken one of the 
 Sabine women on his white horse, and another Roman 
 helps in holding the captive. On his knees, clutching 
 the bridle of the horse, is an old man—very likely the 
 father of the girl. In the foreground on the left some 
 women are endeavoring to escape. Behind is the King 
 of Rome on a throne, giving orders. On the right, dis- 
 mounted Romans carrying away Sabine women. The 
 buildings of the city in the rear. In a warm tone with 
 few local colors—just enough to show that in the finished 
 picture, for which this is the sketch, the white costumes 
 of the Roman and Sabine woman on the white horse 
 will become the main color of the composition. There 
 are some blue and reddish tones in the costumes. The 
 warrior near the white horse is in dark blue armor with 
 red scarf. 
 
 On canvas: Height, 22% inches; width, 4334 inches. 
 
 Of the late period of the artist—about 1635—and in all pa executed 
 by his own hand. 
 

 
GIOVANNI ANTONIO da CANALE 
 
 (Frequently known as CANALETTO) 
 (1697-1768) 
 
 ACVIEW IN: VEINI@E 
 
 FFSS|IENETIAN SCHOOL. Born at Venice in 1697; died 
 
 We 4| there in 1768. Pupil of his father, Bernardo. 
 
 
 
 It extends on the right toward the Colleoni monument 
 and to the Church of SS. Giovanni e Paolo beyond. 
 Nearly in the middle, and shutting off the view, rises the 
 facade of the Scuola diS. Marco. On the left, the canal 
 lined with buildings, stretches away to the dim horizon, 
 but is spanned in the middle distance by a bridge. From 
 the Piazza di SS. Giovanni e Paolo, which is dotted with 
 figures, steps lead down to the water, on which gondolas 
 are seen here and there. 
 
 On canvas: Height, 28 inches; width, 44 inches. 
 
 Collections: Earl Dudley. 
 Lord Exeter. 
 Mr. Wakeman, London. 
 
 Maxwell, London. 
 

 
FRANCESCO GUARDI 
 
 (1712-1793) 
 VIEW OF THE RIALTO 
 
 
 
 is ENETIAN SCHOOL. Born at Venice in 1712; died 
 
 f) therein 1 793. Pupil of Canale and influenced 
 
 RY) Ts by Marieschi. 
 
 The Grand Canal, bordered by palaces, stretches from 
 our right to the rear. Beyond the middle distance it 
 is spanned by the grand arch of the monumental bridge, 
 and behind this the view is closed in by the palace of 
 the Camarlenghi on our left and the Fondaco dei 
 Tedeschi and adjacent buildings on our right. In the 
 foreground, numerous gondolas and boats with awnings 
 and reedlike masts. Blue sky with white cloudlets. 
 
 On canvas: Height, 27 inches; width, 36 inches. 
 
 Dramatically felt, and painted with a vibrant, vital touch, care- 
 free rather than careless, and with exquisite play of evocative, sugges- 
 tive light.—Berenson. 
 
 Collection: Ingram (Matsala House). 
 

 
JOHN CONSTABLE, R.A. 
 ; (1776-1837) 
 
 WIVENHOE PARK, ESSEX 
 
 BroaD Sun-bathed summer landscape, with the 
 red-brick mansion on the brow of a well- 
 Ne] wooded park and partly hidden by tall trees. 
 
 a! The park inclines to a broad lake or river 
 which passes through the centre of the picture, and on 
 which 1s a boat, with two men taking in a fishing-net ; 
 swans and ducks are seen swimming about; to right a 
 thatched cottage is seen nestling among the trees and 
 by the water’s edge are various figures; to left a stone 
 and iron bridge across which a donkey- -chaise with fig- 
 ures has passed ; the foreground is divided by a hurdle 
 fence inside which four cows are grazing and watering; 
 blue sky with masses of fleecy clouds and birds. 
 
 
 
 On canvas: Height, 2114 inches; width, 3914 inches. 
 
 Painted in the summer of 1816, and exhibited at the Royal Academy, 
 1817, No. 85, as “Wivenhoe Park, the seat of Major-General Rebow.” 
 
 From the Wivenhoe Park Collection, circa 1906. 
 
 C. R. Leslie, “Memoirs of John Constable,” ed. C. J. Holmes, tgi1t, 
 Pp SC; eae 6s, 196. 
 
 Among nearly three hundred drawings by Constable presented to the 
 Victoria and Albert Museum, South Kensington, in 1885, by Miss 
 Isabel Constable, are two small pencil sketches, each dated 1817, one 
 
 of Wivenhoe Park, and the other of Wivenhoe Park, with Church. 
 

 
SIR JOSHUA REYNOLDS, P.R.A. 
 
 (1723-1792) 
 PORT RAIT OF LADY BETTY HAMILTON 
 
 MJADY ELIZABETH HAMILTON, Only daughter of James, 
 | sixth Duke of Hamilton and Brandon, and the 
 aé4) beautiful Elizabeth Gunning; born January 26, 
 ommeres| 1753; married June 12,1774, Edward Smith 
 Stanley, Lord Strange, afterwards twelfth Earl of Derby, 
 died March 14, 1797. 
 
 
 
 Whole length, when a child, seated on a bank in an open 
 landscape, directed to front and looking to left; pink- 
 patterned low dress, with hooped skirt and short sleeves, 
 trimmed and edged with white lace, spray of flowers in 
 corsage, and holding with both hands a bouquet of 
 brightly colored flowers; fair hair bound with brownish 
 ribbon, with neckband of same; cloudy blue sky. 
 
 On canvas: Height, 46 inches; width, 33 inches. 
 Sat in March, 1758, as Lady Betty Hamilton. 
 
 Exhibited: Burlington House, London, 1882, No. 33, by the Earl of 
 
 Normanton. ' 
 
 Collections: The Duke of Argyll, who sold it at Christie’s, March 17, 
 1855, No. 91, when it was incorrectly catalogued as representing Lady 
 Anne Hamilton, and described as “one of the most fascinating and 
 perfect works of the great- English Master.’”’ It was purchased by 
 Mr. King for Lord Normanton, in whose collection it remained until 
 recently. 
 

 
JEAN BAPTISTE CAMILLE COROT 
 (1796-1875) 
 
 L,ATELIER DE COROT 
 
 GORN in Paris of humble parentage, and began 
 | life in a draper’s shop; studied art under 
 
 Michallon, Victor Bertin, and in Italy; first 
 exhibited at the Salon in 1827, at which John 
 Constable was an exhibitor ; received many medals and 
 decorated with the cross of the Legion of Honor, 1846; 
 died in Paris. 
 
 
 
 Small whole-length figure of a woman, apparently an 
 Italian model, in yellowish dress, white chemisette and 
 green bodice, dark hair bound with red ribbon, seated on 
 a chair in front of an easel. 
 
 On panel: Height, 24 inches; width, 154 inches. 
 “Signed in lower right-hand corner: “Corot.” Painted 1865-68. 
 
 This picture hung in Corot’s Salon in Paris, and was No. 134 in his 
 sale at the Hotel Drouot, May, 1875. — 
 
 Alfred Robaut and Etienne Moreau-Nélaton, ““L’Oeuvre de Corot,” 
 1905, No. 1558 (two variants of this picture are recorded in this work 
 under Nos. 1559 and 1559 dis); Jules Meier-Graefe, “Modern Art,” 
 1908, Vol. I, p. 184; A. F. Jaccact, “Artin America,” April, 1913, p. go. 
 Reproduced: L’Art et les Artistes, January, 1907, p. 364. 
 
 Exhibited: Exposition Centennale Retrospective, Paris, 1889, No. 
 163. (M. Bernheim jeune.) 
 
 Bought from Durand-Ruel, 1892. 
 
 Collections: Jules Paton, April 24, 1883. 
 Mm. Duz and Van den Eynde. 
 

 
JEAN BAPTISTE CAMILLE COROT 
 (1796-1875) 
 
 LE RETOUR AU LOGIS 
 
 ] GRAY-TONED picture of a well-wooded dell with 
 
 Be7A Vena) overhanging trees forming an arch over arough 
 VON pathway, a traveller on a white horse going 
 mot Nees) towards the distance; on either side large, 
 
 uneven blocks of stone; blue sky with fleecy clouds. 
 
 
 
 
 On canvas: Height, 3734 inches; width, 30 inches. 
 
 Signed and dated in centre at bottom: “Corot 1872.” 
 
 Alfred Robaut and Etienne Moreau-Nélaton: “L°OQeuvre de Corot,” 
 1905, No. 2386; “Le Cavalier a la Sortie du Bois.” 
 
 Reproduced in Walter Gensel’s “Corot and Troyon,” 1906, p. 46. 
 Bought from Knoedler & Co., 1892. 
 
 Collections and Sale: M. Stumpf: “Cristallerie de Pantin,” February 
 27, 1873, where it is called “Entrée du Bois Coubron.” 
 

 
JEAN BAPTISTE CAMILLE COROT 
 (1796-1875) 
 
 EPERNON FERMIER A CHEVAL SURVEILLANT 
 LE LABOURAGE 
 
 SEPEN UNEVEN view of summer landscape divided by 
 Nee) a three-arched stone bridge, with pedestrians 
 | going towards a cluster of farm houses and 
 a! cottages on the left; in the foreground a team 
 of horses ploughing and driven by a man in shirt 
 sleeves; red-capped farmer on horseback going toward 
 a group of feathery trees on the right ; white cloudy sky. 
 
 
 
 On canvas: Height, 1234 inches; width, 21 inches. 
 Signed in lower left-hand corner: “Corot.” 
 Painted 1850-60. 
 
 Alfred Robaut and Etienne Moreau-Nélaton, “‘L’Oeuvre de Corot,” 
 1905, No. 946. 
 
 Sales: May 3, 1876; January 29, 1877, and March 31, 1890, No. 13 
 (bought by M. Foinard). 
 
 Purchased from Georges Petit, Paris, 1891. 
 

 
EDUARD MANET 
 
 (1832-1883) 
 AUX COURSES 
 
 =a AIVE mounted jockeysonagreen grass track, which 
 tas is barricaded off on both sides, and in an almost 
 neck-to-neck race for the goal; the densel 
 
 4 thronged grandstand, with crowds of people 
 looking over the palisades to right, and further crowds 
 of sightseers to left; tall trees in the background; blue 
 and gray sky. 
 
 
 
 On panel: Height, 5 inches; width, 87 inches. 
 
 Signed in lower right-hand corner: “Manet.” 
 
 Painted in 1877. 
 
 This is the “Races at Longchamps” described by Duret, No. 232, as 
 
 belonging to Mr. Durand-Ruel, Paris, from whose private collection 
 it was acquired. 
 

 
HILAIRE GERMAIN EDGAR DEGAS 
 
 (1834-1917) 
 LE FOYER DE LA DANSE 
 
 WORN in Paris in 1834, entered the Ecole des 
 itty eS Beaux-Arts in 1855, under Lamoche, and trav- 
 ays eled in Italy and America; first exhibited at 
 
 4 the Salon in 1865, and in the following year 
 the first of his series of racing pictures. 
 
 
 
 Group of six female dancers, all in ballerina dresses, in 
 a room with highly polished floor; to left, four in a 
 row against wall are practising leg exercise; to right, 
 two girls are seated, one with right leg erected and 
 adjusting her garter, the other leaning forward, her left 
 hand resting on the floor, doorway in centre of back- 
 ground. 
 
 On canvas: Height, 1534 inches; width, 35 inches. 
 Signed in lower corner to left: “Dégas.” 
 
 Painted in 1888. 
 
 Bought from Durand-Ruel’s private collection. 
 

 
HILAIRE GERMAIN EDGAR DEGAS 
 
 (1834-1917) 
 THE RACES 
 
 —wesaiew of flat racing country with a number of 
 
 3 @| mounted jockeys and other horsemen waiting 
 
 eye || for the race at the starting point ; in the back- 
 
 / ground a stretch of horses, dominated by a 
 
 cathedral and tall smoking factory chimneys ; gray sky 
 with light clouds. 
 
 
 
 On canvas: Height, 10% inches; width, 1334 inches. 
 Signed in lower right-hand corner: ‘‘ Dégas.” 
 
 Collections: M. Feder and Erwin Davis, New York. 
 

 
JAMES ABBOTT McNEILL WHISTLER 
 (1834-1903) 
 
 CHELSEA WHARF: GREY AND SILVER 
 
 ZeQVORN at Lowell, Massachusetts, in 18 34, son of an 
 aS <7 army officer of Anglo-Irish descent; a draug hts- 
 man in the Coast Survey at Washington; studied 
 : art in Paris in 1855 under Gleyre, but influ- 
 enced Te Dégas, Fantin-Latour, and others; exhibited 
 at Royal Academy, London, 18 59; lived in London and 
 Paris; died in London in 1903. 
 
 
 
 View from the artist’s studio at Chelsea, showing both 
 sides of the river. On the Chelsea side are three indis- 
 tinct figures, two in black and one in white, and another 
 in black to left; beyond are two barges with sails furled 
 and other craft, the mast of another barge partly seen to 
 extreme right. Across the river is Battersea Reach, with 
 the church tower in the centre, and on the left a large 
 factory with two chimney-stacks. 
 
 On canvas: Height, 24 inches; width, 18 inches. 
 
 The butterfly signature is indistinctly seen nearly iy up on the 
 left. 
 
 Painted about 1875. 
 
 Exhibited: Winter Exhibition of the Society of French Artists, 1875, 
 
 No. 80, and Whistler Memorial Exhibition, Regent St., 
 London, 1g05, No. 69, as “Shipping on the Thames.” 
 
 Collection: J. C. Potter, Esq., of Liverpool, a friend of the artist and - 
 the owner of several pictures by him, 1895. 
 

 

 

 

 

 
 
 
 
 
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