|S§1 mk ft®' *^JF ^l|r fMiri » 4 . MSBra Mr3» Digitized by the Internet Archive in 2016 https://archive.org/details/catalogueofcolleOOyerk CATALOGUE COLLECTION OF CHARLES T. YERKES, CHICAGO, U. S. A. ARTISTS’ INDEX. Berchem, Nicholas, ( A Country Scene ) ...... i Breughel, Pierre Levieux, ( Fill the Well After the Calf is Drowned ) 2 Breughel, Pierre Levieux, (No Bacon for Your Mouth) . . 3 Breughel, Pierre Levieux, (A Thief Steals From a Thief) . 4 Breughel, Pierre Levieux, (As Full as an Egg) .... 5 Craesbeek, Josse Van, (L'Alchemiste) 6 Dou, Gerard, ( The Evening School) ...... 7 Dou, Gerard, (The Hermit) 8 Dyck, Anton Van, ( Wife of the Earl of Worcester) ... 9 Goyen, Jan Van, (Lookout on a Dutch Channel) . . . .10 Goyen, Jan Van, (Holland Village on the Banks of the Meuse) 11 Goyen, Jan Van, (On the River) ....... 12 Heem, Jan Davidz De (Fruits and Insects) ..... 13 Hobbema, Meindert, (The Church of Brederode) .... 14 Hooghe, Pieter De, (The Social Glass) ..... 15 NEER, Aart Van Der, (Dutch Channel by Moonlight) . . .16 Ostade, Isaac Van, (Interior of a Stable) . . . . . 17 Ostade, Isaac Van, (The Itinerant Musician) ■ . .18 Potter, Paulus, (God Speed) ....... 19 Potter, Paulus, (The Mottled Steer) ...... 20 POTTER, Paulus, (The Red Bull) ........ 21 Quast, Pierre, ( The Doctor's Shop) ...... 22 Rembrandt Van Rhyn, (Philemon and Baucis) . . . -23 Rembrandt Van Rhyn, (Portrait of a Rabbi) .... 24 Rubens, Pieter Paulus, (Heads of Two Apostles) . . . .25 Rubens, Pieter Paulus, ( The Martyrdom of St. Lievin) . . 26 Ruisdael, Jacob, (A Wood Near the Water Edge) . . . .27 Sl'EEN, Jan, (Th e Siesta) 28 Steen, Jan, (Christ Chasing the Traders from the Temple) . . 29 Teniers, David the Elder, (Lesson on the Flute) .... 30 Teniers, David the Younger, ( The Guard Room) . . . . 31 Teniers, David the Younger, (Reckoning the Score) ... 32 VELDE, Adrian Van Der, (Figures and Animals Under a Tree) . 33 Wouverman, Philip, ( The Hunting Party) 34 Guardi, Francesco, (View of Venice) 35 Guardi, Francesco, ( View of Venice) 36 Greuze, Jean Baptiste, (Head of a Young Girl) . . . -37 Achenbach, Oswald, (The Coming Storm) 38 BEERS, Jan Van, (You Are Welcome ) 39 BEERS, Jan Van, (The Tale of Love) 4 ° BEERS, Jan Van, (A Winter Scene) ....... 41 ARTISTS’ INDEX. Benjamin-Constant, Jean Joseph, {Othello and Desdemona) . 42 Berne-Bellecour, Etienne Prosper, {The Dispatch Bearer') . 43 Bouguereau, William Adolphe, {Little Pouter) .... 44 Brozik, Vacslav, ( The Plan of the Campaign) 45 Brunin, Leon, {The Amateur of Antiquities) .... 46 Chareemont, Edouard, ( The Pages) 47 Corot, Jean Baptiste Camille, {The Path to the Village) 48 CroegaerT, Georges, {R every) . . . . . . . .49 Daubigny, Charles Francois, {The Banks of the Oise , near Anvers) 50 Daubigny, Charles Francois, {By the Side of the Lake) . . Si Daubigny, Charles Francois, {On the kiver Oise) .... 52 Decamps, Alexandre Gabriel, {The Poultry Yard) . . -53 DetaieeE, Jean Baptiste Edouard, {Officier des Carbiniers) . 54 Diaz (De La Pena), Narciso Virgilio, ( The Gorge in the Forest of Fontainbleau) 55 Diaz (De La Pena), Narciso Virgilio, {Beyond Fontainbleau) . 56 Dupre, Jules, {At Sea) 57 Feameng, Francois, {Hussar — 1796) 58 Israels, Joseph, ( The Frugal Meal) .... 59 JETTEL, Eugene, {Landscape near Cayeux) 60 Klinkenberg, Johannes Christiaan Karel, {A Scene in The Hague) 61 Klinkenberg, Johannes Christiaan Karel, {Scene in Amsterdam) . 62 Knaus, Prof. Ludwig, {A Country Festival) 63 Koek Koek, Bareud Cornelius, ( The Road to the Cottage) . 64 Landseer, Sir Edwin Henry, {The Pels) 65 Lesree. Adolphe Alexandre, {After the Chase) ... .66 Leys, Baron Hendrik, ( The Book Stall) ..... 67 Millet, Jean Francois, ( The Pig Killers) 68 Pokitonow, J., {Duck Hunting from a Boat) .... 69 Rico, Martin, ( Venice from Giardinetto) . .... 70 Rousseau, Theodore, {Pay sage du Berry) ..... 71 Roybet, Ferdinand Victor Leon, {Preparing for the Hunt) . . 72 Sanchez-Perrier, E., {A Summer Day) ..... 73 Sanchez-Perrier, E. , {Resting by the Lake) 74 Schmidt, Ed. Allan, {The Arrival of the Bride) .... 75 Steven, Alfred, ( Waiting) . 76 Stroobant, Franz, ( The Lake of Love at Bruges) ... 77 Troyon, Constant, {Cows in a Landscape) ...... 78 Troyon, Constant, ( The Old Farm) 79 Vibert, Jehan Georges, {The Sacrilegious Monkey) . . . .80 Willems, Florent, {Painting the Family Portraits) ... 81 Ziem, Felix, {Grand Canal at Venice) 82 TITLE INDEX. A Country Scene — Nicholas Berchem ....... i Fill the Well after the Calf is Drowned — Pierre Levieux Breughel 2 No Bacon for Your Mouth — Pierre Levieux Breughel ... 3 A Thief Steals from a Thief — Pierre Levieux Breughel ... 4 As full as an Egg — Pierre Levieux Breughel ..... 5 L' A Ichemiste — Josse Van Craesbeek ...... 6 The Evening School — Gerard Dou 7 The Hermit — Gerar d Dou ........ 8 Wife of the Earl of Worcester — Anton Van Dyck .... 9 Lookout on a Dutch Channel — Jan Van Goyen .... 10 Holland Village on the Banks of the Meuse — Jan Van Goyen . .11 On the River — Jan Van Goyen . . 12 Fruits and Insects — Jan Davidz De Heem ...... 13 The Church of Brederode — Meindert Hobbema .... 14 The Social Glass — Pieter De Hooghe . . 15 Dutch Channel by Moonlight — Aart Van Der Neer ... 16 Interior of a Stable — Isaac Van Ostade . . . . . .17 The Itinerant Musician — Isaac Van Ostade ..... 18 God Speed — Paulus Potter ......... 19 The Mottled Steer — Paulus Potter 20 The Red Bull — Paulus Potter . . .21 The Doctor' s Shop — Pierre Quast . . . . 22 Philemon and Baucis — Rembrandt Van Rhyn . 23 Portrait of a Rabbi — Rembrandt Van Rhyn ..... 24 Heads of Two Apostles — Pieter Paulus Rubeus . . . 25 The Martyrdom of St. Lievin — Pieter Paulus Rubens ... 26 A Wood Near the Water Edge — Jacob Ruisdael . . . .27 The Siesta — Jan Steen ......... 28 Christ Chasing the Traders from the Temple — Jan Steen . . 29 Lesson on the Flute — David Teniers, the Elder .... 30 The Guard Room — David Teniers, the Younger . 31 Reckoning the Score — David Teniers, the Younger .... 32 Figures and Animals Under a Tree — Adrian Van Der Velde . . 33 The Hunting Party — Philip Wouverman 34 View of Venice — Francesco Guardi ....... 35 View of Venice — Francesco Guardi ....... 36 Head of a Young Girt — Jean Baptiste Greuze 37 The Coming Storm — Oswald Achenbach ..... 38 You Are Welcome — Jan Van Beers 39 The Tale of Love — Jan Van Beers 40 A Winter Scene — Jan Van Beers 41 TITLE INDEX. Othello and Desdcmonci — Jean Joseph Benjamin Constant 42 The Dispatch Bearer — Etienne Prosper Berne-Bellecour . '43 Little Pouter — William Adolphe Bouguereau .... 44 The Plan of the Campaign — Vacslav Brozik . -45 Amateur of Antiquities — Leon Bruuin ...... 46 The Pages — Edouard Charlemont ...... 47 The Path to the Village — Jean Baptiste Camille Corot 48 R every — Georges Croegaert ......... 49 The Banks of the Oise , near Auvers — Charles Francois Daubigny 50 By the Side of the Lake — Charles Francois Daubigny . • 51 On the River Oise — Charles P'rancois Daubigny 52 The Poultry Yard — Alexandre Gabriel Decamps . -53 Officier des Carbiniers — Jean Baptiste Edouard Detaille 54 The Gorge in the Forest of Fontainbleau — Narciso Virgilio Diaz De La Pena 55 Beyond Fontainbleau— Narciso Virgilio Diaz De La Pena . . 56 At Sea — Jules Dupre .......... 57 Hussar — 7796 — Francois Flameug 58 The Frugal Meal — Joseph Israels ...... 59 Landscape near Cayeux — Eugene Jettel 60 A Scene in The Hague — Johannes Christiaan Karel Klinkenberg 61 Scene in Amsterdam — Johannes Christiaan Karel Klinkenberg 62 A Country Festival — Prof. Ludwig Knaus ...... 63 The Road to the Cottage — Bareud Cornelius Koek-Koek 64 The Pets — Sir Edwin Henry Landseer ... 65 After the Chase — Adolphe Alexandre Lesrel ..... 66 The Book Stall —Baron Hendrik Leys 67 The Pig Killers — Jean Francois Millet ...... 68 Duck Hunting from a Boat — J. Pokitonow 69 Venice from Giardinetto — Martin Rico ...... 70 Paysage du Berry — Theodore Rousseau ...... 71 Preparing for the Hunt — Ferdinand Victor Leon Roybet 72 A Summer Day — E. Sanchez-Perrier ....... 73 Resting by the Lake — E. Sanchez-Perrier ..... 74 The Arrival of the Bride —Ed. Allan Schmidt -75 Waiting — Alfred Steven ...... . 76 The Lake of Love at Bruges — Franz Stroobaut . .77 Cows in a Landscape — Constant Troyou ...... 78 The Old Farm —Constant Troyon ....... 79 The Sacrilegious Monkey — Jehan Georges Vibert ... 80 Painting the Family Portraits — Florent Willems .81 Grand Canal at Venice— Felix Ziem .... 82 NICHOLAS BERCHEM. Dutch School. Born at Haarlem, 1620. Died, 1683. Pupil of J. Van Goyen. ( No. 1. ) “A COUNTRY SCENE.” In the foreground of the landscape a cow, three sheep and a goat are seen. The shepherd and shepherdess are in the rear, where another cow is also shown. On the hill to the right is a castle and another building. Panel, 12I in. long and ()\ in. high. Nicholas Berchem. A COUNTRY SCENE. PIERRE LEVIEUX BREUGHEL. Flemish School. Born at Breughel, near Breda, 1520. Died in Brussels, about 1 569. Pupil of Pieter Koeck van Aalst and of Hieronymus Cock. ( No. 2. ) “ FILL THE WELL AFTER THE CALF IS DROWNED.” A burly peasant is endeavoring to fill the well after he has lost his calf. The calf's head shows above the dirt which has been thrown in. ( No. 3. ) “NO BACON FOR YOUR MOUTH.” A portly fellow sits on a stool beside the house, while be- fore him is his repast, which is placed on the head of a cask. In one hand he holds a large sausage, and in the other a knife with which to cut it. ( No. 4. ) “A THIEF STEALS FROM A THIEF.” A thief, disguised as a monk, passes along the road, while an odd looking man cuts from beneath his gown the bag of money which he carries. ( No. 5 - ) “AS FULL AS AN EGG.” An old toper sits astride of a large egg, while with his head thrown back he is emptying into his mouth the contents of a mug. Each painted on panel, 7 in. in diameter. Pierre Levieux Breughel. 2. Fill The Well After The Calf Is Drowned. 3. No Bacon For Your Mouth. 4. A Thief Steals From A Thief. 5. As Full As An Egg. JOSSE VAN CRAESBEEK. Flemish School. Born at Neerlinter, 1606. Died at Brussels, 1661. Pupil of Adrian Brouwer. ( No. 6. ) “ L’ALCHEMISTE.” The Doctor’s office is displayed opening into a portico. On the table is an open book standing upright, and leaning against the wall, while beside it Is a skull showing very con- clusively the Doctor’s vocation. On the wall are hung four pictures. The Doctor, clad in a bright red gown, holds in one hand a carafe containing some liquid through which he is looking as he holds it to the light. A little boy stands by his mother; both are intently gazing at the wise man, the former evidently wondering what nasty medicine he will be com- pelled to take. Panel, 19 in. long and 25 in. high. Josse Van Craesbeek 6. L’ALCHEMISTE. GERARD DOU. Dutch School. Born at Leyden, April 7th, 1613. Died there, Feb. 6th, 1675. Pupil of Bartholomew Dolendo ; and also of Rembrandt. ( No. 7- ) “THE EVENING SCHOOL.” The old schoolmaster sits at the table, and a single candle lights the room. He is busily engaged sharpening a quill pen, and one of his scholars — a little girl — is studying her book, while another — a boy — is writing. Still another boy is holding an unlighted candle to the one already lighted, and in the background a woman holds a lantern containing a light. The whole is in the Master’s finest strain, and can only be fully appreciated when seen under a strong glass. Panel, round at top; 9 in. long and 10 in. high. Gerard Dou. 7. THE EVENING SCHOOL. gerard dou. Dutch School. ( No. S. ) “THE HERMIT.” At the entrance to a rocky cave sits the old hermit, study- ing his book which rests upon a large boulder. Beneath it is a skull, and beside it a lantern lying on its side. The rev- erend man is perusing his studies intently, with clasped hands, while his flowing beard and white locks give him a saintly appearance. On copper, 12 in. long and 14 in. high. Gerard Dou. 8. THE HERMIT. ANTON VAN DYCK. Flemish School. Born in Antwerp, March, 22, 1599. Died in London, Dec. 9th, 1641. Pupil of Peter Paul Rubens. ( No. 9. ) “WIFE OF THE EARL OF WORCESTER." This picture was painted by Van Dyck when in England in 1632. The lady at that time was unmarried and the daughter of the Earl of Thomond. She is represented as standing at full length, dressed in a blue silk gown, cut decol- lete, with large puffed sleeves trimmed with lace. Around her neck is a string of pearls. A string of jewels falls from her shoulder and half encircles her waist. In her ears are drop ear-rings of pearl. Her right hand gracefully grasps her dress, while her left hand rests on a basket containing roses which is placed upon a stone beside her. Her hair is dressed in the conventional style of the English women of that period. The canvas is now turned up at the back twenty inches, leav- ing five feet high of the painting showing in the frame, and three feet eight inches wide. On the canvas turned up in the back is the following inscription : “ Daughter of ye Earl of Thomond. Maryed to ye Earl of Worcester ; afterward Mar- quess of Worcester about 1637." Anton Van Dyck. 9. WIFE OF THE EARL OF WORCESTER. JAN VAN GOYEN. Dutch School. Born at Leyden in 1596. Died at the Hague in 1656. Pupil of San Nicolai, Schilderpoort, van Mann, Henry Klok, William Gerritz, Ezaias van de Velde. ( No. 10. ) “LOOKOUT ON A DUTCH CHANNEL.” On the left, a hillock, surrounded with water, commands a broad river, beyond which the sea extends as far as the horizon. A wide wooden staircase leads to the summit of the hillock, towards a rustic structure, forming a kind of obser- atory, near which there are five persons. In the background, several boats with sails spread, pass over the agitated, billowy sea. Two boats are at the foot of the lookout, and in each there are two sailors. The sky is clear with some milk-colored clouds, and spots of blue above. Panel, 1 ft. i-J in. long and 1 ft. 3|- in. high. Jan van Goyen. 10. LOOKOUT ON A DUTCH CHANNEL. JAN VAN GOYEN. ( No. i r. ) “ HOLLAND VILLAGE ON THE BANKS OL THE MEUSE. The river Meuse flows smoothly along. In its transparent surface is reflected a vessel lying moored in the stream with sails set. Two boats loaded with hay lie near the bank. Just beyond them are the roofs of the cottages. To the right are two large trees, and just beyond them is to be seen another cottage. To the left the open river, with several small ves- sels, shows in the distance, and a point of land is seen pro- jecting into the water. Signed in the lower right hand corner on river bank, “ V. G., 1647.” Panel, 33 in. long and 20 in. high. Jan Van Goyen. 11. HOLLAND VILLAGE ON THE BANKS OF THE MEUSE. JAN VAN GOYEN. Dutch School. Born at Leyden, Jan. 13, 1596. Died at The Hague, 1656. Pupil of Esais Van De Velde. ( No. 12. ) “ON THE RIVER.’’ A quiet stream is running through the landscape, and a rustic bridge crosses it. To the right is an old cottage with a monstrous tree standing beside it. A man is shown fishing in the stream, while a woman stands by watching him. Two men are seen in a boat making preparations to cast their net, and others are rowing away in the distance. Cut off at the corners so as to fit in round frame. Signed on the bridge abutment, “ V. G., 1653.” Panel, 16 in. long and 16 in. high. Jan Van GOYEN. 12. ON THE RIVER. JAN DAVIDZ DE HEEM. Dutch School. Born at Utrecht in 1600 or 1604. Died at Antwerp in 1674. Pupil of his father, David de Heem. ( No. 13. ) “ FRUITS AND INSECTS.” A silver tray, on a massive kitchen-table, contains a variety of fruit. Conspicuous is a lemon, partly peeled, the rind of which is still attached, hanging from the table, the end of it coming back again to the tray. A cherry, a large white grape, a peach, etc., are also shown. A red cloth, on which prunes are shown, is hanging on the left. On the right is a glass filled with a yellow liquor. In the middle, a beautiful, bright-colored butterfly, with raised wings, is clinging to the bough of a vine, and an insect with red corselet, most delicately painted, poses on a peach. Signed : “ Jan de Heem f.” From the Rothan Collection. Panel, icA in. long and 14! in. high. Jan Davidz de Heem. lj. FRUITS AND INSECTS. MEINDERT HOBBEMA. Dutch School. Born at Antwerp in 1 6 1 1 or at Harlem in 1629. Pupil of Solomon Ruysdael. ( No. 14. ) “THE CHURCH OF BREDERODE.” In the foreground a road is seen, furrowed with ruts. It rises from a slope and turns to the right, passing around a brick church with pointed steeple which is shown in the dis- tance. An open fence gives access to an arcade-like, brick portico behind the church. On the road the sun is shining, and several people are stopping. A peasant, a woman with a white cap, holding a child by its hand, and a lad in the distance, are seen. In the foreground to the left a tree of picturesque form stands out against the sky in front of a hut of a reddish color with thatched roof. The church, in the background, is surrounded with trees. A delicate sky, with large, luminous clouds, spreads above the landscape. Signed, “ M. Hobbema ft., 1662.” Collection of Dr. Jackson. Scarisbrick collection. Na- tional Exhibition of Works of Art, Leeds, 1868. Panel, 20A- in. long and 261 in. high. Meindert HOBBEMA. 14. THE CHURCH OF BREDERODE. PIETER DE HOOGHE. Born in Rotterdam; baptized Dec. 12, 1632. Died in Haar- lem, 1681. Worked at Delft, where he entered the guild in 1655. ( No. 15. ) “ THE SOCIAL GLASS.” In a room beside a table a man sits holding a glass in his hand from which he has been drinking. He wears a broad brimmed hat, and has flowing locks which fall upon his shoulders. A woman stands opposite, her left hand grasping the handle of a beer pitcher, while her right is extended to- ward an empty glass in the man’s hand. The man with his left hand outstretched, seems to be asking permission to help himself. On the table lies a handsome Turkish rug, the folds of which fall over the side. On the right of the room is a red covered chair, and on the left a window draped with a pink curtain. The open court yard can be seen in the rear of the house, and further on a building, through which is a passage into the open landscape beyond. Canvas, 18 in. long and 20 in. high. Pieter De HOOGHE 15. THE SOCIAL GLASS AART VAN DER NEER. Dutch School. Born at Amsterdam, 1613 or 1619. Died, 1683 or 1684. ( No. 16. ) “ DUTCH CHANNEL BY MOONLIGHT.” In the foreground, on a dark strip of ground near the water-edge, two fishing nets are stretched out — being held by several stakes driven in the ground. Between the two nets is a withered tree, which forms a powerful contrast with the re- flection of the moon in the water. A river, bordered right and left with the structure of a small town — houses, gardens, a church — is seen further on. It stretches as[far as the horizon in the background, where another church with steeple appears. The moon shines brilliantly in the sky, surrounded by a golden light and gold-fringed clouds, all of which are reflected in the eddying river near its banks. Numerous boats are sail- ing on the water, as far as the horizon. Signed with the monogram, “ A. V. N.” Panel, i 2 ± in. long and i6± in. high. Aart van der NEER. 1C. DUTCH CHANNEL BY MOONLIGHT. ISAAC VAN OSTADE. Dutch School. Born at Lubeck about 1613 or 1617. Died about 1654. Pupil of his brother, Adrian van Ostade. ( No. 17. ) “ INTERIOR OF A STABLE.” In a large rustic stable, lighted from the right by a window, a fully saddled bay horse is standing quietly near a rack containing some fodder and an empty trough. Near the horse, a little to the back, is a servant with a shovel in his hand, busy in taking some dirt from the ground. In the background, on the left, a peasant’s cart is placed against the wall. To the right is a goat on a beam of wood, which is lying on the ground. All around are numerous accessories, a pitch-fork, a tun, a bucket, a basket, etc. Signed, Isaac van Ostade, 1647. Collection Alb. Levy, London. Collection Baron de Beurnonville, Paris. Panel, 1 ft. 3 in. by 1 ft. io-if in. Isaac van OSTADH. 17. INTERIOR OF A STABLE. ISAAC VAN OSTADE. ( No. 1 8. ) “THE ITINERANT MUSICIAN.” After the day’s work is done the peasants congregate around the door of the cottage waiting for their frugal meal to be served. The musician with his flute passes along and is immediately stopped by the crowd. He seeks to entertain them with the melody of his instrument, and they listen attentively. In the foreground is a little boy wearing a green coat and large hat. In front of him is another boy with a pink coat. To the left, a man sits upon the ground, and in the doorway of the cottage stands a woman. Two chickens are feeding in the foreground, and back of the group a horse is drinking at the water-trough. In the distance are a horse and cart and several men. A large tree stands in the center of the picture. Panel, 25-* in. long and 19 in. high. Isaac Van OSTADE. 18. THE ITINERANT MUSICIAN. PAULUS POTTER. Dutch School. Born at Enhuysen, 1625. Died, 1654. Pupil of his father, Pieter Potter. ( No. 19. ) “GOD SPEED.” Beneath a beautiful, hazy sky, relieved by spots of blue on high — and by light, transparent, golden clouds farther down — a meadow is spreading far away. A village, with its lofty steeple, is seen near the horizon. On the left the head and arm of a man is seen near the corner wall of a house, which is the only part of the building that is visible. In the man’s hand is a glass filled with wine. He seems to bid “ God Speed ” to the gentleman on horseback, dressed in red, who is holding his large hat, ornamented with feathers, in his hand, and making a salute. Between them, quite near the house, a tree stands out against the sky. Farther on, in the middle distance, another horseman, whip in hand, arrives in full gallop. On the right a gray cow is lying down, and a white one with ruddy spots, is grazing. Signed on the left, “Paulus Potter, 1650.” Consequently, the artist made this painting when he was 2 1 years old, four years before his death. Collection of Earl of Kilmorey. Exhibited at the Royal Academy in 1882. Panel, iof in. long and 15^ in. high. Paulus potter. 19. GOD SPEED. PAULUS POTTER. ( No. 20. ) “THE MOTTEED STEER.’’ In the center of the picture a mottled steer is shown, facing to the right. The animal is gray, with flesh color about the point where the four legs join the body, and also on the un- derneath part of the neck, which are signs of its high breed- breeding. The village church is seen in the distance. On the back of the picture is an inscription which trans- lated, reads as follows: “ No. 33, two pieces, being one red and one gray mottled, by Paul Potter. Seven thumbs high and nine thumbs wide. Sale of Jean DeBarry, 26th Nov., 1759, in the Emperor’s Crown, Kalverstraat, Amsterdam. See catalogue 3, M. 3.” Panel, 7 in. long and 9 in. high. Paulus Potter. 20. 1 HE MOTTLED STEER. PAULUS POTTER. ( No. 21. ) “THE RED BULL.’’ In the center of the picture is a young bull, standing a lit- tle obliquely from the front, with his head turned aside. In the distance, and a little to the right, is the village, the church spire of which is the most prominent object. On the back of the picture is a writing in black, which is almost obliterated, but so much of it as can be distinguished after translation, conveys the idea that it was a model of a bull painted for the Prince of Orange, by P. Potter, 1648. From the “ Hecht Collection,” Paris. Signed in the lower left hand corner, “ P. Potter.” Panel, 10 in. long and 6 in. high. PAULUS potter. 21. THE RED BULL. PIERRE QUAST. Dutch School. Born, probably, at the Hague, about 1602. Died there be- tween 1645 and 1647. ( No. 22. ) “THE DOCTOR’S SHOP.” There has evidently been a street fight in the neigh- borhood of the Doctor’s office. One of the combatants is already inside having his head plastered by an attendant, while others are making their way through the door. The Doctor is busily engaged operating on a poor fellow’s tooth. The latter shows excruciating pain and great misery. Beside him stands his wife or mother who looks with anxiety on the operation. The Doctor is gaily dressed in a red jacket, and has on his head a large sombrero hat trimmed with a red plume. Behind him is a skeleton about turning over the leaves of the prescription book which lies upon the table Copper, 14 in. long and 10 in. high. M.svno 3«M3id 22. THE DOCTOR’S SHOP. REMBRANDT VAN RHYN. Dutch School. Born near Leyden in 1607. Died at Amsterdam in 1669. Pupil of Jacob van Swanenbourg, Pieter Lastman, Jacob Pinas, Schooten. ( No. 23. ) “PHILEMON AND BAUCIS.” Jupiter and Mercury, wandering one day through Phrygia asked for shelter among the natives; but as foreign intruders, they nowhere received admittance. Only a poor old couple, Philemon and his wife Baucis, hos- pitably invited the Gods into their humble dwelling. With the greatest alacrity they served them the finest fruit they could find and their only goose which they had fattened with so much care. During the repast the Gods made themselves known to their hosts and asked them what reward they wished for their excellent reception. The old couple knelt down and begged that they both should die at the same time. Their vow was granted ; and Baucis was metamorphosed into a linden, and Philemon into an oak. Posterity has preserved their names, coupled together as the symbol of matrimonial affection. In his painting, Rembrandt has represented that scene almost entirely in clare-obscure. A single light brightens the interior of the poor peasant’s cottage from behind the head of Mercury, who is left in the dark, forming a vivid contrast with the light. On the left, in the background, a fire is burning on the hearth. Jupiter’s face is brilliantly illuminated. The light also falls on his dazzling dress. Signed on the left: Rembrandt f. 1658. Mentioned by Dr. Bode in his catalogue of certified genu- ine pictures by Rembrandt ; also in Smith’s catalogue, Vol. 7, No. 194. Mezzotinted by Thomas Watson, London, 1772. Panel, 27! in. long and 21 1 in. high. REMBRANDT VAN RHYN. 23. PHILEMON AND BAUCIS. REMBRANDT VAN RHYN. Dutch School. ( No. 24. ) “ PORTRAIT OF A RABBI.” The Rabbi’s face is turned a little to his left. His eyes are bluish gray, and his eyelids show the pinkish tint of old age. His nose is prominent, and his lips compressed. A heavy, full gray beard surrounds his face, and he wears a moustache and imperial beside. On his head is a turban of black vel- vet ornamented in front with a brooche. Around his neck is suspended a medallion. Over his shoulders is a dark cloak trimmed on the edge with dark brown fur. On his breast he wears a fine linen tunic, which is covered from that point down- ward by a crimson vest ornamented at the top with gold braid set with jewels. His complexion is florid and shows perfect health. Collection of Prince Demidoff, purchased by him at sale of Sir Philip Miles, Leigh Court, 1884, in whose collection it was for many years. Mentioned in “ Catalogue Historique et descriptif des Tableaux et Dessins de Rembrandt,” by Eugene Dutuit page 47. Panel, 2o|- in. long and 24^- in. high. REMBRANDT VAN RHYN. 24. PORTRAIT OF A RABBI. PIETER PAULUS RUBENS. Flemish School. Bom at Siegen, Westphalia, June 29, 1577. Died at Ant- werp, May 30, 1640. Pupil of Adam van Noart, Otto Venius. ( No. 25. ) “ HEADS OF TWO APOSTLES.” The apostle to the left is under a bright light. He is quite old, and almost entirely bald. The other is a younger man with florid complexion and full beard. His clear, expressive eyes, are turned to the right. Panel, 26 in. long and 20^ in. high. Pieter Paulus RUBENS. 25. HEADS OF TWO APOSTLES. PIETER PAULUS RUBENS. ( No. 26. ) “THE MARTYRDOM OF ST. LIEVIN.” This is from the collection of P. E. Nicolie, of Antwerp, and is the original sketch by Rubens. From it the large picture of the same name, which occupies so prominent a position in the museum at Brussels, was painted. The saintly man is on his knees before his tormentors, one of whom holds his knife in his mouth, gazing intently into the face of the saint. He has just cut the latter’s tongue and it has been drawn out by a pair of pincers in the hand of a burly soldier, who is feeding it to a hound. A half-clad sav- age kneels in front of the saint, who is supposed to have held him by the beard while the horrible operation was per- formed. Above is seen the avenging angels descending with fiery bolts from Heaven, which they are about to cast upon the soldiers. Some of the soldiers, however, have discovered them, and with fear and terror on their countenances, are at- tempting to flee from their inevitable fate. The white horse is also struck with the general dismay and plunges madly to get away from the cruel throng. Painted on paper fastened to canvas, 18 in. long and 25 in. high. Pieter Paulus RUBENS. 26. THE MARTYRDOM OF St. L1EVIN. JACOB RUISDAEL. Dutch school. Bom at Harlem about 1630. Died 1681. ( No. 27. ) “A WOOD NEAR THE WATER EDGE.” In the foreground is a body of water, and a small piece of land. ' A tree is standing on the land, and some of its dead branches are lying about its root. In the middle distance, and to the right of the foot of the slope, is a boat containing two men, one of whom is dressed in red. Further to the right, among the grass near the water, several tall trees lift their slender trunks, their tops being cov- ered with a ruddy foliage. The upper branches of one of the trees are broken and hanging down, touching the ground and part of the water. In the background, the horizon is hidden behind a border of trees of a dark green color. On the left, is a grayish-blue, silvery sky, with large white delicately drawn clouds in the center, the whole being very distinctly given. Signed with monogram, “ J. R.” Collection of Dr. Kuranda of Vienna, and Roehn, Paris. Canvas, 2 ft. in. long and 2 ft. 4J in. high. Jacob RUISDAEL. 27. A WOOD NEAR THE WATER EDGE. JAN STEEN. Dutch school. Born at Leyden, 1626. Died at Delft, 1679. Pupil of Knupfer, Adrian Brower, Jan van Goyen. ( No. 28. ) “THE SIESTA.” This picture is described in Smith’s Catalogue Raisonne as follows : “ A man and a woman seated at a table in front of a house, with a vine growing against it ; the former is occupied read- ing, and the latter is reclining her head on the table, asleep ; a servant stands behind her, and a dog is seen under the table.” Dr. Waagen in his “ Art treasures in Great Britain,” Vol. N., p. 391, describes the picture as follows : “ A man and his wife seated in a bower of vines before a house; they have dined, and the dessert is on the table. While the woman is nodding, the man has taken a book, and a maid is about to clear the table. The background is a landscape. The liveliness and characteristic point of the representation, the transparency of coloring, and the equable and careful execution, place this among the choicest works of the Master.” Collection of M. Smith van Alpen, Rotterdam, 1810. Collection Everett, 1886. Royal Academy, 1886. Collection C. Sedelmeyer, 1889. Canvas, 1 ft. 10 in. by 2 ft. 6 in. Jan STEEN. 28. THE SIESTA. JAN STEEN. ( No. 29. ) “ CHRIST CHASING THE TRADERS FROM THE TEMPLE.” This picture contains many figures, showing great origi- nality, and a keen appreciation of human nature by the artist. Christ is the central figure, and has just overthrown a table at which an old Israelite has been sitting with his desk and parchment, together with a strong-box which contains his wealth. The man is represented as thrown on his back on the floor beside his chest of money, while his little daughter tries to save the desk from a like fate. All around is con- fusion. The money-lenders are gathering up their coin in great haste; a woman hurries her eggs into a basket; a man climbs a ladder to get down his cage of birds, and a woman with a pig under her arm and a jug in her hand watches her opportunity to get out of the way. A rough looking fellow' sustains a basket on his shoulder with one hand while with the other he carries a dead goose, and is all ready to make his escape. He is evidently calling to the Christ in an impu- dent tone, while the latter waves his thongs in the direction of the man, knowing, however, it is impossible to reach him. One of the peculiarities of the picture is the manner in which Christ is portrayed — so different from the Italian school. The latter pictures him in mild characters, while the Djtch depict him as a master and severe ruler, which car- ries the idea that the people of those days were governed through their lives by fear of the rod, dread of hell fire in the future, and other severe punishments. Signed on the parchment lying on the floor beside the money box, “ J. Steen.” Collection of G. Rothan. Canvas, 43 in. . long and 31 in. high. Jan STEEN. 29. CHRIST CHASING THE TRADERS FROM THE TEMPLE. DAVID TENIERS, THE ELDER. Flemish School. Born at Antwerp, 1582. Died there July 29th, 1649. Pupil of his elder brother, Juliaen, and of Adam Elsheimer, at Rome. Also a pupil of Rubens. Master of Antwerp Guild, in 1606. ( No. 30. ) “ LESSON ON THE FLUTE.” A group of three persons, two men and one woman, is shown. The woman is dressed in a pink bodice and dark petti- coat with a light apron, and sits on a rock holding the flute in her hand, while a man with his left arm around her shoulder instructs her in the manner of placing her fingers on the instrument. Sitting at her feet on the ground, with his red staff and cap beside him, is a man holding a sort of bag-pipe, with his head turned toward the pupil. In the dis- tance sheep are grazing, and further on the village church rises above the shrubbery. Signed, D. T. Painted on copper, 8 in. long and 91 in. high. David TENIERS (The Elder ) 30 . LESSON ON THE FLU TE DAVID TENIERS, THE YOUNGER. Flemish School. Born at Antwerp, 1610. Died at Perk, 1694. Pupil of his father, Adrian Brower and Rubens. ( No. 31. ) “THE GUARD ROOM.” In the foreground, is a young man with long, auburn hair, dressed in gray vest and breeches, blue stockings and yellow shoes. He is leaning towards a drum, which he beats with a stick he holds in his right hand. His smiling face, presented with full front, is turned a little to the right. His right stock- ing and shoulder, and his face and white cravat, are vividly illumined. On the right, in front of a large wall of a delicate gray color, near which is a small table, is seen a panoply of steel armour, breast-plates, helmets, and gauntlets. To the left is a bronze howitzer, mounted on a little chariot. In the back- ground, before a vast chimney, five soldiers are smoking. Two other soldiers, with muskets on their backs, are directing their steps toward an outlet in the background to the left. Dr. Waagen in his “Art Treasures in Great Britain,” Vol. N., p. 387, describes this picture as follows: “ Teniers. — Interior of a guard-house. In the foreground a soldier trying to drum. A good picture, slightly but spiritedly treated in his scale of cool harmony.” Signed, “ D. Teniers fi, 1641.” Collection of Lord Heytesbury. Copper, 15^ in. long and 20^ in. high. David TENIERS (The Younger.) 31. THE GUARD ROOM. DAVID TENIERS, THE YOUNGER. Dutch School. ( No. 32. ) “ RECKONING THE SCORE.” In the centre is a group of six figures, five men and one woman. The latter is seated at a table holding by the handle her beer mug. One of the men sits on a stool smoking a pipe. To his right is a man standing, wearing a red cap, and to the right of him is another man looking over the woman’s shoulder. To the left of the man sitting on a stool still another man is standing holding his beer mug in his left hand, and watching intently the figures which the proprietor of the inn has made on the table with a piece of chalk. Evidently there is some discussion in regard to the correctness of the count for the group seem to be in deep anxiety in regard to it. To the left of the picture enters the serving man with some- thing to eat in his right hand and a beer mug in his left. To the right of the group are three men playing at nine-pins, while a woman stands in the door of the cottage looking at them. In the foreground is a large jug. Signed in the lower right hand corner, DT. Canvas, 25! in. long and 17 in. high. David TENIERS (The Younger.) 32 . RECKONING THE SCORE. ADRIAN VAN DER VELDE. Dutch School. Born at Amsterdam in 1639. Died in 1672. Pupil of Wynants. ( No. 33. ) “FIGURES AND ANIMALS UNDER A TREE.” In the foreground, on the top of a hillock of a grayish soil, with tufts of russet grass scattered over it, the trunk of a sturdy tree rises against a series of rugged, woody hills in the background. Projecting from the tree’s trunk are numerous branches, covered with delicately drawn foliage, which stand out in strong relief against the sky, of a blue aerial tone, bedecked with light, luminous clouds. A young man, painted in clare-obscure, is seated beneath the tree, leaning against the trunk. He is bare-headed, dressed in blue, and holds a crook. Before him stands a young woman, seen with full front, holding in her right hand a large flat basket. At their feet, two cows are lying down — the gray one in the shade, and the other of reddish color, with white spots in the head, is under a vivid light. Besides these, figures are shown of a sheep, a dog, and goats. Signed, A. v. Velde, 1670. Canvas, 13-!- in. by io| in. Adrian van der VELDE. 33- FIGURES AND ANIMALS UNDER A TREE. PHILIP WOUVERMAN. Dutch School. Born at Harlem in 1620. Died in 1678. Pupil of his father, Paul Wouverman, Jan Wynants and Pieter Verbeck. ( No. 34. ) “ THE HUNTING PARTY.” In the foreground, a large gathering of huntsmen and ladies, all on horse-back and in brilliant costume, are chasing a stag, which is swiftly fleeing before the hounds and being apparently nearly run to death. On the left, a large tree of exquisite form stands out against a fine blue sky, and the clouds are gilded with a warm light near the horizon. In the background to the right is a castle surrounded by trees and gardens. It stands at the foot of a chain of bluish hills, which are covered in the distance with villas, factories, and nature’s adornments, and in front of it a beautiful river wends its quiet way. Signed with Monogram, “ Ph. W.” Collection of the Duchesse de Berry. Panel, 12 A- in. long and 8|- in. high. Philip WOUVERMAN. 34. THE HUNTING PARTY. FRANCESCO GUARDI. Venetian School. Born at Venice in 1712. Died in 1793. ( No. 35. ) “ VIEW OF VENICE.” In the center of the picture, from the inclosure of a wall, surrounded on all sides by water, rises a small, steepleless church, with houses on both sides of it — those to the right being smaller than those to the left. Further on, and to the left, is a sailing boat, with two canoes alongside of it. Two more canoes are shown in the foreground on the right, and still further, near the inclosure, are other canoes. The water, of a warm blue, transparent tone, reflects the sky of the Adriatic. Canvas, 6^ in. by 9 in. Francesco Guardi. 35. VIEW OF VENICE. FRANCESCO GUARDI. Venetian School. Born at Venice in 1712. Died in 1793. ( No. 36. ) “VIEW OF VENICE. SANTO SECONDO " In the middle distance, a light, slender steeple, surrounded by a pointed bell-turret, rises above an elegant structure, which is approached from the sea by a wooden pier, provided with stairs. To the left of the tower, above a brick wall, is seen a num- ber of trees, indicating a garden beyond. On the right brick buildings and outhouses of a more common construction are shown. In the foreground, on the left, is a gondola with its rowers; to the right, some sailing boats. Blue sky of the Adriatic. Panel, 6-i- in. long and 9 in. high. Francesco Guardi. 36. VIEW OF VENICE. JEAN BAPTISTE GREUZE. P'rench School. Born at Tournois, near Macon, 1726. Died at Paris, 1805. A white drapery descends from her shoulders, which re- main half uncovered. Her neck and head are turned forward to the left. Her large blue eyes are lifted toward the sky. Her head is ornamented with a narrow blue ribbon, and her rich blonde hair falls from her shoulders to the right and left. Collection of the Duke of Morny. (No. 37. ) “HEAD OF A YOUNG GIRL.” Canvas, 14 in. long and 17 in. high. //* - C/&, , :