CATALOGUE 
 
 of the 
 
 A. de Ridder Collection 
 
 Exhibited at the 
 
 F. Kleinberger Galleries 
 
 In New York, 709 Fifth Avenue 
 November-December, 1913 
 
 Price 75 Cents 
 
 THE F. KLEINBERGER GALLERIES 
 
 Established 1848 
 
 PAMS 
 
 9 Rue de FEchelle 
 
 NEW YORK 
 709 Fifth Avenue 
 
The Collection of Pictures 
 
 of the late 
 
 Herr A. de Ridder 
 
 Formerly in his Villa at Shonberg 
 
 near Cronberg in the Taunus 
 
 Catalogued and described by 
 
 Wilhelm Bode 
 
 Translated by Harry Virgin 
 
 On Exhibition and on Private Sale at the 
 
 F. Kleinberger Galleries 
 
 709 Fifth Avenue, New York 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/collectionofpictOOridd 
 
PREFACE 
 
 HIS Catalogue is an extract of the 
 Catalog de Luxe written by Dr. 
 Wilhelm Bode, Director-General of 
 the Kaiser-Friedrich-Museum in Berlin 
 and published by Julius Bard, Berlin. 
 
 The Catalogue de Luxe, with 87 Copperplate 
 engravings, limited to 200 copies, is for sale at the 
 F. Kleinberger Galleries, New York and Paris, and 
 Julius Bard, Berlin. 
 
 The Paintings described in this Catalogue are 
 for private sale at the F. Kleinberger Galleries , 
 where prices and particulars can be obtained. 
 
 The measurements of the paintings are given 
 without frames and in centimetres. The terms 
 “right” and “left” are to be understood from the 
 spectator’s point of view. 
 
 The entire Collection will be on view between 
 November 24th and December 15th at the F. 
 Kleinberger Galleries, 709 Fifth Avenue. An 
 admission fee will be charged of 
 
 50 cents.from 10 a. m. to 2 p.m. 
 
 and $1.00.from 2 p.m. to 6 p.m. 
 
 the proceeds of which shall be for the benefit of the 
 “New York Association for Improving the Condi¬ 
 tion of the Poor” and the “Montefiore Home, a 
 Hospital for Chronic Invalids and Country Sanitar¬ 
 ium for Consumptives. 
 
 New York, November 1913 
 
 F. Kleinberger 
 
T will seem to anyone who turns over the 
 pages of this catalogue and glances at the 
 plates, as if the collector who called this 
 gallery into being started out with the happy 
 idea of getting together masterpieces of all 
 the foremost artists of the Dutch and Flemish 
 Schools, and that he pursued this object with rare energy 
 and extraordinary success. As a matter of fact, Herr August 
 de Ridder began as most collectors have begun, and if this 
 gallery almost gives the impression of a public collection 
 made on fixed principles, this is owing to the circumstance 
 that with his predilection for art and love of collecting, the 
 owner attained by degrees to a full appreciation of works of 
 art, and that since that time he spared no pains or expense 
 to rid his collection of what was spurious or mediocre, and 
 systematically to enrich it with first class pictures. 
 
 As we mentioned above, Herr de Ridder began in the 
 same way as the great majority of collectors, viz: with 
 modern pictures; and this was natural, as contemporary 
 works appeal to us most readily. At the same time he 
 manifested his independence of taste by his choice of artists 
 and the works which he purchased from them. In Frankfort, 
 the chief scene of his labours, he came into contact with the 
 best painters of the Frankfort and Cronberg schools, and 
 managed to secure choice works by Anton Burger, 
 Adolf Schreyer, Peter Becker and Carl Morgenstern. 
 Frequent and occasionally prolonged visits to Munich were 
 the means of his becoming acquainted with artists resident 
 there, with whom later — as in the case too of the Frankfort 
 artists — he entered into closer personal relations. We may 
 mention especially Wilhelm Diez, Lenbach and Ludwig 
 Lofftz. Herr de Ridder was thus enabled to bring together 
 a collection of works by these and several other contemporary 
 and earlier artists which may still be seen in his Frankfort 
 residence, and which any public gallery in Germany may 
 well envy him. 
 
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At the same time an old fancy was revived and an early 
 love rekindled in Munich. A Belgian by birth, Herr de 
 Ridder had been brought up in his native town of Antwerp 
 among the masterpieces of Flemish and earlier Netherland 
 artists, and in the Munich Pinacothek he saw and admired 
 the glorious works of these grand old masters. His enthusiasm 
 for earlier art received a further impetus from distinguished 
 artists with whom he associated, and who were not only 
 admirers of the old masters but also ardent collectors of 
 early works of art. This spurred him on to efforts in the same 
 direction, at first tentatively and not without occasional 
 blunders, but we all know that experience has to be bought. 
 When however about twenty years ago the French impres¬ 
 sionism reached Germany, he conceived a distaste for modern 
 painting, and from henceforth confined himself exclusively 
 to collecting old masters. Business tours which took Herr 
 de Ridder to America, and more frequently to London and 
 Paris, gave him an opportunity of studying the treasures 
 which the world possesses in these masterpieces, and system¬ 
 atically to look about in art-dealers’ shops, auction rooms, 
 etc. How he availed himself of these opportunities may be 
 seen by a glance at the pictures in this collection, which are 
 here reproduced in as completely faithful facsimile as has 
 been found possible. 
 
 The first impression of this catalogue was made during 
 the life-time of Herr de Ridder, but only shortly before his 
 lamented and sudden death, on May 13th 1911, at the age 
 of seventy-four. That he had silently and zealously been 
 devoting himself to art, as a labour of love, and with exquisite 
 taste and rare understanding had been making a collection 
 of the most noteworthy Dutch and Flemish artists of the 
 XVII. Century, such as is almost beyond the power of a 
 private individual at the present day, was known to few 
 outside his family circle. 
 
 Since the demise of Herr de Ridder the collection has 
 passed from the peaceful villa at Schonberg to the Stadel 
 Institute in Frankfort-on-Main as a loan, in order that by 
 this means it may be more accessible to the public. 
 
 Berlin, July 1913 
 
 WILHELM BODE 
 
 5 
 
3 possess an example of the Great Master of the 
 Dutch School, Rembrandt van Ryn, whose sway 
 may be compared with that of Velasquez over the 
 Spanish School, must be the ambition of every 
 collector, especially now-a-days when these two 
 artists occupy a foremost place of interest. The 
 realization of this natural ambition is rendered more difficult 
 by the fact that, especially in America, these pictures are sought 
 after above all others, and in consequence fetch enormous prices. 
 While however it is quite the exception for a Velasquez to be 
 offered for sale, inasmuch as the works of this artist — with 
 whom painting was but a subordinate occupation, and who was 
 only permitted to paint for his sovereign—only very occasionally 
 left the palaces of Spain, and even then generally as presents to 
 foreign courts, the hunt after lost or hitherto unknown Rem¬ 
 brandts has been attended with extraordinary success. Within 
 the last ten years close on a hundred works of this painter have 
 been brought to light, and, in consequence of the high prices 
 which they almost always command, have come into the market, 
 and it may confidently be assumed that in the immediate future 
 more unknown or forgotten pictures of this artist will be dis¬ 
 covered annually and be brought under the hammer. 
 
 Apart from the extraordinary fecundity of Rembrandt, this is 
 primarily due to the fact that until a few decades ago not only 
 his earlier but also his later works were held in slight estimation 
 or not regarded as authentic. And yet it was precisely during 
 these periods, particularly in his younger years, that the artist 
 was especially prolific. Whereas in the year 1870 Rembrandt’s 
 biographer, C. Vosmaer, could hardly point to a dozen pictures 
 painted before 1631, we now know of about eighty which must 
 have been produced during these early years. 
 
 Herr de Ridder succeeded during the last decade of his life 
 in securing not merely one but as many as three works of this 
 master. 
 
 Rembrandt displayed from the outset an originality seldom 
 found in any other painter. Even in his very earliest pictures 
 which have been preserved to us, and which he painted when he 
 had barely passed his twentieth year, he aims at stirring the emo¬ 
 tions by effective treatment of the subject and by profundity of 
 expression through the medium of strong light contrast and that 
 
 6 
 
chiaroscuro which is so peculiarly his own. The small but effective 
 biblical and occasionally genre compositions, and his studies of 
 heads, for which members of his family generally sat as models, 
 aroused from the outset the interest of his countrymen to a very 
 high degree. But in those days, not compositions but portraits 
 were chiefly demanded and most highly remunerated. Young 
 Rembrandt too, who even at that early time — he was barely 
 twenty-five years of age — had attained a considerable artistic 
 eminence, was required by the public, and especially by the rich 
 patricians of Amsterdam, to paint their portraits. The son of a 
 miller in but a small way of business, he could not afford to dis¬ 
 regard such lucrative offers, even though original compositions 
 appealed far more to his rich and varied imagination. In this 
 way the artist became, for a time at least, pre-eminently a portrait 
 painter. His first portraits, mostly of small size, still display to 
 some extent the blunt and wilful character of his earliest creations, 
 but he soon adapted himself to the requirements of his patrons. 
 The uncompromising Hotspur took a lesson from the Amsterdam 
 portrait painters, bowed to caprices of fashion, and became, and 
 for a time remained, the most popular and sought-after portrait 
 painter of Holland. 
 
 The portraits which he painted to order during the time between 
 1632 and his marriage in 1634, and occasionally during the subse¬ 
 quent years (we now know of more than fifty), display the same 
 unaffected robust conception, the precise and yet powerful treat¬ 
 ment, the simple manner in which the effect of daylight is pro¬ 
 duced, which characterize the portraits of his Amsterdam con¬ 
 temporaries,' the professional portrait painters Nic. Elias, Thomas 
 de Keyser, etc. who, though immeasurably inferior to Rembrandt 
 in talent, could still teach him a great deal. The striking char¬ 
 acterization, the lofty seriousness and incorruptible sincerity, the 
 simple conception and treatment of the Dutch, and more especially 
 of the Amsterdam, portrait painters of this time, could not but 
 furnish the young Leyden artist —- who with his restless exaggera¬ 
 tion, his striving after striking and harsh effects, his rugged and 
 eccentric, sometimes even baroque style of drawing and portraiture, 
 was deficient in free mastery of form — with elements which were 
 lacking to his own art, and yet were absolutely essential to its 
 perfect development. 
 
 This short time therefore, during which the young artist worked 
 in association with others, in order to earn money rapidly rather 
 than as a conscious self discipline for the culture and development 
 of his frank and flowing individuality, must have been of enormous 
 significance. 
 
 7 
 
In spite of this bias however, Rembrandt is by no means a 
 mere imitator of the Amsterdam portrait painters in these pictures. 
 Not only did he speedily overtake and surpass them in their own 
 manner but added from his own personality, by a fresh and vigorous 
 conception and treatment, much that was novel and significant. 
 The figures uniformly breathe a delicacy of perception such as de 
 Keyser, Ravesteyn, Mierevelt and the numerous other excellent 
 portrait painters of Holland — nay even such as Frans Hals him¬ 
 self — in the early decades of the XVII. Century, were unable to 
 impart to their portraits. Rembrandt manages to invest them 
 with an “intimacy,” a warmth and frank cordiality of expression 
 in addition to the force and freshness of their healthy personality 
 which even in these early portraits reveal him as the greatest 
 portrayer of the emotions that the world has ever seen. 
 
 This is very distinctly shown in the portraits of this collection. 
 The portrait of a man of middle age with close clipped beard 
 (No. 1) may be identified as that of a member of the old patrician 
 family Raman. The sitter is depicted in the full vigour of man¬ 
 hood, of handsome features and with a full sense of his own im¬ 
 portance, but with a distinctly pleasing expression. Though en¬ 
 tirely devoid of local colouring, as became the sombre costume of 
 that time, the effect of colour is produced by the freshness of the 
 tints; the treatment is vigorous and the chiaroscuro is more pro¬ 
 nounced than is usual in his portraits painted to order, merits 
 which are all the more apparent owing to its excellent state of 
 preservation. 
 
 From the date of his first acquaintance with Saskia, wedded 
 bliss with whom the artist was destined to enjoy for only eight short 
 years, this attractive figure monopolized his interest and affection. 
 It was probably his friend the art-dealer Rombertus van Uylen- 
 borc-h who in 1632 introduced him to her with a view to his painting 
 her portrait. In the following year he became betrothed to the 
 young beauty and executed in rapid succession a number of por¬ 
 traits of his fiancee, depicting her sometimes in gala costume, 
 sometimes simply, and occasionally even in true genre style, but 
 always displaying Rembrandt’s own peculiar manner in treatment 
 and costumery. In the summer of 1634 Saskia became his wife, 
 and the happy husband now painted the picture in which she is 
 sitting on his knee, and which adorns the Royal Gallery at Dresden; 
 a second picture of himself and his wife, in which he is assisting 
 her in putting the last touches of ornament to her costume, pre¬ 
 paratory to paying a formal visit, is in the Royal Collection in 
 Buckingham Palace. Both pictures were painted very shortly 
 after their marriage, and his wife also sat as model for fantastically 
 
 8 
 
decked-out historical or allegorical female figures, Jewish heroines 
 or ancient goddesses. Her flower-like appearance inspired him to 
 depict her repeatedly as Flora, the best known of which repre¬ 
 sentation is now in the Eremitage Gallery in St. Petersburg, and 
 another (No. 2) is in this collection. It is in all probability 
 the earliest of these, most portrait-like and with least fantastic 
 decoration, half-length and in oval form, apparently a study for 
 his larger pictures dealing with the same subject. It is a charming 
 coloured portrait of Saskia with flowers in her hair and some more 
 in her hand, freer in arrangement than a strict portrait, and not 
 intended to depict the features with absolute fidelity. To what 
 extent pictures of this kind suited the taste of the time may be 
 gathered from a casual remark on the back of one of Rembrandt’s 
 drawings of this period, in which the artist notes the price for a 
 copy of one of these Floras by a pupil of his. About 1654, that 
 is to say twenty years later, was painted the portrait of a young 
 girl at a window (No. 3), a work of the artist’s most mature 
 period, and which until lately adorned the walls of Lord Ridley’s 
 London residence. The age of the sitter, the rich fantastic costume 
 and the manner in which the artist has depicted her looking out 
 of the window, suggest that his mistress Hendricke is here por¬ 
 trayed, for it is exactly in the style in which he painted her a few 
 years later, but the shape and expression of the face render this 
 assumption highly improbable. The young woman is wearing a 
 dress of dark material, cut low at the neck, round which a thick 
 gold chain is suspended; on the brushed-back hair a cap of dull 
 red material is coquettishly perched, whilst the heavy curtain, 
 which she is pushing back from the window with her right hand, 
 is almost a bright red. In spite of these vivid colours, however, 
 the artist has managed to make the flesh tints even still more 
 brilliant. 
 
 The de Ridder collection affords us an opportunity of com¬ 
 paring Rembrandt as a portrait painter with one of the greatest 
 portrait painters not only of the Dutch but of all schools, viz.: 
 Frans Hals, possessing as it does two large sized excellent por¬ 
 traits of this master, both from the collection of Graf Mniczek, 
 which was renowned for its magnificent Hals. They are both 
 portraits of females, the one a young rosy-cheeked damsel in a 
 dark grey costume, and the other an elderly lady in deep black. 
 We are accustomed to hear Frans Hals extolled as a master in 
 the portraiture of manhood, while his bluntness and hilarity are 
 less adapted for the delineation of noble womanhood. With these 
 sentiments I cannot agree. Hals was the product of his age, the 
 character of which was distinctively masculine and showed no 
 
 9 
 
trace of femininity. Accordingly even the women betrayed a 
 masculine air in their character and exterior. This trait is, it is 
 true, fully brought out in his female portraits, but the artist is 
 thereby giving us the women of his age and his figures are not 
 only full of life but also true to life. Portraits such as the hand¬ 
 some young woman in the collection of Alphonse Rothschild in 
 Paris, or the very plain elderly women in the collection of Pierpont 
 Morgan and James Simon, or in the Metropolitan Museum in 
 New York, are masterly portraitures of womanhood which are in 
 no way inferior to Hals’ most celebrated portraits of men, such as 
 the Junker Willem van Heythuysen in the Liechtenstein Gallery, 
 the young Jasper de Schade van Westram in the Rudolfinum at 
 Prague, the Pictures of the Civic Guards in the Museum at 
 Haarlem, etc. Hals knew precisely how to seize what was char¬ 
 acteristic, to catch the expression of the moment and at the same 
 time impart to his models a touch of that delicate humour which 
 he himself possessed in so high a degree. It is on this account that 
 his female portraits are as excellent and attractive as those of his 
 men and children. 
 
 Of the two pictures in this collection one is a half-length portrait 
 of a lady of twenty-eight years of age, standing with a glove in her 
 right hand (No. 4). The contrast between the bright 
 fashionable costume and the yellow groundwork is highly effective. 
 The tone is cool, as it usually is in the painter’s pictures of this 
 time. It bears the date 1634, and is equally distinguished by a 
 dignified pose and animated expression, as also by the broad and 
 yet tender execution, delicate play of colour and light tone. Very 
 different is the second picture of this gallery, the portrait of the 
 wife of Miehiel Middelhoven, a Haarlem minister of the gospel 
 (No. 5), whose own portrait has passed from the Mniczek 
 collection to that of A. Schloss in Paris. Uprightness and bene¬ 
 volence are visible in every feature of the good old lady. The 
 plain dark costume accords with the expression of thorough homely 
 simplicity and kindliness as well as with the calling of the sitter’s 
 husband. The clear cool black is here too brought out with a 
 diversity of tones as no other painter except Velasquez was abeto 
 do, and at the same time the embodiment of character displayed 
 by the features rendered in a masterly manner. This rather sombre 
 tone and compactness of light is frequently found in Hals’s works 
 of the early forties, and is due no doubt to the influence of Rem¬ 
 brandt’s pictures, to which almost all the Dutch artists were at 
 that time more or less subject. 
 
 In the persons of his numerous sons Frans Hals brought up a 
 crowd of painters, of whom none however equalled him and only 
 
 10 
 
a few became portrait painters. One of these, a son by his first 
 marriage, Johannes Hals, resembles his father so nearly in some 
 life-sized pictures, the authenticity of which is amply attested by 
 his full signature, that in the case of a number of pictures hitherto 
 attributed to the elder Frans, but which are for him rather tame 
 and spiritless, a careful scrutiny is necessary before we can be certain 
 whether they are from his brush or from that of his son Johannes. 
 The only other Haarlem portrait painter who exhibits in an equal 
 degree the influence of Frans Hals is Cornelisz Verspronck. 
 The free style of arrangement, the fresh joyous expression, the 
 confident pose, and occasionally even the dashing treatment of the 
 elder artist are found too in this painter’s pictures. An excellent 
 and characteristic illustration of this is shown by the “Portrait 
 of a young Man with sunburnt features” (No. 6), which 
 bears the date of 1639 and is one of the earliest dated pictures 
 which have been preserved to us of this artist who, be it remarked 
 was born in the year 1597. 
 
 Equally unsuccessful in approaching their master’s manner 
 were the far more numerous pupils of Rembrandt and painters in 
 his style, and this is true even of their portraits, though in this 
 department as a rule their best work was shown. That which 
 gives the portraits from the Master’s brush their real significance 
 and greatest charm, viz.: delineation of temperament and expres¬ 
 sion of deep feeling, is almost entirely lacking in his pupils. In 
 fact, these cannot as a rule even be placed alongside the earlier 
 Dutch portrait painters, inasmuch as the simplicity and artlessness 
 of these painters is wanting, and the animation of light and pose 
 which they have copied from their master is wholly external and 
 rather detracts from than adds to the expression. Occasionally, 
 but very occasionally, do we find a pupil of his, and then only in 
 early works when he was most under his master’s influence, coming 
 within measurable distance. The most notable example is that 
 of Jacob Backer. His “Regentesse” in an orphanage in Amster¬ 
 dam is hardly inferior to Rembrandt’s “Lesson in Anatomy,” 
 and several simple portraits, especially of old women such as that 
 in the Wallace Collection or in the Thiem Collection of the Berlin 
 Gallery, have hitherto passed without challenge as Rembrandts 
 on account of their close affinity with the works of the artist. 
 The de Ridder Collection possesses a few excellent portraits of this 
 painter, not, it is true, belonging to those resembling Rembrandt’s 
 early style — from the case of the sitters as also from the costumes 
 they must have been painted in the early forties — but which in 
 comparison with the flat tones of his later superficial manner are 
 particularly sound. The sitters, too, are interesting in themselves: 
 
Holland’s most celebrated goldsmith Johannes Lutrna (No. 
 7) and his wife (No. 8) are here depicted: both full of life 
 and expression, the features of the latter being particularly sym¬ 
 pathetic. 
 
 The addition to both portraits of a huge ornamented frame 
 with flourishes in the bizarre northern baroque style is intended 
 no doubt to refer to the characteristic decorations of the sitter 
 and to his calling as goldsmith, and these have been reproduced 
 by his son in his well known decorative engravings. 
 
 A still stronger subjection to the influence of Rembrandt than 
 is shown by these portraits of Backer may be seen in a few pictures 
 by Bol and by Flinck. In the “Young Girl in a Door-way” 
 (No. 9), Ferdinand Bol — if we are right in ascribing to 
 him this picture which exhibits unusual vigour compared with 
 most of his works — has imitated those well known pictures of 
 Rembrandt painted in the forties which gave us, after the same 
 manner, young women or girls in a door-way or window to serve 
 as a frame. Deviating from his master, the artist has here made 
 the room, from which the young girl is looking out, light toned, 
 so that the head presents a dark contrast. In the other portrait, 
 Govert Flinck imitated in treatment and decoration his master’s 
 manner as it was at the time when Flinck was his pupil. The 
 young man who is the subject of the picture is dressed as a 
 shepherd, and in harmony with this fantastic costume is the power¬ 
 ful chiaroscuro and the rich colouring (No. 10). This de¬ 
 tracts from the portrait character of the picture to which, no 
 doubt with intention, a pronounced genre character is given. 
 The tone and treatment resemble those of Rembrandt, in about 
 the year 1635. The idea of clothing the subject in shepherd’s 
 dress was not Rembrandt’s, but rather had its origin in the taste 
 of the subject and the love of pastoral romances. Thus we find 
 it even in earlier artists, as illustrated by a picture in this collec¬ 
 tion, the portrait of a young lady in the costume of a shepherdess 
 (No. 11) by Paulus Moreelse. This painter was held in 
 especial regard and highly remunerated for pictures of this kind. 
 They are, like the one under consideration, cool in tone, very 
 precise in execution, even exaggeratedly so, aiid not always free 
 from stiffness and mannerism. The one in this collection is fresher 
 and displays more charm and colour than most of his pictures 
 treating of the same subject. The sitter, who is of a sympathetic 
 exterior, is not really a shepherdess in spite of the lamb beside 
 her, for the palm in her hand shows that she is meant for a saint, 
 in fact St. Agnes, of whom the lamb is symbolic. 
 
 Of the earlier Dutch portrait painters Thomas de Keijser is, 
 
 12 
 
next to Frans Hals, undoubtedly the soundest and most original. 
 Besides his huge pictures dealing with the guilds and regents and 
 his more rare life-sized portraits, he made his reputation by small¬ 
 sized and especially full-length portraits. A picture of this kind 
 is the “Young Man with a Dog” (No. 12), powerful and 
 pastose, showing a pose full of character and individuality. In 
 two small bust-length pictures from his brush we have excellent 
 and characteristic works of this artist: the portrait of an architect 
 (No. 13), a later production of about 1650, in which the 
 influence of Rembrandt is to a certain extent discernable, and the 
 still abler early portrait of “A Man in a broad-brimmed hat” 
 (No. 14). 
 
 A contemporary of these artists, Cornelius Janssens, emi¬ 
 grated in his youth to England, which country, especially as it 
 possessed but few painters of its own, afforded at that time a 
 rich and lucrative field for foreign portrait painters. Not until 
 Anthony van Dyck gained a firm footing in London did Janssen’s 
 star wane, which it then did rapidly, and the artist fell under the 
 influence of his more gifted and more fortunate rival, whereby 
 his portraits, which hitherto had been distinguished by their 
 simplicity, calm dignity and a bright cool tone became more pre¬ 
 tentious and more animated but also more devoid of expression 
 and colder and flatter in tone. A good example of his early style 
 is the bust-length portrait of a young man (No. 15) in this 
 collection. 
 
 To the XVI. Century belongs the robust portrait of the Amster¬ 
 dam Burgomaster Adrian Cromhout (No. 16) which as the 
 signature informs us was painted in 1579. From a comparison 
 with a very similar picture, also bearing the artist’s signature, in the 
 “ Mauritshuis ” at the Hague, the collector decided, and correctly 
 so, that this is a work by Adrian Key who seems to have been 
 under the influence of Anthonis Mor. 
 
 Still another Dutch master, Gerard Terborch, is represented 
 in this collection by several portraits; and we are thus introduced 
 to the genre pictures which are not less numerous or varied and 
 hardly less representative than the portraits proper. Terborch’s 
 portraits always have a genre character and are therefore of small 
 size, generally with a few pieces of furniture introduced to indicate 
 the rank and station of the sitter, but they are of a studied 
 simplicity, of a dignified restfulness and freedom from artificiality 
 in arrangement, pose and colouring which illustrate most strongly 
 the masterly way in which the artist brings out the individuality 
 of the subject. Attention has repeatedly been called to the affinity 
 which his pictures bear to those of Velasquez, and not without 
 
 13 
 
reason, for this affinity is by no means accidental, as Terborch 
 in his younger days resided for some time in Madrid. This collec¬ 
 tion possesses several such pictures of the artist e. g.: the small 
 full-length portraits of a young man of agreeable exterior 
 (No. 17) and of his wife (No. 18), in a room with rich plush 
 furniture, and the half-length figure of the young Herr de GraefT 
 (No. 19), so we are informed by the inscription on the back 
 of the picture. The sitter is certainly no Adonis, but the artist 
 has so contrived to invest the plain features with energy of char¬ 
 acter, the arrangement and colouring are so delicate, the tone so 
 piquant, and the execution so bold in spite of the finesse that 
 very few of Terborch’s numerous portraits are comparable with 
 this little masterpiece. 
 
 It is far more difficult now-a-days to acquire a genre picture 
 by Terborch than one of his portraits. The number of authentic¬ 
 ated works by his brush is very limited and most of the best of 
 these found their way into public galleries, or into private collec¬ 
 tions which are not likely to be dispersed, during the XVIII. and 
 XIX. Centuries. The genre paintings which now and again are 
 offered for sale as Terborch’s, need careful inspection before it 
 can be determined whether they are his own productions or merely 
 replicas which the artist caused to be executed by his brother and 
 sister, or whether they are not even later copies. There are replicas 
 of nearly a half of his genre pictures, not infrequently several of 
 the same one and some of them excellent works. A picture of 
 which there are several replicas, differing slightly or not at all 
 from the original, is the “Interrupted Lesson” (No. 20), 
 an example of which is in this collection bearing the autograph 
 monogram of the artist. The simple subject receives a delicate 
 animation through the rich bright colouring. The same may be 
 said of another far more considerable picture “The Duet” 
 (No. 21), which is well known through the but slightly altered 
 replica in the London National Gallery. This too bears Terborch’s 
 monogram. 
 
 More dull in the colouring is a third genre picture in this col¬ 
 lection: “Two young men and a young lady playing cards,” 
 (No. 22). The costumes are almost entirely of grey and 
 black hues, the yellow dress of the young girl is of dull gloomy 
 tone in the tints, only in the blue ribbons in the hair does a 
 brighter colour prevail, but the grouping of the few colours and 
 their shading is of wonderful delicacy. Movement and expression 
 too are kept well in bounds but full of latent animation, and the 
 precise execution and pastose manner produce a remarkable and 
 spirited effect. 
 
 14 
 
Of Terborch’s worthy compeer Gabriel Metsu, this collection 
 possesses a few characteristic pictures. . As the former is cool and 
 objective so is the latter warm and subjective. The pictures 
 dealing with similar subjects and of equal size of these two make 
 therefore a very different impression upon us. From a purely 
 artistic point of view Terborch as a rule stands higher than Metsu, 
 but the latter appeals more to our heart and interests us more 
 deeply. The “Young Man in a Room” (No. 23) is sup¬ 
 posed to be the artist’s own portrait. This title is probably not 
 a correct one as the scroll which the sitter holds in his right hand 
 seems rather to point to a savant; moreover in 1661, when this 
 picture was painted, Metsu was older than this fair young man 
 of attractive features in a light grey suit of fashionable cut; neither 
 does it in the least resemble the young man in the well known 
 portrait of Metsu and his wife in the Dresden Gallery, which 
 evidently owed its origin to Rembrandt’s celebrated portrait of 
 himself with his wife sitting on his knee. The treatment in this 
 little picture which was acquired from the collection of Lord 
 Ashburton is of extraordinary freedom and breadth. 
 
 Another picture by Metsu in this collection is one quite after 
 the artist’s own taste. A young lady decidedly inclined towards 
 embonpoint in the costume of the well-to-do Amsterdam bourgeoisie 
 of about the middle of the century, sitting with her little dog in 
 her lap, is taking a letter from her servant (No. 24). The 
 colours are as little pronounced here as in the small picture de¬ 
 scribed above, being almost exclusively grey and brown by the 
 side of thick dark black and white; the table covering alone shows 
 forcible reddish tones. The treatment is soft and finely gradated; 
 equally delicate is the drawing and modelling. This picture, too, 
 must belong to the middle and best period of the artist, viz: 1661, 
 the date given upon it. To these two small pictures Herr de 
 Ridder, shortly before his death added another masterpiece, “A 
 young lady feeding her dog” (No. 25), a characteristic work 
 of the artist’s later and most mature period. In masterly treat¬ 
 ment of the subject, in delicacy of tone and execution, Metsu may 
 vie in such pictures as these, of which unfortunately only about 
 a dozen are preserved, with Terborch’s best depictions of social 
 life, while he excels them in the richness and animation of his 
 subjects and the impression of comfort and ease which he conveys. 
 This work, which is in an excellent state of preservation, was 
 formerly in the Delessert Collection, the few but select pictures 
 of which — as far as my memory serves me, there were but twenty- 
 three in all — were sold by auction in Paris in the year 1869 and 
 fetched the then unheard of sum of nearly a million and a half francs. 
 
 15 
 
Quieringh Brekelenkam, also a native of Leyden, is hardly 
 inferior to Gabriel Metsu, his senior by ten years, and occasionally 
 even nearly reaches the standard of Gerard Dou. In treatment 
 and conception he is very akin, but his subjects are generally 
 taken from the more humble ranks: artisans at work, shopkeepers 
 in their shops, or the homes of the simple plain Dutch town-folk 
 are portrayed in his works. A characteristic picture of this kind 
 is “The Fisherman” (No. 26). An old fisherman who has 
 just delivered his goods in the kitchen takes this opportunity of 
 making love to the young cook. This subject and the method 
 of treating it the artist has borrowed from Gerard Dou, who was 
 the model of all the Leyden genre painters. The chiaroscuro and 
 the subordination of local colouring to the prevailing tone of cool 
 brownish tints may be traced to the influence of the quondam 
 pupil of Rembrandt so that we may attribute this picture which 
 is painted in light and thin colour to the earlier period of Brekelen¬ 
 kam. The second picture from his brush in the collection and 
 superior to the first is “ The interrupted Music-lesson ” 
 (No. 27), and belongs to his later period as is also shown by the 
 costume. In this picture, one of the very best he ever painted, 
 he comes very close indeed to Gabriel Metsu. The subject is 
 simple and dramatic: the bright light comes through the high 
 window into the cheerful room on the wall of which is an imposing 
 landscape apparently of Everdingen. The local colouring is far 
 richer and more varied than in the former picture and yet cool 
 toned. If we compare him with Metsu’s similar and contemp¬ 
 oraneous picture executed during the latter part of his life — both 
 died within a short time of each other — Brekelenkam is more 
 dry and forcible in treatment and less picturesque in conception 
 even in a masterpiece such as this is. 
 
 How differently did Jan Steen treat the same subjects! The 
 de Ridder collection affords a few striking examples in the two 
 pictures entitled “The Music-lesson,” the one by plain day 
 light (No. 28), the other by candle-light (No. 29): whereas 
 in Terborch and even in Metsu, Brekelenkam and other cognate 
 artists the simple scene is calm and restful, without intentional 
 piquancy, in Steen all is animation with the object of producing 
 dramatic effect. The young instructor is beating time for his 
 comely pupil with such zeal that expression and pose are almost 
 the caricatured animation of a snapshot, while the nervous awk¬ 
 wardness with which the girl — in delightful contrast with the 
 vivacity of her instructor — is trying to finger, is equally illustrative 
 of the photographic keenness of observation on the part of the 
 artist. In the “Duet by candle-light” the confidence with which 
 
 16 
 
the youthful couple are trolling out their song to the accompani¬ 
 ment of the zither is hit off in an equally fresh and expressive 
 manner. That the pretty face is thereby distorted, or that the 
 mouth is awry and the hand cramped does not trouble the painter 
 in the least; he means to present the situation in detail and with 
 fidelity, and if in so doing the expression borders on caricature 
 he is rather pleased than not, as his object is to produce a humorous 
 and even perhaps a satirical effect. This endeavour generally 
 detracts from his paintings of biblical and religious subjects, more 
 than one of which seems to us rather like a parody which was by 
 no means the artist’s intention. Occasionally in such subjects as 
 in the “Grace before Meal,” (No. 30), in spite of his blunt 
 characterization, he strikes a sentimental and even fervent chord. 
 In fact this extraordinarily versatile and gifted artist knows how 
 to produce a mystical impression in a most original manner, as 
 is shown by the large picture in the “Ryksmuseum” of Christ 
 and the disciples at Emmaus. 
 
 Two works of this master are not only excellently painted but 
 also especially charming and original by reason of the subjects. 
 In the “Drawing Lesson” (No. 31) the versatile but unequal 
 artist is as rich in detail and careful in drawing as Gerard Dou, 
 as free and picturesque in treatment as Adrian Ostade, as fresh 
 and touching as Gabriel Metsu and at the same time remains 
 Jan Steen. How busy at work they all are! the music-teacher 
 as well as his small pupils, in whom we can recognize Jan Steen’s 
 own children, his eldest daughter and a younger son whose mother 
 was Goyen’s daughter, Margarethe. All the numerous drawing 
 and painting materials and the rich furniture of the room are 
 executed with the greatest precision and with a charming piquancy. 
 
 Very different is “The Siesta” (No. 32); here everything 
 breathes repose and comfort. On the veranda from which we 
 look out upon the landscape the master of the house is buried 
 in his books after the meal, the remains of which are being cleared 
 away by the maid, while the daughter has fallen asleep by the side 
 of the table. The impression of a warm sunshiny afternoon is 
 grandly portrayed and all the details and accessories executed 
 with the greatest delicacy and precision. 
 
 Religious sensibility is but seldom found even in Jan Steen’s 
 biblical subjects: in every one of the little genre pictures of Nicolas 
 Maes there is far more real religious feeling, although they show 
 only a^single figure or at most but a few in simple homely style. 
 This is; well illustrated by the characteristic and highly superior 
 picturefof this kind, viz: “A girl plucking a duck” (No. 33). 
 How plainly does the great master of the artist speak to us from 
 
 17 
 
this canvas: the way in which the light falls, the chiaroscuro, the 
 vigorous red and brown tones contrasted with a deep black and 
 dirty white betray the influence of Rembrandt as he painted about 
 the middle of the century. To him does Maes, far and away the 
 best of his numerous pupils, owe that peculiarly impressive home¬ 
 like effect which ennobles even the simplest themes. The solemn, 
 sometimes even melancholy sensibility which speaks to us from 
 Maes’s genre pictures is changed to a joyous domestic impression 
 in the case of Pieter de Hooch who in other respects much 
 resembles him. With the latter all is pure sunshine; the bright 
 sun which suffuses his impressionist pictures and throws its warm 
 beams into the remotest corners of his interiors produces in the 
 spectator’s heart a responsive sunny impression. 
 
 An illustration of this is to be found in the three pictures of 
 this collection, of which two are interiors. The first shows us the 
 home of a well-to-do Dutch tradesman or savant who is descending 
 the low flight of steps leading to his study to the hall or ante-room, 
 in the foreground of which the wife is just completing her little 
 daughter’s toilette (No. 34). The picture is signed in full 
 and the date, 1668 close to the name, shows that it belongs to 
 the artist’s later period, when the sunny effect, lustrous soft colour¬ 
 ing, free pastose manner more and more gave place to flat and 
 dull treatment, and insipid colouring. This picture however 
 displays in a large measure the delicacy of colouring and play of 
 light, and the bold drawing of his best works which were executed 
 about ten years earlier. 
 
 Nearly equal to these is “The young Mother” (No. 35) 
 a work of much importance and which adorned the choice collec¬ 
 tion of the Due de Moray. The high church steeple in the distance 
 shows that it was executed at Delft which the artist must have 
 left about 1665. 
 
 The third and smaller picture which depicts a flower garden 
 in front of a plain Dutch country-house (No. 36) displays 
 to a still higher degree the powerful sun-light effects of his earlier 
 works, and in its simple impressionist manner reminds us of the 
 treatment of similar subjects by Manet. 
 
 In connection with de Hooch we may here mention an artist 
 of rare ability who painted similar subjects; viz: Jan Koedijck. 
 His “Mother and her child by the fireside” (No. 37), a 
 particularly good example of this artist, stands in conception, 
 arrangement and portraiture between Hooch, and N. Maes but in 
 delicacy of colouring and finesse of execution it cannot 
 compare with these painters. 
 
 18 
 
The de Ridder Collection also possesses a work of the earliest 
 Dutch genre painters “A Lady at the Piano” (No. 38), 
 which I consider a thoroughly characteristic picture of Pieter 
 Codde. As was the case with most of Codde’s works, at one time 
 it was formerly attributed to Palamedes; but the clumsy broad 
 figure, the way in which the back view is rendered, the drawing 
 of the hand, the colouring and above all the subject and composi¬ 
 tion are absolutely illustrative of Codde. 
 
 The best work of P. de Hooch was produced under Rembrandt’s 
 influence, though he was not his pupil. The same may be said 
 of Adrian van Ostade of Haarlem who was brought up in the 
 school of Frans Hals. It is not to his figures, which are usually 
 of the same type as those of Teniers, but to his chiaroscuro, the 
 effective impression produced by the sun, illumining with its com¬ 
 forting rays even the most poverty stricken cottages and tumble- 
 down shanties, that the artist is indebted for their effect. This 
 applies even to his earliest pictures, portrayals of cottage interiors 
 with their inhabitants, as he painted them during half a century 
 in hundreds of pictures over and over again, but still in manifold 
 variety and rich artistic evolution. In their earliest pictures 
 however of the beginning of the thirties, the light is cold, the colour 
 even hard and the figures often caricatures. A typical picture in 
 this style full of rude force and a Frans Hals humour is that of 
 “Rollicking peasants in a cottage” (No. 39). In the power¬ 
 ful chiaroscuro the figures appear dull but the whole tone is cool. 
 In the “Musician by the side of a cottage” (No. 40), which 
 bears the date 1640, the artist has treated the same subject as that 
 of a larger picture with very slight variation. The Berlin Museum 
 possesses almost the same composition executed in the same year, 
 and a still larger and more important one is in the Wesendonk 
 Collection now exhibited in the Kaiser Friedrich Museum. Besides 
 these I know about half a dozen others differing in a larger or 
 smaller degree from one another. It must have been at this time 
 that Ostade became acquainted if not with Rembrandt himself 
 at any rate with his work. The light in his pictures becomes 
 more concentrated and warmer, the chiaroscuro carried through 
 more, the figures display more power of observation in their forms 
 and types, and the local colouring with its brownish tone acquires 
 a certain effectiveness. About 1656, i. e. ten years later, a similar 
 but smaller picture was produced: “Three Peasants drinking and 
 smoking around a low stool” (No. 41), a masterpiece the 
 like of which the artist did not often paint. We see here how 
 Holland had changed in a short time. Instead of the sty-like 
 rooms which his earlier pictures show us, we see that neatness and 
 
 19 
 
a certain degree of comfort have found their way into these cottages. 
 The occupants, too, are no longer in tattered coats and trowsers 
 but are evidently prosperous artisans or petty tradesmen. This 
 impression Ostade has hit off in a most masterly manner: each 
 of the three young fellows displays his own individuality, and the 
 scene is a perfectly harmonious one, contentment is shown in every 
 line, and the effect of the colouring, especially the bluish green 
 tone of the large window, the bull’s eye-panes of which are strongly 
 coloured by the clear sky and green trees, produce a particularly 
 deep and powerful impression. 
 
 A later work, a peasant pulling out his purse (No. 42) — he is 
 paying for some fruit he has bought at a stall—is rather a study 
 with a hastily sketched background. 
 
 Adrian’s brother Isack van Ostade, more than ten years his 
 junior, was also his pupil and frequently resembled him so nearly 
 that the pictures of the one are often mistaken for those of the 
 other. 
 
 Not only in painting interiors as he did in his early years, but 
 even in his rich landscapes Isack took his elder brother as his model. 
 As however Adrian painted such landscapes but seldom, they 
 generally pass for works of the younger artist, even when—as for 
 instance the excellent picture in the Holford Collection in London 
 — they bear Adrian’s signature in full. Though Isack died at the 
 age of twenty-eight, nearly two hundred pictures of his have been 
 preserved, and his chief works command as high prices as the 
 best of pictures of the great Dutch Masters. Nor is this without 
 justification, for though he is extremely unequal and his earliest 
 pictures of small interiors painted when he was between eighteen 
 and twenty years of age are superficial and inconsiderable, the 
 talent displayed in his later pictures after he had arrived at manhood 
 prove that he was really more gifted than his brother. His early 
 death unfortunately prevented the full development of his talents. 
 
 The de Ridder Collection is particularly fortunate in possessing 
 three paintings from his brush. Among them is one depicting 
 some peasants in front of an inn on the high road (No. 43), 
 which must have been produced about 1645 and strongly resembles 
 similar contemporaneous pictures of his brother in the types, the 
 warm brownish colouring and the brilliant tone. In treatment 
 it is thinner and more sketchy, and it is hastily drawn. 
 
 A second quite small picture is quite a curiosity, and yet the 
 artist has put his full name and date to it. He painted it in 1648, 
 one year before his death, the picture of a horse, a heavy piebald 
 Walloon cart-horse in the foreground of a landscape (No. 44). 
 
Such small pictures of horses were especially popular at 
 that time; by Paul Potter we have quite a number of them; Albert 
 Cuijp too, Pieter Verbeecq and others occasionally painted them. 
 As far as I know, this one stands alone among the pictures of 
 Isack Ostade. I should like here to refer to another equally un¬ 
 usual subject for this painter in the Bachofen-Bruckhardt Collec¬ 
 tion in Basle, a small plain landscape, signed in full and dated 
 1646, a distant prospect in the neighbourhood of Haarlem, with 
 slightly broken ground, of a vigorous green-brownish prevailing 
 tone and powerful light effects, occupying a middle position perhaps 
 between Goijen’s and Rembrandt’s earliest landscapes. The de 
 Ridder Collection can boast another outstanding picture of this 
 artist, one of his winter-scenes: a canal with a bridge leading to 
 a cottage, the frozen surface presenting an animated scene of people 
 and sledges (No. 45), the colour laid on with vigour and 
 somewhat thickly, the tone warm, the colouring effective. From 
 the excellent drawing we may conclude that it was painted during 
 the artist’s last and best period. 
 
 From Isack Ostade is an easy transition to the landscapes 
 proper of which this collection can show a goodly number by 
 almost all the chief exponents. By Jan van Goijen we have 
 a picture of a castle on a broad branch of a river with boats on it 
 (No. 46); it is of brilliant light blonde tone and masterly 
 drawing, in the characteristic manner in which the master painted 
 in the forties. A second picture shows us the wide debouche of 
 a river with a view on to the open sea, on which there are ships 
 (No. 47). The composition bold, free and naive, the treat¬ 
 ment broad and full of genius, the local colouring almost entirely 
 absorbed by the grey prevailing tone which reproduces the bright 
 atmosphere of the North Sea in an almost modern impressionist 
 manner: all these qualities characterize the picture as a master¬ 
 piece of the artist’s latest period. As a matter of fact it bears 
 the date of 1665, the year before he died. 
 
 Albert Cuijp is so akin to Jan van Goijen in his earliest 
 pictures which he painted between the age of twenty and thirty 
 that even at the present time his landscapes pass under the name 
 of Goijen. A characteristic picture in this style, which illustrates 
 the affinity to Goijen’s landscapes and at the same time their 
 dissimilarity, is in this collection. The subjects of both artists 
 are almost precisely the same simple prospects of their native 
 Holland; both disdain to employ local colouring and make the 
 subjects fade away in light, lustrous but indistinct air-tones. But 
 Albert Cuijp is still more artless in the construction of his land¬ 
 scapes, his tone is lighter and clearer, his colour, a whitish yellow, 
 
 21 
 
is laid on thicker, rather dabbed than in the dashing sweep of 
 Goijen. But with all their simplicity and sketchiness which char¬ 
 acterize these for the most part little landscapes — impressions 
 caught in a few hours — they yet show the great master of land¬ 
 scapes bathed in full sunshine, who even in those early years 
 pursued his aim with a full consciousness of what he wished to 
 accomplish; and occasionally we find in these pictures delicate 
 touches which remind us of his grandest period. See for instance 
 in the picture,before us the manner in which distant water is treated 
 (No. 48). Such pictures as this appear fresher and more 
 naive than his later landscapes with horsemen. A capital eques¬ 
 trian picture of his later period is “Starting for a ride” (No. 
 49), and which no doubt owed its origin to the wish of a squire 
 from the neighbourhood of Dordrecht, perhaps a neighbour and 
 acquaintance of the artist, to have his horses and dogs painted by 
 him. The picture is remarkable for the freshness and vigour of 
 the colouring, which the excellent state of preservation fully brings 
 out. The “Two horsemen at the Sign of the Cock” by Albert 
 Cuijp (No. 50), from the collection of Moritz Kann, which 
 was especially rich in this artist’s works, is remarkable for the 
 ambient sunshine which is spread over the landscape, the delicate 
 gradation of colours, in the golden atmospheric tone and combining 
 breadth of brush with exceptionally good draughtsmanship. The 
 picture may be dated about the year 1665, during the artist’s 
 middle period. 
 
 Highly piquant with its vivid golden tone is the “Landscape 
 with a horseman” (No. 51), in which the horseman is talking 
 to some herdsmen on the road, while in the distance are extensive 
 ruins; probably painted but a short time earlier than the fore¬ 
 going picture. 
 
 Almost pendants to these two works of van Goijen are two 
 landscapes of his kinsman and contemporary Salomon van Ruijs- 
 dael. One of these, apparently a work executed in the fifties, 
 shows a farm in the midst of trees with a herd of cows in the water 
 on the bank and in the foreground (No. 52). 
 
 While the foreground has been made darker, the distant water 
 in the hazy atmosphere is most delicately and effectively treated. 
 More vigorous and illustrative of the darker tone of the artist’s 
 later years is the “Town on the banks of a river” (No. 53) 
 which, with its deep, highly toned and yet brilliant effectiveness, 
 closely resembles the two similar river landscapes from the Rudolph 
 Kann Collection, one of which is now in the collection of M. 
 Bromberg in Hamburg. 
 
 In the four pictures of Salomon’s distinguished nephew Jacob 
 
 22 
 
van Ruisdael all the various styles of this painter are character¬ 
 istically displayed. The “Old beeches by the side of a marsh” 
 (No. 54), in the distance a woody hill, is a fairly early work 
 of the artist and was executed in Haarlem between 1655 and 1658. 
 Simple scenes from North Holland or the province of Cleves, por¬ 
 trayed with simple appreciation of nature, and yet developed into 
 such a perfectly rounded off composition, and made most impressive 
 by its powerful light effects. The subject reminds us strongly of 
 the well known, large sized picture entitled “The Oak-forest” in 
 the Berlin Gallery, but is several years earlier in point of date. 
 Not much later was painted the fine picture “A Road leading to 
 a village” (No. 55), in which the artist, by the grand manner 
 in which the deep shadows spread over the landscape and contrast 
 with the bright clouds, has conveyed a peculiar impressive charm 
 which is wholly his own. Everything is so skilfully arranged that 
 the artificial composition does not in the least strike the spectator. 
 
 To Ruisdael’s best and most effective pictures belong his distant 
 prospects, nearly all of which were executed during his middle 
 period viz. about 1660. From an eminence, generally from the 
 sandhills in the neighbourhood of Haarlem, we gaze into the far 
 country. All these pictures are of fairly small, and generally very 
 small size and yet most effective. The charm of the light, the 
 impression produced by the alternating of light and shade, the 
 sky arched high over the landscape and the atmosphere which 
 pervades it is more truthfully and poetically rendered in these 
 pictures than by any other painter. The “Bleaching Ground” 
 near Haarlem, with the Egmont ruins in the background 
 (No. 56), is a characteristic example, the exceptionally long shadows 
 thrown by the piled-up clouds over the landscape producing an 
 extraordinary powerful effect. 
 
 The small picture by Jacob Ruisdael acquired from the Moritz 
 Kann Collection, “A View of the Dunes looking out on the sea” 
 (No. 57), is also a work of the very first rank, the simple 
 subject and colouring of which are highly impressive. The gloomy, 
 almost monochromic tone, the cold grey colouring of clouds, sea 
 and sand-hills of the dreary landscape remind us more impressively 
 of Ruisdael than the pictures of any other landscape painter. 
 
 Every year about a dozen or more of Jacob Ruisdael’s pictures 
 are offered for sale, for the number of his works, the majority of 
 which are in private hands, is very large. On the other hand 
 those of his younger contemporary and pupil Meindert Hobbema 
 have, since the middle of last century, precisely because they are 
 far less numerous (about a fourth as many as Ruisdael’s), rarely 
 come into the market and on that account are much sought after. 
 
 23 
 
In fact his masterpieces are now-a-days absolutely unprocurable, 
 and even less important pictures of his short prime are but seldom 
 in the market. The pictures which we meet with are those peculiar 
 youthful productions, the investigation of which is by no means 
 complete, and isolated presumably later works about which we 
 are equally in the dark. In 1663, at the age of twenty-five, Hob¬ 
 bema was admitted a Master of the Guild of St. Luke in Amsterdam; 
 ten years later he had the “good fortune” to wed the Amsterdam 
 Burgomaster’s cook and through her mediation to obtain a minor 
 post in the Excise Office; from this time until his death in 1709 
 dated pictures from his brush are almost entirely wanting, so that 
 we may pretty confidently conclude that the lucky exciseman 
 gradually neglected the unprofitable profession of a painter. From 
 various masterpieces however, which bear the date of his admission 
 to the guild and even earlier, we may assume with certainty that 
 he must have painted for some considerable time before attaining 
 this position. We shall also be justified in attempting to identify 
 among his works such as were painted after his marriage, for it is 
 hardly credible that so extraordinarily talented an artist should 
 have ceased entirely to paint because he had become independent 
 of his profession through the petty post above mentioned. 
 
 The pictures of Hobbema in this collection afford interesting 
 indication in both these directions. By comparing the “Peasant’s 
 farmyard behind a canal” (No. 58) with the signed pictures 
 of 1659 in the Museum of Grenoble and in the Edinburgh Gallery, 
 we must pronounce it to be a youthful production of about 1660. 
 The resemblance between him and the earlier painters in the 
 style of Ruisdael, R. de Vries, J. v. Rombouts, etc. is so great 
 that they may be easily taken for one another; but the light effect, 
 especially through the coloured reflection in the water, is stronger, 
 the local colouring more vigorous and the pigment laid on more 
 thickly. Widely divergent from this youthful work is the small 
 landscape “A road under some trees” (No. 59). Here too 
 the colours are laid on thickly and broadly, but the foliage is denser, 
 the composition more compact, the treatment more superficial and 
 less engaging, and the colouring duller. The deviations from the 
 earlier works, as also from the more typical pictures of the artist 
 in the sixties as well as their disparity, lead to the assumption that 
 we have to deal with a work of his later years. A short time ago, 
 Herr de Ridder came into the possession of a picture of Hobbema’s 
 maturest period, a masterpiece with which few can compare, and 
 formerly a companion picture to the celebrated “Mill” in the 
 Louvre to which it is not inferior in excellence. The subject is a 
 similar one: among some isolated tall trees, through which a road 
 
 24 
 
leads to a village, are situated some cottages, the red roofs of 
 which contrast strongly with the pastose brownish-green of the 
 foliage. The genial sunbeams are breaking through the trees and 
 diffuse their light over the landscape (No. 60). They lend 
 the simple scene, which is taken from the environs of Amsterdam, 
 and which is rendered with surprising power, freshness and fidelity, 
 an unwonted poetic charm. 
 
 Entirely different from Hobbema is Aart van der Neer, an 
 artist in a class by himself, one who appeals to the impressions 
 such as few do among Dutch painters, and precisely on that 
 account less appreciated by his contemporary countrymen than 
 the realist Hobbema, whose fate he shared in having to eke out a 
 scanty livelihood by a miserable by-occupation (he kept a low- 
 class public-house). He is most remarkable for his light effects, 
 moonlight scenes and other night-pieces, lit up by fires, evening 
 views or bright winter scenes. This collection contains two excel¬ 
 lent and characteristic pictures of his; bright and highly coloured 
 and in a capital state of preservation: “A Hamlet on a Canal, in 
 the evening glow” (No. 61), and “Amusements on the ice 
 on a frozen branch of a river in the suburbs of Amsterdam” 
 (No. 62). They are similar in composition: the mass of 
 water lost in the distance, the animation on both banks, the bright 
 sky shedding its light on the water or the ice-surface and illumining 
 the darkest shadows; both pictures are small, and lightly and even 
 sketchily treated, but with a master’s genius: they belong to his 
 earlier and best period. 
 
 How variously the same simple Dutch landscape scenes are con¬ 
 ceived and rendered by different artists is illustrated by com¬ 
 paring Aart van der Neer’s winter-landscapes with those of Jan 
 van de Cappelle, and an opportunity of doing so is afforded by a 
 picture in this collection (No. 63). Whereas the former is 
 richer and more delicate in the construction of his landscape than 
 in the light-portrayal, the effect of the latter is produced by 
 greater simplicity, vigour and fidelity. Although he painted only 
 in his leisure hours, and so to speak as a pastime — he owned and 
 managed the largest dye-works in Amsterdam and was one of its 
 richest citizens — his pictures do not bear the slightest trace of 
 the amateur, but show as much originality, freshness, and fidelity 
 of conception and freedom and effectiveness in execution as those 
 of the professed artist. His sunny, as a rule, richly enlivened sea- 
 pieces, appeal to our modern taste, through their picturesque 
 effectiveness far more than those of the most celebrated marine- 
 painter of his time Willem van de Velde, for whom until a few 
 decades ago Van de Cappelle’s pictures were almost entirely 
 
 25 
 
neglected and forgotten. The unusually hard or restless colouring, 
 and the rather jejune treatment of W. van de Velde’s later style 
 make us too apt to forget that in his earlier sea-pieces, especially 
 in the simple portrayal of a calm sea with solitary ships and boats 
 in a bright warm sunshine and in his few coast-scenes, he has given 
 us landscapes of a fidelity and effective delicacy which may com¬ 
 pare with the highest efforts of the best time of Dutch landscape 
 painting. To these belong the two pictures in this collection, “A 
 calm Sea on the flats” (No. 64), a light toned work full of 
 effect and bright character, and especially the one with two large 
 boats in the fulness of sunlight (No. 65). 
 
 In the depiction of animated Dutch landscapes, as the last 
 named artists painted them, the most capable and versatile master 
 is Philips Wouwermans. Like W. van de Velde this artist is 
 no longer affected; for the modern taste he is too obvious in his 
 intended effects, too studied in his subjects, too sketchily narrative, 
 too rich and full in composition, and in colouring often too dark 
 and restless. It must be admitted that many of his pictures, 
 especially of his later ones, exhibit these defects to a greater or 
 lesser degree: at the same time we possess a large number which 
 are not open to this reproach, and which are so picturesquely con¬ 
 ceived, so admirably executed, and which depict Holland and Dutch 
 life at the time of the Thirty Years’ War with such variety and 
 vivacity as no other painter has even attempted to do. Few 
 pictures show what Wouwermans could produce in his best moments 
 as fully as “The Ford” (No. 66), one of his greatest works 
 both literally and figuratively. The picture is essentially a land¬ 
 scape, for the few small figures, which by the way are excellently 
 drawn, are merely inserted to give animation and as bits of colour¬ 
 ing. True the landscape is rich, nay, exceedingly rich in subjects, 
 and highly animated, and — if this be a reproach — it must be 
 admitted that the foreground is taken from the dunes of Holland 
 and the undulations from central Germany, but precisely in this 
 peculiarity lies the artist’s strength. The numerous, often divergent 
 subjects, while carrying out the details with a charming fidelity, 
 he manages to weld into a harmonious whole, to impart a unity 
 to the numerous and restless lines, to mass the rich colour, to 
 insert the ornamental figures for the animation of the landscape 
 in the most skilful and convincing manner, and thus create a 
 very extraordinary but thoroughly plausible impression. In the 
 picture before us the artist has been particularly successful in 
 doing this; seldom is the construction so grand or the colouring 
 and light-treatment so vigorous and effective as in this work. 
 
 In strong contrast to Wouwermans is the treatment of similar 
 
 26 
 
subjects by his countryman Adrian van de Velde, junior to him 
 but by few years. In place of the former’s richness and animation 
 of portraiture, of his varied construction and effects, here reign 
 simplicity and repose, for dramatic point and narration the mood 
 of every day life. This is exemplified by the “Riding Party” 
 (No. 67), which the artist, as in many cases, painted in con¬ 
 junction with his coetaneous friend Jan van der Heyden, and 
 in which Adrian has depicted views of small Dutch country-houses 
 with portraits of the owners. The precise execution, the joyous 
 sun-light effect and the gay colours impart a cheerful character to 
 the picture. From the costumes, it must have been painted 
 shortly before the decease of Adrian at the age of thirty-five. 
 
 The Road by the side of a wood by Jan Wynants (No. 
 68), and a few pedestrians which were added by Jan Lingelbach, 
 is a subject which well suited the artist, and is in the form to 
 which he was best able to do justice. 
 
 A valuable acquisition made the year before the collector’s 
 death is a picture by Paulus Potter with some cattle in the 
 foreground of a richly wooded landscape (No. 69), and is 
 of special interest through the date which it bears of 1640, showing 
 as it does the precocious talent of the artist, who was then only 
 fourteen years of age. 
 
 There are only two pictures of Still-life in this collection; but 
 they are both masterpieces of the two greatest still-life artists, 
 viz: “The Dessert” by Abraham van Beijeren (No. 70), 
 and a similar subject by Willem Kalf (No. 71). The 
 pictures of both these artists are remarkable for their delicate 
 chiaroscuro, but whereas Beijeren makes his composition melt 
 away into a warm brownish tone, Kalf employs vigorous local 
 colouring, the brilliant hues of which combine with most delicate 
 harmony, so that the effect is both varied and consistent. Both 
 are unsurpassed in depiction of the subject and in masterly 
 treatment. 
 
 27 
 
X)NGSIDE the Dutch paintings, this collection 
 can show a small number of Flemish pictures, 
 which fit in excellently with the former in point 
 of style and quality. 
 
 Bearing Rubens’s name is a very graceful 
 “Female Portrait” (No. 72) of which there 
 are several replicas. The sitter was nearly related to the artist, 
 but certainly neither his second wife Helene Fourment nor yet 
 his first, Isabella Brant, as these portraits are variously designated. 
 The features are very different from those of Isabella with her 
 pronounced oval face, the eyes somewhat awry and the corners 
 of the mouth turned slightly upwards. They resemble more the 
 feature of his second wife, but as they differ in expression and 
 other particulars they are probably those of one of Helene’s sisters. 
 
 A forcible example of Rubens’s powerful and vigorous style is 
 afforded by the bust-length picture of the painter Frans Francken 
 (No. 73), an old friend of the artist whom Van Dyck has 
 sketched in his “ Ikonographie.” In conception and drawing it 
 is of a simplicity and freshness not often found in Rubens’s por¬ 
 traits. The powerful colouring is of a masterly style, as a rule 
 carefully carried through, and in spite of precision bold and broad. 
 
 A second portrait of the great Flemish Master and, as the 
 first, acquired from the King of the Belgians, is of equal significance 
 in its way though but a sketch. It is the design for an altar-piece 
 (No. 74), with which at the same time the artist has sketched 
 a rich baroque frame. The religious theme: Christ with the banner 
 of victory over death and sin, crowned by angels, with two prophets 
 and saints on either side, is in true Rubens style, a highly dramatic 
 composition, acquiring from its rich colours and light blonde tone 
 a powerful and harmonious unity. From the colouring and treat¬ 
 ment we may assign the picture to about 1618, the date of 
 Francken’s portrait. 
 
 There is still another work of Rubens in this collection such 
 as is rarely found in private hands, a landscape (No. 75). 
 The subject is one of extraordinary simplicity: On gently undulat¬ 
 ing ground a few groups of trees, in the foreground on a bad road 
 is a cart; everything bathed in the glow of the setting sun and 
 most thrillingly effective in its magnificent colouring. One of those 
 
 28 
 
exquisite improvisations such as the ailing master executed as a 
 labour of love on his Steen property in his last declining years. 
 
 One of several pictures by Anthony van Dyck is the portrait 
 of Ferdinand de Boischot, Baron of Saventhem (No. 76), a 
 masterpiece of delineation of character and not less remarkable 
 for its effective colouring. The stern severe features add to the 
 distinguished effect of this picture, which was executed at Antwerp 
 in 1630. Especially attractive by the fascinatingly masterly exe¬ 
 cution and the rich and yet delicately graded colouring is the 
 “Martyrdom of St. Sebastian” (No. 77), a sketch for the 
 well-known picture in the Munich Pinacothek painted by Van 
 Dyck when he was a young assistant in Rubens’s studio. 
 
 Van Dyck had a large number of pupils and assistants: in fact 
 all schools of portrait painting and even the rococo schools were 
 under his influence. One of his younger countrymen, Gonsales 
 Cocx was even called by his contemporaries “Van Dyck the Less,” 
 though he was not one of his pupils, for Van Dyck had emigrated 
 to England when Gonsales was but fourteen years of age. His 
 portraits, too, in contrast with the decorative and comprehensive 
 portraits of Van Dyck the Great, are all of small size and executed 
 almost as are miniatures: such a dignity however attaches to 
 these tiny portraits, and such a delicacy of treatment, that they 
 really look like Van Dyks in miniature. This collection contains 
 two important pictures, of which the larger was one of his best known 
 works when it was in the celebrated Manfrin Gallery in Venice. 
 On a terrace four young married couples are grouped rather closely 
 around the father and mother, who are sitting in the centre 
 (No. 78). The sitters probably belong to the wealthy Antwerp 
 merchant class, only one of the sons-in-law is a nobleman, a 
 “cavalier,” as is indicated by his sword and the steed behind him, 
 which a Moor is holding by the bridle. The artist appears to have 
 been connected with the family, as he has painted himself standing 
 in the background, which is probably not found in any of his other 
 fairly numerous groups. 
 
 The second picture shows a similar arrangement: a young 
 married couple is standing in front on a terrace with two girls 
 on either side, of whom the elder (probably a sister of the young 
 wife) is playing the lute (No. 79). This picture, too, is 
 remarkable for the fresh bright colouring, the light picturesque 
 treatment and simple charming characterization. 
 
 A small half-length portrait of a comely young man with long 
 fair hair, an officer (No. 80) whose taste for music is attested 
 by a guitar on which he is resting his left hand, was purchased 
 by Herr de Ridder as a Terborch, with whose portraits however 
 
 29 
 
it bears but a distant resemblance. It seems to me rather to 
 betray strongly the influence of Gonsales Coex and I am inclined 
 to assign it to Biset, an excellent painter of the school of Coex 
 under whose influence he probably came during his sojourn in 
 Antwerp. 
 
 Of Belgium’s most highly extolled genre painter, David Teniers, 
 the de Bidder Collection contains five characteristic pictures, all 
 of which are remarkable for their bright colouring and excellent 
 state of preservation. One of them depicts “A Merry Party” 
 (No. 81), a subject frequently dealt with by the artist, full 
 of genius and dashing treatment, the rich colouring being especially 
 delicate. The types do not show any particular individuality. 
 The influence of Brouwer, which even long after his death had 
 been so beneficial, is here hardly traceable. From these and other 
 signs, viz: the light rich colouring, the picture must have been ex¬ 
 ecuted soon after the middle of the century. Between about five 
 and ten years later two other of this artist’s pictures in this collec¬ 
 tion were produced, both of them rather plain interiors. The young 
 man who is regaling himself with a glass of wine (No. 82) is no 
 doubt one of a series of the five senses which Teniers painted a 
 number of times and with not much variation, and would then 
 be designated as “Tasting.” Here the young fellow, from his 
 costume a servant in an opulent family, as well as the old woman 
 who is waiting on him are delineated with extraordinary indi¬ 
 viduality, whilst the third picture (No. 83), which is akin 
 to it in construction and composition (it bears the date 1660), 
 shows a young peasant couple of true Teniers type but kindlier 
 and more agreeable than we are accustomed to find. This picture, 
 too, possesses the same meritorious features in the rich bright 
 colours and the delicate blonde tones. 
 
 The fourth picture exhibits the artist in a style peculiar to 
 himself and for which he was especially celebrated. An aristo¬ 
 cratic looking man in his picture gallery is inspecting a picture 
 which the young artist is showing him. From the resemblance of 
 the boy who is holding the picture we may suppose him to be one 
 of the painter’s brothers (No. 84). The walls are literally 
 covered with pictures from the floor to the ceiling; on the ground 
 is a globe and books scattered about, with shells, corals, etc,, on the 
 cabinet such as one always sees in collections of curios. In a 
 dashing sketchy manner Teniers has drawn all the pictures so 
 characteristically that we did not need the tiny inscription to 
 recognize them as works of his Antwerp contemporaries: Arthois, 
 Artvelt, Franeken, Momper, etc. In a similar way he has given 
 us the celebrated Gallery of the Archduke Leopold Wilhelm in a 
 
 30 
 
whole series of interiors, which, as is well known, he copied in 
 small size for their reproduction as engravings. 
 
 The “Small Landscape” (No. 85) is a delicately toned 
 landscape dashed off in an impromptu manner. 
 
 In conclusion I would mention that this collection possesses a 
 small but good and characteristic picture by “The Master of the 
 half-length female figures,” representing, as usual, St. Mary 
 Magdalene. 
 
 By the wish of Herr de Ridder it has not been included in 
 this publication, inasmuch as, being a work of the early part of 
 the XVI. Century it did not seem to be in place in a collection 
 consisting exclusively of XVII. Century works. 
 
 31 
 
No. 1 
 
 REMBRANDT HARMENSZ VAN RIJN 
 
 Dutch School. Born at Leyden July 15th 1606, buried in Am¬ 
 sterdam October 8th 1669. Painted in Leyden and Amsterdam. 
 
 Portrait of a Man , a member of the Raman family 
 
 On oak. Height, 67; width, 52 
 
 Turned towards the right, looking in front of him. In 
 black coat and large slouch hat, on a bright-toned ground. 
 The dark-blonde beard is in effective contrast with the white 
 collar. 
 
 Life-size, Bust-length without hands. 
 
 Signed on the right above the shoulder: 
 
 “Rembrandt ft. 16^4.” 
 
 32 
 
REMBRANDT HARMENSZ VAN RIJN 
 
No. 2 
 
 REMBRANDT HARMENSZ VAN RIJN 
 
 Dutch School. Born at Leyden July 15th 1606, buried in Am¬ 
 sterdam October 8th 1669. Painted in Leyden and Amsterdam. 
 
 Flora 
 
 On oak. Height, 65; width, 51 
 
 Sitting, slightly inclined towards the left, she is holding a 
 flower in her left hand and looking thoughtfully in front of 
 her. In a bright coloured dress cut rather low at the neck, 
 and with veil and flowers in her curly hair. Dark back¬ 
 ground. 
 
 Full size. Half length. Oval. 
 
 The sitter for this and other Flora 'pictures of this period was undoubtedly his wife Saskia 
 van Uylenburgh. 
 
 Collection: Vicomte de Fonspertuis, Paris 171fl. Blondel de Gagny, Paris 1777. 
 
 Sir Ch. Robinson, London, Ad. Schloss, Paris 
 Exhibited in Amsterdam 1898 
 
 See Bode’s Rembrandt III No. 190 Smith’s Catalogue rais, VII No. 508 
 
 No. 3 
 
 REMBRANDT HARMENSZ VAN RIJN 
 
 Dutch School. Born at Leyden July 15th 1606, buried in Am¬ 
 sterdam October 8th 1669. Painted in Leyden and Amsterdam. 
 
 A Girl at a Window 
 
 On canvas. Height, 85; width, 71 
 
 A young girl is looking out of an open window. She is 
 holding the curtain back with her right hand and, resting 
 on her left, is laughing roguishly. With a dull red cap and 
 reddish brown dress cut low to the bosom showing chemisette 
 to the neck. A massive twisted gold chain hangs from her 
 neck and shoulders. 
 
 Full size. Half-length. 
 
 Signed: Rembrandt 1654. 
 
 Exhibited: British Gallery, London, 1831 
 
 Collections: Sir Mathew White Ridley, London Lord Ridley, London 
 
 See Bode’s Rembrandt, No. 339, and Smith’s Catalogue rais, VII No. 51^9 Vosmaer p. 538 
 
 33 
 
No. 4 
 
 FRANS HALS THE ELDER 
 
 Dutch School. Born at Antwerp 1580 or 1584, died at Haarlem 
 August 29th 1666. Painted in Haarlem and occasionally in Amsterdam 
 
 Portrait of a young Woman 
 
 On canvas. Height, 109,5 width, 81,5 
 
 Standing and turned slightly towards the left, she is looking 
 at the spectator with a calm benignity. She wears lace cuffs, 
 large Spanish ruff, pearl necklace and bracelets and a wide 
 lace cap in her thick hair. In her right hand she carries 
 long gloves. 
 
 Life size. Three-quarter length. 
 
 Signed above on the left: “.ETA SV.E 28” 
 
 A No. 1634 
 
 From the Collection of Graf Mniszech, Paris 
 W. Bode “Studies in Dutch Painting ”, Page 84 
 L. Moes “Frans Hals ”, No. 187. 
 
 34 
 
FRANS HALS d. A 
 
No. 5 
 
 FRANS HALS THE ELDER 
 
 Dutch School. Born at Antwerp 1580 or 1584, died at Haarlem 
 August 29th 1666. Painted in Haarlem and occasionally in Amsterdam. 
 
 Portrait of Sara Andriesdr, wife of the Pastor Michiel 
 
 Middelhoven 
 
 On canvas. Height, 68; width, 69 
 
 Almost full face and looking straight in front of her, sitting 
 in an armchair, with a prayer book in her left hand while 
 her right crosses her bosom, wearing a black dress with 
 Spanish ruff and a white hood. 
 
 Life size. Three-quarter length. 
 
 From the Collection of Graf Mniszech, Paris 
 
 See W. Bode “Studies in Dutch Painting”, Page 8b, and 
 
 L. Moes “Frans Hals” No. 66. 
 
 No. 6 
 
 JAN CORNELLS/ VERSPRONCK (VERSPRONG) 
 
 Dutch School. Born at Haarlem in 1597; buried 
 there June 30th 1662. Painted at Haarlem. 
 
 Portrait of a Young Man 
 
 On canvas. Height, 7b; width, 62 
 
 Turned towards the right and looking straight in front of 
 him. Long hair and pointed beard. The gloved right hand 
 resting on his hip, and the left thrust into his cloak. Black 
 coat with lace trimmed collar and lace cuffs. 
 
 Signed: “Jan Verspronck” 
 
 35 
 
No. 7 
 
 JACOB ADRIABNSZ BACKER 
 
 Dutch School. Born at Harlingen in 1608 or 1609, died in Am¬ 
 sterdam August 27th 1651. Painted at Leeuwarden and Amsterdam. 
 
 Portrait of the Goldsmith Johannes Lutma 
 of Groningen 
 
 On oak. Height, 61; width, 71 
 
 In a black cloak with a goldsmith’s hammer in his left hand, 
 he is looking at the spectator. On the right, by his side, is 
 a richly wrought centre-piece and a beaker with tools. 
 Half-length. Oval. 
 
 Signed on the right AB. 
 
 From the Graf Mniszech Collection in Paris. 
 
 No. 8 
 
 JACOB ADRIAENSZ BACKER 
 
 Dutch School. Born at Harlingen in 1608 or 1609, died in Am¬ 
 sterdam August 27th 1651. Painted at Leeuwarden and Amsterdam. 
 
 Portrait of the Wife of Johannes Lutma 
 
 On oak. Height, 91; width, 71 
 
 Sitting and looking straight in front of her, the lady, who 
 is decidedly comfortable in appearance, has laid her hand on 
 her lap. Broad soft cuffs half cover the hands, as do a large 
 pointed collar and a cap the plump face. 
 
 Half-length. Oval. 
 
 Signed: “A. B.” 
 
 From the Graf Mniszech Collection in Paris. 
 
 36 
 
No. 9 
 
 FERDINAND BOL 
 
 Dutch School. Baptized June 24th 1616 at Dordrecht, 
 buried July 24th 1680 in Amsterdam. Painted in Amsterdam. 
 
 Portrait of a Girl 
 
 On canvas. Height, 100; width, 77 
 
 Leaning against the half-open front door and supporting 
 herself by both arms she is looking laughingly to one side. 
 Dark hair and dark coloured dress. 
 
 From the Humphrey Ward Collection, London. 
 
 No. 10 
 
 GOVERT FLINCK 
 
 Dutch School. Born at Cleves in 1615, died 
 in Amsterdam in 1660. Painted in Amsterdam. 
 
 Portrait of a Young Man , in the costume of a shepherd 
 
 On oak. Height, 68; width, 50,5 
 
 A youth with thick hair, beardless, turned slightly to the 
 right and looking in the same direction. In his gloved left 
 hand he holds a shepherd’s crook. A bright coloured shawl 
 over his braided coat. 
 
 Almost life-sized. Oval. 
 
 From the Collection of Graf Tyszkiewicz, Warsaw. 
 
 37 
 
No. 11 
 
 PAUL MOREELSE 
 
 Bom at Utrecht in 1571, died there 
 March 19th 1638. Painted at Utrecht. 
 
 A Young Girl in the character of St. Agnes 
 
 On oak. Height, 72; width, 59 
 
 In a white silk dress and a light pink cloak, a necklace of pearls 
 and another of precious stones, pearl ear-rings and pearl 
 bracelets. Under the right arm she holds a little lamb, and 
 in her left hand a palm-leaf. 
 
 No. 12 
 
 THOMAS DE KEIJSER 
 
 Dutch School. Born in Amsterdam in 1596 or 1597, 
 buried there June 7th 1667. Painted in Amsterdam. 
 
 Portrait of a Young Nobleman 
 
 On oak. Height, 86; width, 62 
 
 Standing by a table covered with dark velvet table-cloth, 
 holding a soft hat and gloves in his left hand and resting his 
 right on his sword. In a slashed black silk jacket, small lace 
 collar and white stockings. On the right at his side a large 
 light coloured greyhound. 
 
 Small size, full length. 
 
 Signed and dated 1624. 
 
 Massey-Mainwaring Collection, London. 
 
 38 
 
No. 13 
 
 THOMAS DE KEIJSER 
 
 Dutch School. Born in Amsterdam in 1596 or 1597, 
 buried there June 7th 1667. Painted in Amsterdam. 
 
 Portrait of an Architect 
 
 On oak. Height, 28; width, 22,5 
 
 In an armchair which is decorated at the back with a lion’s 
 head, almost full-face and looking at the spectator with an 
 eager expression. Thin beard. In a high hat with flat 
 white collar over his black coat. 
 
 Small size, half-length. 
 
 Signed on the right “T. d. K.” (interlaced). 
 
 Oberkampf Collection, Paris. 
 
 No. 14 
 
 THOMAS DE KEIJSER 
 
 Dutch School. Born in Amsterdam in 1596 or 1597, 
 buried there June 7th 1667. Painted in Amsterdam. 
 
 Portrait of a Gentleman 
 
 On copper. Oval. Height, 23,5; width, 18,5 
 
 Turned to the right and looking straight before him. Pointed 
 beard and fair curly hair; large slouch hat and narrow soft 
 Spanish ruff over his black coat. Bright ground. 
 
 Small size. Half-length. 
 
 Signed: “T. d. K.” (interlaced). 
 
 Collection of Comte Montbrison, Chateau St. Rock. 
 
 39 
 
No. 15 
 
 CORNELIUS JANSSENS VAN CEULEN 
 
 Dutch School. Born in London October 1590, died in 
 Amsterdam or Utrecht about 1664. At first painted 
 in England and from 1643 in various Dutch towns. 
 
 Portrait of a Young Officer 
 
 On oak. Height, 38; width, 29,5 
 
 He is looking straight in front of him and slightly turned 
 towards the left. Over his dark suit of armour a flat Dutch 
 collar. Youthful face with fair curly hair. Dark ground. 
 Bust length and rather less than life-size. 
 
 Signed: “C. J. fecit 1643.” 
 
 From, the Collection of Princesse de Caraman-Chimay, Brussels. 
 
 No. 16 
 
 ADRIAN THOMASZ KEY 
 
 Flemish School. Painted from about 
 1558 to 1598, principally in Antwerp. 
 
 Portrait of Adrian Cromhout, Burgomaster of 
 
 Amsterdam 
 
 On oak. Height, 66; width, 5k 
 
 Turned slightly to the left, looking in front of him. Hair 
 cut close and short beard streaked with gray. In a black 
 coat with full sleeves and small collar. Dark ground. 
 Almost life-size. Bust-length without hands. 
 
 Signed: ADRIAEN CROMH 
 ACT AT IS 62 
 BVRGERM. van AM ST. 
 
 Collection of Comtesse de Bearn, Paris. 
 
 40 
 
No. 17 
 
 GERARD TERBORGH or TER BORCH 
 
 Dutch School. Born at Zwolle in 1617, died December 8th 1681. 
 Painted chiefly at Deventer, but before that in Zwolle, Am¬ 
 sterdam, Haarlem, England, Germany, Italy, Spain and France. 
 
 Portrait of a Gentleman 
 
 On canvas. Height, 67; width, 50 
 
 By a table with a reddish yellow iridescent plush table¬ 
 cloth, full length, with the left hand resting on a chair and 
 looking in front of him. In a high hat, flat white collar 
 over a black costume, on the right a silk curtain. 
 
 Small figure, full-length. 
 
 No. 18 
 
 GERARD TERBORCH or TER BORCH 
 
 Dutch School. Born at Zwolle in 1617, died December 8th 1681. 
 Painted chiefly at Deventer, but before that in Zwolle, Am¬ 
 sterdam, Haarlem, England, Germany, Italy, Spain and France. 
 
 Portrait of a Lady 
 
 On canvas. Height, 66; width, 50 
 
 Standing, full-length, looking straight in front of her, with 
 her right hand resting on a table with an orange plush table¬ 
 cloth. Black dress over a grey silk bodice, lace collar and 
 lace undersleeves. To the left a brown silk curtain. 
 
 Small figure; full-length. Pendant to the preceding. 
 
 41 
 
No. 19 
 
 GERARD TERBORCH or TER BORCH 
 
 Dutch School. Born at Zwolle in 1617, died December 8th 1681. 
 Painted chiefly at Deventer, but before that in Zwolle, Am¬ 
 sterdam, Haarlem, England, Germany, Italy, Spain and France. 
 
 Portrait of Herr Jan de Graaf 
 
 On oak. Height, 45,5; width, 34,5 
 
 Standing, nearly full face, looking in front of him, he rests 
 his gloved right hand on a walking stick. His slouch hat is 
 lying on a table to the left with a reddish plush cloth; on 
 the right is a pillar, over which a curtain falls, with the 
 Graaf coat of arms on the base. 
 
 Three-quarter length; rounded at the top. 
 
 Signed on the right: “G. T. B.” (interlaced) 
 
 From the Collection of the Due de Tremoille-Duchatel, Paris, 
 
 Exhibited in Paris 1875 in the Exposition Alsace-Lorraine, Cat. No. 1028. 
 
 No. 20 
 
 GERARD TERBORCH or TER BORCH 
 
 Dutch School. Born at Zwolle in 1617, died December 8th 1681. 
 Painted chiefly at Deventer, but before that in Zwolle, Am¬ 
 sterdam, Haarlem, England, Germany, Italy, Spain and France. 
 
 A Girl , reading 
 
 On canvas. Height, 37; width, 27 
 
 At a table, on which are an inkstand and a candle, sits a 
 young girl on the left, looking up from a book with illustra¬ 
 tions. She wears a low black velvet collar over a light lilac 
 jacket and grey silk dress. Around the short curls is a 
 white headkerchief. A wall with closed door serves as 
 background. 
 
 Signed on the right on the table: “G. B. T.” (interlaced). 
 
 Collection Josua van Belle, Rotterdam 1730 
 Collection Robert de Neuville, Leyden 1736 
 Collection Meschert van Vollenhoven, Amsterdam 
 Collection Dr. Max Wassermann, Paris 
 Exhibited in Amsterdam 1867 
 Exhibited at the Hague 1890 
 
 42 
 
No. 21 
 
 GERARD TERBORCH or TER BORGH 
 
 Dutch School. Born at Zwolle in 1617, died December 8th 
 1681. Painted chiefly at Deventer, but before that in Zwolle, Am¬ 
 sterdam, Haarlem, England, Germany, Italy, Spain and France. 
 
 The Music-lesson 
 
 On canvas. Height, 61,5; width, 47,5 
 
 At a table, covered with a plush table-cloth, sits a young 
 lady in a yellow fur jacket over a white silk dress and with 
 a red ribbon in her fair hair, absorbed in her mandolin. 
 Behind the table is an officer with silver laced bandolier 
 with a book of music and singing to the lady’s playing. 
 Behind him stands another young man with his cloak thrown 
 around him and looking at the book. Against the wall is 
 a bed. 
 
 Signed (on the footstool): “G. T. B.” (interlaced). 
 
 Collections: John Smith (Author of Catalogue raisonne), London 
 Perignon, Paris, 1824 
 Michael Peacock, London 
 See Smith’s Catalogue, Vol. IV., Page 119 
 
 The same composition, rather larger in size, is in the National Gallery in London. The young 
 lady is sitting nearly straight up and has no red ribbon in her hair, on the table is an oriental 
 table-cover and on the left by the door is a dog. Though a genuine Terborch, it is without 
 signature. A portrait of the young lady only is in the Gallery at Cassel. 
 
 No. 22 
 
 GERARD TERBORCH or TER BORCH 
 
 Dutch School. Born at Zwolle in 1617, died December 8th 
 1681. Painted chiefly at Deventer, but before that in Zwolle, Am¬ 
 sterdam, Haarlem, England, Germany, Italy, Spain and France. 
 
 Playing Cards 
 
 On oak. Height, 25,5; width, 20 
 
 A lady and a gentleman are sitting opposite each other at 
 a card-table. The man looks enquiringly across at the lady, 
 who is in a light dress and with her back to the spectator. 
 She looks up> at the young man who is standing behind her 
 to the left and is selecting a card for her to play. 
 
 Signed: “G. T. B.” (interlaced). 
 
 From the Collection of the Due d’Ascoli, Naples 
 Smith’s Catalogue rais. IV., Page HO, No. 74 
 
 43 
 
No. 23 
 
 GABRIEL METSU (more rarely METSUE) 
 
 Dutch School. Born at Leyden in 1629 or 1630, buried in Am¬ 
 sterdam October 24th 1667. Painted in Leyden and in Amsterdam. 
 
 Portrait of a Young Man 
 
 On oak. Height, 23; width, 21 
 
 Sitting, leaning slightly forward and looking at the spectator. 
 With fair wavy hair, in a grey buttoned-up coat and light 
 grey cloak thrown over the right shoulder. In the right hand, 
 resting the arm on the table, he holds a roll of paper. 
 
 Small picture of three-quarter length. 
 
 Signed above on the left: “G. METSU 1664.” 
 
 Lord Ashburton Collection, London 
 
 The former title of “The Artist's own Portrait" is 'probably incorrect, to judge by the costume 
 and the scroll in the hand. 
 
 No. 24 
 
 GABRIEL METSU (more rarely METSUE) 
 
 Dutch School. Born at Leyden in 1629 or 1630, buried in Am¬ 
 sterdam October 24th 1667. Painted in Leyden and Amsterdam. 
 
 The Letter 
 
 On oak. Height, 31,5; width, 28,5 
 
 A young woman in fur-trimmed costume is sitting at the 
 table reading a letter; with her right hand she caresses a 
 dog in her lap. On the right behind her is the maid who 
 has brought the letter, with basket, bag and envelope in her 
 left hand. A bright cloth is on the table. 
 
 Signed (on the envelope): “METSU.” 
 
 Collection C. G. Blanken, the Hague 1800 
 Collection Kalkbrenner, Paris 
 Collection Adrian Hope, London, Catalogue No. il 
 Collection Arthur Sanderson, Edinburgh 
 Smith’s Catalogue rais. Supplement No. 28. 
 
 44 
 
No. 25 
 
 GABRIEL METSU (more rarely METSUE) 
 
 Dutch School. Born at Leyden in 1629 or 1630, buried in Am¬ 
 sterdam October 24th 1667. Painted in Leyden and in Amsterdam. 
 
 Lady , feeding her little dog 
 
 On canvas. Height, b6; width, 87,5 
 
 In an elegantly furnished room, in front of a high fire-place 
 with a fire burning on the right, a young lady in a grey jacket 
 lined with ermine, cinnamon coloured dress and a black 
 mourning veil. In her left hand she holds a plate on which 
 a young serving-maid who is kneeling at the fire on the 
 right is putting a cake which she has just taken out of the 
 pan. On the lady’s lap is a little brown-spotted dog, looking 
 greedily at the cake. 
 
 Collection of Baron Delessert, Paris 1869 
 
 and of Maurice Kann, Paris 1909 
 
 Smith’s Catalogue, Vol. k. No. 115, Supplement No. 18. 
 
 No. 26 
 
 QUIERINGH GERRITSZ BREKELENKAM 
 
 Dutch School. Bom about 1620 at Swammerdam 
 near Leyden, died 1668 at Leyden, where he painted. 
 
 The Fisherman and the Cook 
 
 On oak. Height, lj.2; width, 3U 
 
 A fisherman, his rod in his left hand, is jokingly trying to 
 take by the chin the young cook who is standing by the 
 table and cleaning some fish. In front on a window-sill a 
 dish of fish, a kettle, a basket of vegetables and to the left, 
 a little further back, the man’s fish-basket. 
 
 Signed with monogram. 
 
 From the Jules Porges Collection, Paris. 
 
 45 
 
No. 27 
 
 QUXERINGH GERRITSZ BRE KELENKAM 
 
 Dutch School. Born about 1620 at Swammerdam 
 near Leyden, died 1668 at Leyden, where he painted. 
 
 A young Couple, taking wine together 
 
 On oak. Height, 41; width, 34,5 
 
 To a young, fashionably dressed man, sitting in a room by 
 the window, a young lady sitting vis-a-vis is offering a glass 
 of wine. On the right, a table with various things upon it; 
 on the left, a violin and bow resting by the side of a stool. 
 On the light coloured wall, a large landscape picture. 
 Signed with monogram. 
 
 Collection of Lady Wantage, Locking, Wantage 
 Collection of Sir George Donaldson, London. 
 
 No. 28 
 
 JAN STEEN 
 
 Dutch School. Born at Leyden about, 1626, buried there 
 February 3d 1679. Painted in Leyden, Haarlem and the Hague. 
 
 The Music-lesson, known by the name “Jan Steen 
 
 and his wife ” 
 
 On oak. Height, 32; width, 26,5 
 
 A young woman in a reddish velvet jacket, trimmed with 
 fur, is playing the flute whilst her instructor opposite, who 
 has risen from his chair, is counting time and listening atten¬ 
 tively. A four-poster in the back-ground on the right, and 
 a low table with a glass upon it in the foreground on the 
 left. 
 
 Signed “J. S.” (interlaced). 
 
 From, the Massey-Mainwaring Collection, London. 
 
 46 
 
No. 29 
 
 JAN STEEN 
 
 Dutch School. Born at Leyden about 1626, buried there in 
 February 1679. Painted in Leyden, Haarlem and the Hague. 
 
 Music-lesson by Candle-light 
 
 On oak. Height, 2if,5; width, 19,5 
 
 A woman in a dark costume is singing and accompanying 
 herself on the guitar, and looking attentively at the piece 
 of music, which is lying on the table in front of her to the 
 right, and lighted by a tall candle. The music master in a 
 soft hat is leaning his right arm on the edge of the table and 
 singing with her. 
 
 Signed with name. 
 
 No. 30 
 
 JAN STEEN 
 
 Dutch School. Born at Leyden about 1626, buried there in 
 February 1679. Painted in Leyden, Haarlem and the Hague. 
 
 Grace before Meat 
 
 On canvas. Height, 1$; width, 51} 
 
 In a brightly lighted room, in the foreground on the left, 
 sit a father and mother with their child in a reverent attitude 
 at table, while an older son standing by on the right is saying 
 grace. In front of him in a cradle is the youngest child 
 asleep; by the side is a little dog. Against the wall is an 
 open cup-board and a shelf with a kettle, etc. on it. 
 
 Signed below on the right; “J. Steen.” 
 
 Collection of Lady Wantage, Lockinge, Wantage 
 Collection of Sir George Donaldson, London. 
 
 47 
 
No. 31 
 
 JAN STEEN 
 
 Dutch School. Born at Leyden about 1626, buried there 
 February 3d 1679. Painted in Leyden, Haarlem and the Hague. 
 
 The Drawing-lesson 
 
 On oak. Height, 47; width, 39 
 
 The drawing master is correcting a drawing which a young 
 girl has just finished; the girl is looking on and at the same 
 time sharpening a pencil. Behind the table sits a little boy. 
 On the table are all sorts of objects. Behind a tapestry 
 which hangs from the ceiling is an easel, on which is a half- 
 finished picture. In the foreground to the right, a laurel 
 wreath, a lute, a muff and several other still-life objects. 
 Signed below: “J. Steen” 
 
 Collections: J. van Ilessel, Amsterdam 1747. 
 
 Due de Lavalliere, Paris 1781 
 Norman Forbes, London 1901 
 Steen-Exhibition at Dowdeswell’s, London 1909 
 Smith's Catalogue, Vol. IV, No. 36. 
 
 No. 32 
 
 JAN STEEN 
 
 Dutch School. Born at Leyden about 1626, buried there 
 February 3d 1679. Painted in Leyden, Haarlem and the Hague. 
 
 The Siesta 
 
 On canvas. Height, 56; width, 75 
 
 On a verandah covered with vine, in front of a table, which 
 is still laid, sits an old man with a high hat, reading a book. 
 In the foreground is a young girl who has fallen asleep. 
 Behind her is the servant-maid who is about to clear away. 
 On the right is an outlook on to a woody landscape. 
 
 Collections: Smeth van Alpen Amsterdam 1810. W. Ryers, Amsterdam 1814, 
 
 Everett, London 1888. Yerkes . New York 1910, No. 91 
 
 Winter Exhibition, London 1885, No. 86 
 
 Described in: Waagen Supplement, Page 391. Smith’s Catalogue No. 82 
 Westreehne, Page 365. Hofstede de Groot, Vol. 1, No. 372 
 “Among the choicest works of this master ”. Waagen. 
 
 48 
 
No. 33 
 
 NICOLAES MAES 
 
 Dutch School. Bom at Dordrecht in November 
 1632, buried in Amsterdam December 24th 1693. 
 
 Painted in Amsterdam, Antwerp and Dordrecht. 
 
 A Cook plucking a Duck 
 
 On canvas. Height, 58; width, 6h 
 
 The young girl is sitting at the window of the brightly lighted 
 kitchen and is about to pluck a duck. In front of her a 
 cat is stealthily creeping towards a wild duck which is lying 
 on the floor amid apples and kitchen utensils. Behind on 
 the right a cup-board, utensils and a gun with a powder 
 bag. On the left we look into a room. 
 
 Signed below on the right: “N. MiES.” 
 
 Collection of Adrian Hope, Catalogue No. 39 
 Collection of Jules Forges, Paris. 
 
 No. 34 
 
 PIETER DE HOOCH 
 (more rarely de Hoogh or Hooge) 
 
 Dutch School. Baptized December 20th 1629 in Rotter¬ 
 dam^); died soon after 1687, probably in Amsterdam. 
 Painted at the Hague, Delft and Amsterdam. 
 
 A Dutch Home 
 
 On canvas. Height, 62; width, 53 
 
 The mother is sitting at an open door and tying on her 
 little one’s white cap. The young husband, his books under 
 his arm, is mounting the small staircase which leads to his 
 room (behind on the right) on the floor above. A little 
 white dog is playfully jumping up at him. 
 
 Signed: “P. de Hoogh 1668.” 
 
 From the Due de Broglie's Collection. 
 
 49 
 
No. 35 
 
 PIETER DE HOOCH 
 (more rarely de Hoogh or Hooge) 
 
 Dutch School. Baptized December 20th 1629 in Rotter¬ 
 dam^); died soon after 1687, probably in Amsterdam. 
 Painted at the Hague, Delft and Amsterdam. 
 
 The Young Mother 
 
 On canvas. Height, 55; width, 64 
 
 In a Dutch room with a coloured stone pavement a young 
 mother is sitting by the fireside, feeding her baby with soup. 
 She is speaking to the cook, who is standing behind her to 
 the right with a dead duck in her right hand. On the right 
 is a view on to a road with the towers of Delft in the back¬ 
 ground. 
 
 Signed: “P. de Hoogh.” 
 
 Collection Comtesse de Miranda, nee Nilson, Paris 
 and of the Due de Morny, Paris. 
 
 No. 36 
 
 PIETER DE HOOCH 
 (more rarely de Hoogh or Hooge) 
 
 Dutch School. Baptized December 20th 1629 in Rotter¬ 
 dam^); died soon after 1687, probably in Amsterdam. 
 Painted at the Hague, Delft and Amsterdam. 
 
 The Flower Garden 
 
 On oak. Height, 50,5; width, 42 
 
 On a sunny path a woman, basket on arm, is walking between 
 hedged-in flower beds to a country house. By her side is a 
 dog. A high fence on the left shuts in the garden; at the 
 back are some high trees. In front of the house is a young 
 woman listening to her husband playing the flute. 
 
 Langton Douglas Collection, London 
 and the Humphry Ward Collection, London 
 
 Described in Smith's Catalogue rais., Supplement Page 568, No. 17. 
 
 50 
 
No. 37 
 
 ISAGK KOEDIJCK 
 
 Dutch School. Born in Leyden 1616 or 
 1617; died in Amsterdam after 1677. 
 
 A Mother and her Child 
 
 On oak. Height, 8b; width, 28,5 
 
 A young wife is sitting in the foreground on the left near 
 the fireside. In her arm she holds her child to which she 
 has just given suck. On her right by her side the open 
 cradle. In the background of the room is the bed on the 
 right and the door on the left. 
 
 Collection Calonne 
 
 Collection Arthur Sanderson, Edinburgh 
 
 Smith’s Catalogue, Vol. b, No. b, Page 2bb> under N. Maes. 
 
 No. 38 
 
 PIETER CODDE 
 
 Dutch School. Born 1599—1600 in Amsterdam, buried 
 there October 12th 1679. Painted in Amsterdam. 
 
 A Lady at the Piano 
 
 On oak. Height, bl,5; width, 32 
 
 Sitting at an open piano with her back to the spectator. 
 Fair haired with flat lace collar over a dark silk dress. Under 
 the piano a Smyrna carpet. By the side on the right a 
 violoncello. 
 
 John Wilson Collection, Paris. 
 
 Due de Norbonne Collection, Paris 1909. 
 
 51 
 
No. 39 
 
 ADRIAN VAN OSTADE 
 (less commonly OSTADEN) 
 
 Dutch School. Baptized at Haarlem December 10th 1610; 
 buried there May 2nd 1685. Painted at Haarlem. 
 
 Rollicking Peasants in the Interior of a Cottage 
 
 On oak. Height, U0,5; width, 56,5 
 
 In the centre of the foreground a couple making love in 
 rather a coarse fashion, while a peasant and peasant-woman 
 are looking on laughing. To the left a peasant asleep. To 
 the right a couple kissing. By the fire-side on old woman 
 blowing on coals in a pair of tongs. Here and there are 
 children. 
 
 Signed: “Ostade f.” 
 
 From the Collection of Colonel Legh of Legh-Hall, Kunstford, England 
 
 No. 40 
 
 ADRIAN VAN OSTADE 
 (less commonly OSTADEN) 
 
 Dutch School. Baptized at Haarlem December 10th 1610; 
 buried there May 2nd 1685. Painted at Haarlem. 
 
 Man with a Hurdy gurdy 
 
 On oak. Height, kh', width, 35,5 
 
 In front of a peasant’s cottage, which takes up the whole 
 width of the picture, near the door on the right, stands an 
 old hurdy-gurdy man, surrounded by children. From the 
 half open door the old peasant couple looking on. 
 
 Signed: “A. Ostade 1640.” 
 
 Similar compositions of the same period are in the Berlin Gallery, the Von Wesendonclc Collec¬ 
 tion, the Fitzwilliam-Museum in Cambridge, &c. 
 
 From the Massey-Mainwaring Collection, London . 
 
 52 
 
No. 41 
 
 ADRIAN VAN OSTADE 
 (less commonly OSTADEN) 
 
 Dutch School. Baptized at Haarlem December 10th 1610; 
 buried there May 2nd 1685. Painted at Haarlem. 
 
 A Party of Smokers 
 
 On oak. Height, 35; width, 31,5 
 
 In a peasant’s room in front of a large window three peasants 
 are sitting in the foreground at a low' three-cornered table. 
 The one on the left is raising his mug and speaking to his 
 right-hand neighbour, who is smoking; the third at the back 
 is just going to light his pipe on the right; by the door is 
 a press with a yarn-windle upon it. 
 
 Signed with name. 
 
 Collection of Is. Perreire, Paris 
 
 Collection of Ferd. Halphon, Paris 
 
 Described in Smith’s Catalogue mis. 1, No. 91. 
 
 No. 42 
 
 ADRIAN VAN OSTADE 
 (less commonly OSTADEN) 
 
 Dutch School. Baptized at Haarlem December 10th 1610; 
 buried there May 2nd 1685. Painted at Haarlem. 
 
 A Peasant making purchases 
 
 On oak. Height, 15,5; width, 11,5 
 
 In a village street stands an old peasant who is putting his 
 hand in his pocket, apparently feeling for money to pay for 
 some fish which is exposed for sale on a stall somewhat 
 further in the background on the left. 
 
 Signed: “A. v. Ostade.” 
 
 53 
 
No. 43 
 
 ISACK VAN OSTADE 
 
 Dutch School. Baptized at Haarlem June 2nd 1621, 
 died there October 16th 1649. Painted at Haarlem 
 
 Rest in front of a Public-house 
 
 On oak. Height, SO; width, 31+ 
 
 On the left in front of a public-house is a gipsy encampment; 
 a tattered woman is bringing food to the men. Behind is a 
 boy on donkey-back drinking, and to the right a man asleep. 
 On the right is the high road and distant view. 
 
 No. 44 
 
 ISACK VAN OSTADE 
 
 Dutch School. Baptized at Haarlem June 2nd 1621; 
 died there October 16th 1649. Painted at Haarlem. 
 
 A Horse on the High-road 
 
 On canvas. Height, 31,5; width, 26,5 
 
 Across the road sideways stands a dappled brown horse in 
 front of a tree on the right. Further back a man is seen 
 from behind. In the distance is a church tower. 
 
 Signed in front on the right. “1. v. Ostade.” 
 
 54 
 
No, 45 
 
 ISACK VAN OSTADE 
 
 Dutch School. Baptized at Haarlem June 2nd 1621; 
 died there October 16th 1649. Painted at Haarlem. 
 
 A Winter Landscape 
 
 On oak. Height, 86; width, 32,5 
 
 Narrow frozen canal with skaters and sledges. The largest 
 is being drawn by a white horse up to the cottage on the 
 left bank. Spectators on the right and on the narrow bridge 
 in the middle distance. To the left a peasant’s thatched 
 house. 
 
 Signed; ‘Tsack van Ostade.” 
 
 Collection of Comte, Leboeuf-Montgermon, Paris 
 Collection of Dr. Max Wassermann, Paris. 
 
 No. 46 
 
 JAN VAN GOIJEN 
 
 Dutch School. Born at Leyden January 18th 1596; died at 
 the Hague at the end of April 1656. After.making some tours 
 in France and Belgium, he painted at Leyden and the Hague. 
 
 A River Landscape 
 
 On, oak. Height, 39; width, 59 
 
 A castle towering amid some trees over a high wall, which 
 slopes towards the river on the right. In the distance on 
 the left are seen the trees on the opposite bank. Fishermen 
 angling in rowing and sailing boats in the bright background 
 and in the dark strip of shade in the foreground. 
 
 Signed: “V. G. 1643.” 
 
 55 
 
No. 47 
 
 JAN VAN GOIJEN 
 
 Dutch School. Born at Leyden January 13th 1596; died at 
 the Hague at the end of April 1656. After making some tours 
 in France and Belgium he painted at Leyden and the Hague. 
 
 A calm Sea near the Coast 
 
 On oak. Height, 27; mdth, 32,5 
 
 Sailing and rowing boats with fishermen; in fore- and back¬ 
 ground an overcast sky and rich play of light and shadow. 
 In the middle distance to the left, a low projecting strip of 
 land; to the right, fairly large ships, one of which has just 
 fired upon the other. 
 
 Signed: “V. G. 1655.” 
 
 From the Hoogendyck Collection at the Hague. 
 
 No. 48 
 
 ALBERT CUIJP 
 
 Dutch School. Born at Dordrecht in October 1620; died 
 there November 15th 1691. Painted chiefly at Dordrecht. 
 
 A River Landscape 
 
 On oak. Height, 26,5; width, hi 
 
 To the left on the low banks are three cows lying down, and 
 behind in the full light a tumble-down cottage and some 
 bushes. To the right a young fellow launching a boat laden 
 with wood; further back some more boats. 
 
 From the Collection of Comte Greffulhe, Paris. 
 
 56 
 
No. 49 
 
 ALBERT CUIJP 
 
 Dutch School. Born at Dordrecht in October 1620; died 
 there November 15th 1691. Painted chiefly at Dordrecht. 
 
 Starting for a Ride 
 
 On oak. Height, 37; width, 52,5 
 
 On the left a youngish looking man is looking at his horse, 
 which is led out by a groom in a red coat. In front are two 
 blood-hounds. A viaduct with a view on to a woody land¬ 
 scape. 
 
 Signed with name. 
 
 From the Jules Porges Collection, Paris. 
 
 No. 50 
 
 ALBERT CUIJP 
 
 Dutch School. Born at Dordrecht in October 1620; died 
 there November 15th 1691. Painted chiefly at Dordrecht. 
 
 Horsemen in front of an Inn 
 
 On oak. Height, 58; width, 1$ 
 
 In the foreground are two men with their horses, of which 
 one, a dapple-gray, is unsaddled. On the right a big dog is 
 lying. On the left in the shade of some trees is an inn of 
 which only the thatched roof and the sign-board with a 
 chanticleer and the words “in den Haen” are visible. On 
 the right are rocky hills at the foot of which is a shepherd 
 with his flock. In the background a river and a windmill. 
 Signed in full below. 
 
 Signed: “A. Cuyp.” 
 
 From the Earl of Kilmorey’s Collection at Morne Park, Kilkeel 
 Winter Exhibition, London 1882, No. 12It 
 Maurice Kann Collection, Paris 1909. 
 
 57 
 
No. 51 
 
 ALBERT CUIJP 
 
 Dutch School. Born at Dordrecht in October 1620, died 
 there November 15th 1691. Painted chiefly at Dordrecht. 
 
 Landscape with a Horseman and some Herdsmen 
 
 On oak. Height, 39,5; width, 5 .{. 
 
 In the foreground on the right a horseman is talking to 
 three herdsmen on a road. By his side is a cow standing 
 and another lying down. To the left a broad river, on the 
 right side of which is an extensive ruin. 
 
 Signed on the left: “A. Cuyp. ” 
 
 Vente Heris (Bire Collection ) in Paris, March 25th 18bl, No. 28 
 
 Vente Th. Patureau in Paris, April 20th 1857 
 
 Vente Marquise de Rodes in Brussels 1868 
 
 Vente Chr. Raban. Ruhl in Cologne, May 15th 1876, No. 62 
 
 Collection of Etienne le Roy in Brussels 
 
 Collection of Leon Cordon in Brussels 
 
 Collection of Fernand Halphen in Paris 
 
 Described in Ch. Blanc, “le tresor de la curiosite" 2, 44 - 3 . 
 
 No. 52 
 
 SALOMON VAN RUIJSDAEL 
 
 Dutch School. Born at Haarlem about 1600; buried 
 there November 1st 1670. Painted at Haarlem. 
 
 A broad River with Cows 
 
 On oak. Height, IfO; width, 59,5 
 
 On the left a farm-yard with thick bushes and trees. In 
 front of it, in the foreground, cows on the bank and in the 
 shallow water. Further back to the right a view over a 
 broad river with boats on it; in the distance is a town on 
 the other side of the river. 
 
 Signed: “S. v. R. 1653.” 
 
 58 
 
No. 53 
 
 SALOMON VAN RUIJSDAEL 
 
 Dutch School. Born at Haarlem about 1600; buried 
 there November 1st 1670. Painted at Haarlem. 
 
 River Landscape 
 
 On oak. Height, 51; width, 75,5 
 
 On the left bank of a broad river, a goodly sized town with 
 a high steeple and numerous mills. The left bank is flat 
 low-land. In the foreground a grassy chasm, and close by 
 are two boats from which one net has been thrown out; on 
 the right in the distance are sailing boats on the river. 
 Signed: “S. R. 1657.” 
 
 No. 54 
 
 JACOB VAN RUISDAEL 
 (less commonly RUIJSDAEL) 
 
 Dutch School. Born in Haarlem in 1628 or 1629; died there 
 March 14th 1682. Painted in Haarlem and Amsterdam. 
 
 Stagnant Water , at the foot of a wooded slope of a hill 
 
 On canvas. Height, 31; width, h%,5 
 
 By the marshy water stand a few tall trees in the foreground 
 on the right; a wooded hill on the left. 
 
 Signed: “J. v. R.” (interlaced). 
 
 From the Collection of Josef Depret, Paris 
 
 59 
 
No. 55 
 
 JACOB VAN RUISDAEL 
 (less commonly RUIJSDAEL) 
 
 Dutch School. Born in Haarlem in 1628 or 1629; died there 
 March 14th 1682. Painted in Haarlem and Amsterdam. 
 
 A Road leading to a Village 
 
 Or canvas. Height, 5k', width, 62 
 
 To a village, the houses of which peep out from behind trees, 
 leads a broad, badly kept road. On the right an old church 
 tower, and in front of it a windmill. Behind the hamlet is 
 a woody hill. In the foreground on the road a woman and 
 her child; a man in the middle distance. 
 
 Signed: “J. Ruijsdael. ” 
 
 Collection of Meschert van Vollenhoven, Amsterdam 1892. Catalogue No. 8 
 Collection of Jules Porges, Paris 
 Exhibited in Amsterdam 1867 
 Exhibited in the Hague 1890 
 
 No. 56 
 
 JACOB VAN RUISDAEL 
 (less commonly RUIJSDAEL) 
 
 Dutch School. Born in Haarlem in 1628 or 1629; died there 
 March 14th 1682. Painted in Haarlem and Amsterdam. 
 
 View on the Bleaching Grounds with the Rgmont Ruin 
 
 behind them 
 
 On canvas. Height, 1^5; width, 55,5 
 
 In front of a sandhill in the foreground on the right we look 
 upon some meadows where linen is being bleached. To the 
 left a few small houses. In the middle distance, near the 
 wood, in the deep shade cast by a heavy cloud, are the ruins 
 of the Egmont Castle. Woods in the distant background. 
 
 Collection of Sir Charles Knowles, London 
 Collection of H. J. Munroe, London 
 Collection of Thomas A. Kay, Glasgow 
 
 Exhibited in Leeds 1868 and at the Royal Academy, London 1895 
 Described in Smith’s Catalogue rais. VI, Page 63, No. 200 
 
 60 
 
No. 57 
 
 JACOB VAN RUISDAEL 
 (less commonly RUIJSDAEL) 
 
 Dutch School. Born in Haarlem in 1628 or 1629; died there 
 March 14th 1682. Painted in Haarlem and Amsterdam. 
 
 View from the Sand Dunes on to the Sea 
 
 On canvas. Height, 25; width, 3k 
 
 In the foreground to the right on the sandhill illumined by 
 a harsh streak of light are some sea-faring men looking at 
 the troubled sea. Several fishing boats in the distance. In 
 the overcast sky are driving storm-clouds. 
 
 Signed: “J. Ruijsdael.” 
 
 From the Maurice Kann Collection, Paris 
 
 No. 58 
 
 MEINDERT HOBBEMA 
 
 Dutch School. Born 1638 in Amsterdam; died 
 there December 7th 1709. Painted in Amsterdam. 
 
 A Farmyard, behind some trees on the banks of a brook 
 
 On oak. Height, kkl width, 6k 
 
 Behind a broad brook, on whose banks are two anglers, 
 and amid high trees, is a fairly large farm-yard, consisting 
 of low buildings with red tiled roofs. To the left is a view 
 over the brook on to the low-lying dunes with some bushes. 
 Signed on the right.: “M. Hobbema.” 
 
 From the Collection of Count Montbrison, Chateau St. Rock 
 
 61 
 
MEINDERT HOBBEMA 
 
 w 
 
No. 60 
 
 MEINDERT HOBBEMA 
 
 Dutch School. Born 1638 in Amsterdam; died 
 there December 7th 1709. Painted in Amsterdam. 
 
 Farmyard , amid some oak trees in bright sunshine 
 
 On canvas. Height, 78,5; width, 65 
 
 On the left in the foreground, a party of peasants making 
 a scanty meal in the shade of some trees on the banks of a 
 stream. In the centre, some barns in the full blaze of the 
 sun. In the background to the right a village with a church 
 brightly illumined by the sun. 
 
 Signed with name. 
 
 Collection of J. Reynders, Brussels 1817 
 Collection of Watson Taylor, London 1832 
 Collection of C. J. Nieuwenhuys, London 
 Herris Collection, London 
 
 Collection of H. M. Leopold II., King of the Belgians 
 
 Companion picture to “The Mill” in the Louvre, together with which it was at one time in the 
 possession of C. J. Nieuwenhuys. 
 
 Described in Emile Michel’s “Hobbema", Page i9. 
 
 63 
 
No. 61 
 
 AERT (AERNOUT) VAN DER NEER 
 
 Dutch School. Born 1603 in Amsterdam; died 
 there November 9th 1677. Painted in Amsterdam. 
 
 A Canal , in the light of the evening sun 
 
 On oak. Height, 19; width, 25 
 
 On a narrow canal or river, in the still water of which the 
 warm evening light is mirrored, is a row of houses on the 
 left. In the foreground sits a man fishing; another is walking 
 along the road with a boy. On the right bank, cattle grazing 
 in front of trees. 
 
 Signed with monogram. 
 
 No. 62 
 
 AERT (AERNOUT) VAN DER NEER 
 
 Dutch School. Born 1603 in Amsterdam; died 
 there November 9th 1677. Painted in Amsterdam. 
 
 A Winter Landscape 
 
 On oak. Height, 24; loidth, 35 
 
 Among the boats stuck fast on a broad frozen river some 
 skaters are playing “Kolf.” Right and left are small houses 
 with red gables amidst trees. A windmill in the background. 
 Signed with monogram. 
 
 Collection of Theodor Lang, Paris 
 Collection of Jules Porges, Paris 
 
 64 
 
No. 63 
 
 JAN VAN DE CAPELLE, or CAPPELLE 
 
 Dutch School. Born 1624 or 1625 in Amster¬ 
 dam, died there 1679. Painted in Amsterdam. 
 
 A Winter Landscape 
 
 On canvas. Height, 45,4; width, 56 
 
 On a frozen pond, in the centre of a Dutch hamlet, a number 
 of persons skating and others standing about. Houses on 
 the bank; a bridge in the centre of the picture leading to 
 a church with a flat-topped tower. 
 
 Signed with monogram. 
 
 Collection of Colonel Hankey, London 
 Collection of Adolphe Schloss, Paris 
 
 No. 64 
 
 WILLEM VAN DE VELDE THE YOUNGER 
 
 Dutch School. Born at Leyden in 1633; died at 
 Greenwich in 1707. Painted in Amsterdam and London. 
 
 A Calm Sea on the Flats 
 
 On oak. Height, 26,5 ; width, 21 
 
 On the left in the foreground are several boats on the shore. 
 Quite in the foreground is a man with a wicker-basket on 
 his back. Other boats in the distance. 
 
 Signed with name and date. 
 
 From the Collection of Madame de Salme, Paris 
 
 65 
 
No. 65 
 
 WILLEM VAN DE VELDE THE YOUNGER 
 
 Dutch School. Born at Leyden in 1633; died at 
 Greenwich in 1707. Painted in Amsterdam and London. 
 
 A Calm Sea 
 
 On oak. Height, 26,5; width, 21 
 
 Two sailing boats being unrigged and unloaded with the 
 help of some rowing boats. The one on the left is rather 
 more in the foreground and made more prominent by strong 
 light and shade contrasts. Sunny distant sea-prospect. 
 Signed: “W. v. V.” 
 
 No. 66 
 
 PHILIPS WOUWERMANS 
 
 Dutch School. Baptized at Haarlem May 24th 1619; 
 died there May 19th 1668. Painted at Haarlem. 
 
 A Ford near the Dunes 
 
 On canvas. Height, 56; width, 71,5 
 
 The full light of the sun is falling on a sparsely wooded 
 sandhill in the middle distance, while the river bank and the 
 rich distant view which is visible on the left is piquantly 
 illumined by the thunder clouds. In the foreground a fisher¬ 
 man and a few horsemen and a woman, crossing the ford; 
 in the right is a cottage by the road-side. 
 
 Signed with monogram. 
 
 From the Clement Duval Collection, Paris 
 
 66 
 
No. 67 
 
 JAN VAN DER HEIJDE (also VAN DER HEIJDEN) 
 
 Dutch School. Bom 1637 at Gorinchem; died September 
 28th 1712 in Amsterdam. Painted in Amsterdam and 
 during tours in the Netherlands, Germany and England. 
 
 Starting for the Chase 
 
 On oak. Height, 31 ; width, 23,5 
 
 On the left behind a green hedge is a Dutch country house, 
 on the right a lofty gateway with view down a shady avenue 
 of trees with a pedestrian. In the foreground, a distinguished 
 looking lady on horseback and two horsemen — one of whom 
 is about to mount — dogs, peasants and their flocks. 
 Figures are by A. van der Velde. 
 
 Signed: “J. v. Hey den.” 
 
 From the Collection of Dr. Max Wassermann, Paris 
 
 No. 68 
 
 JAN WYNANTS 
 
 Dutch School. Born at Haarlem about 1605; died 
 probably in Amsterdam after August 18th 1682. 
 
 A Road skirting a Wood 
 
 On canvas. Height, 29,5; width, 38,5 
 
 A wide road, stretching from the foreground towards the 
 background, by a wood with low trees. On the right a 
 meadow, in front of which is a collapsed fence. In the fore¬ 
 ground, a man and child on the road and a couple sitting 
 down. Further back, a horseman and a foot passenger 
 by his side. 
 
 Signed: “Wynants.” 
 
 67 
 
No. 69 
 
 PAULUS POTTER 
 
 Baptized at Enkhuizen November 20th 1625; buried in 
 Amsterdam January 17th 1654. Painted in Amsterdam. 
 
 Cattle Resting 
 
 On oak. Height, 37 ; width, 52 
 
 In front to the right, by the side of a slight eminence, are 
 six cows, three of which are standing up and three lying 
 down; by their side lie two goats. On the eminence is a 
 bare tree-trunk in front of a group of trees with foliage. 
 To the left, a ruin and a piece of water with four ducks. 
 Warm sunny light. 
 
 Signed: “Paulus Potter f. 1649.” 
 
 From the Perkins Collection, Paris 1893 
 
 No. 70 
 
 ABRAHAM H. VAN BEYEREN 
 
 Dutch School. Born 1620—-1621 at the Hague; died 
 1675 at Alkmaar. Painted in the chief towns of Holland. 
 
 The Dessert 
 
 On oak. Height, 72; width, 57 
 
 On a violet plush table-cloth stands a fruit-dish containing 
 peaches. In front of it is a silver plate with a half-peeled 
 lemon, on the right a knife and bread, on the left a bunch 
 of grapes and an upset glass. 
 
 Signed with monogram. 
 
 From the Arthur Kay Collection, Glasgow 
 
 68 
 
No. 71 
 
 WILLEM KALF 
 
 Dutch School. Born in Amsterdam 1621—1622, 
 died there 1693. Painted in Amsterdam. 
 
 The Dessert 
 
 On canvas. Height, 57; width, 4.8,5 
 
 On a table covered with a cloth of a dull colour stands a 
 metal fruit-dish with an orange and a half-peeled lemon. 
 To the left a silver dish, and behind are glasses and fruit 
 plates. 
 
 Signed (on the table): “Kalf.” 
 
 Arthur Kay Collection, Glasgow 
 
 69 
 
No. 72 
 
 PETRUS PAULUS RUBENS or RUBBENS 
 
 Flemish School. Born at Siegen (or Cologne) June 28th 
 1577; died at Antwerp May 30th 1640. Painted principally 
 in Antwerp, also in Italy, Madrid, Paris and London. 
 
 Portrait of a Young Lady , supposed to be 
 Helene Fourment 
 
 On oak. Height, 8^; width, 58 
 
 Standing with her arms folded, and turned slightly to the 
 left, she is looking at the spectator. Under the dark velvet 
 cloak the light, low-cut dress is visible, with a pearl necklace 
 and flowers in her curly hair, which is bound by a chain of 
 pearls. 
 
 Life-size. Half-length. 
 
 Of this picture there are a number of replicas, of which the best is in Buckingham Palace, 
 London, while others are in the Uffizi Gallery at Florence and in the Brussels Gallery (formerly 
 in the Weber Collection at Hamburg). Max Rooses has pronounced all these to be from 
 Rubens' brush. 
 
 70 
 
PETRUS PAULUS RUBENS 
 
No. 73 
 
 PETRUS PAULUS RUBENS or RUBBENS 
 
 Flemish School. Born at Siegen (or Cologne) June 28th 
 1577; died At antwerp May 30th 1640. Painted principally 
 in Antwerp, also in Italy, Madrid, Paris and London. 
 
 Portrait of the Painter Frans Francken 
 
 On oak. Height, 62,5; width. 1)7,5 
 
 Full face in a dark costume and flat collar. 
 Bust-length with one hand visible. 
 
 Replica in the Musee Fabre at Montpellier 
 
 From the Collection of H. M. the King of the Belgians 
 
 No. 74 
 
 PETRUS PAULUS RUBENS or RUBBENS 
 
 Flemish School. Born at Siegen (or Cologne) June 28th 
 1577; died at Antwerp May 30th 1640. Painted principally 
 in Antwerp, also in Italy, Madrid, Paris and London. 
 
 Christ triumphing over Death and Sin 
 
 A sketch on oak. Height, 68,5; width, 1)6,5 
 
 Under a colonnade on the earth’s globe, around which a 
 serpent is winding itself, in front on the ground is a skeleton 
 dashed to pieces; on each side two Saints and Prophets. 
 In the clouds God the Father surrounded by angels. 
 
 Acquired through Joseph Bonaparte in Spain 
 Collection of the Marquis of Camden 181)1 
 Bredell Collection, London 1875 
 Collection of H. M. the King of the Belgians 
 Exhibited in London 181)3 and in Manchester 1857 
 See M. Rooses’ “Rubens” II. Page 203. 
 
 Smith’s Catalogue rais. Supplement, Page 21)5, No. 7. 
 
 71 
 
No. 75 
 
 PETRUS PAULUS RUBENS or RUBBENS 
 
 Flemish School. Born at Siegen (or Cologne) June 28th 
 1577; died at Antwerp May 30th 1640. Painted principally 
 in Antwerp, also in Italy, Madrid, Paris and London. 
 
 A Landscape 
 
 On wood. Height, 50,5; width, 58,5 
 
 A peasant’s cart on the skirts of a wood. The evening sun 
 is shedding its glowing light on the broken ground, with 
 trees singly and in groups. To the right is a cart which two 
 horses are about to pull over a stream. 
 
 Collection of the Marquis of Camden, London 181/1 
 
 Collection of Samuel Rogers, Esq., London 1856 
 
 Thomas Baring Collection, London 
 
 Collection of Lord Northbrook, London 
 
 Collection of the Earl of Denbigh, London 
 
 British Institute Exhibition, 1850, No. 28 
 
 Max Roose's, Vol. IV., Page 393, No. 1205 Voeuvre de Rubens 
 
 Smith's Supplement, Page 331, No. 322, designates it as an “admirable picture ”. 
 
 No. 76 
 
 ANTONIUS (ANTHONIS, ANTHONIE or ANTONIO) 
 
 VAN DYCK 
 
 Flemish School. Born at Antwerp, March 22nd 1599; 
 died at Blackfriars in London December 9th 1641. 
 Painted chiefly in Antwerp, Genoa and London, and for 
 a short time also in Holland, Brussels and Paris. 
 
 Portrait of Ferdinand Boisschot , Baron de Saventhem, 
 Privy Councillor to the Archduke Albert 
 
 On canvas. Height, 65 ; width, 53 
 
 In a black coat trimmed with fur, with red orders and a white 
 ruff. Looking straight in front of him. With thick hair, 
 inclined to grey, and noble severe features. Bust-length 
 without hands. 
 
 Signed: “1630.” 
 
 From the Leon Cardon Collection, Brussels 
 
 Reproduced by F. Buschmann in his book on A. van Dyck. 
 
 Exhibited in Antwerp in the year 1889, 
 
 72 
 
No. 77 
 
 ANTONIUS (ANTHONIS, ANTHONIE or ANTONIO) 
 
 VAN DYCK 
 
 Flemish School. Born at Antwerp March 22nd 1599; 
 died at Blackfriars in London December 9th 1641. 
 Painted chiefly in Antwerp, Genoa and London, and 
 for a short time also in Holland, Brussels and Paris. 
 
 The Martyrdom of St. Sebastian 
 
 On oak. Height, 35,5; width, 26,5 
 
 Stkipped, and with a rapt look towards heaven, the youthful 
 saint is being bound to a tree. To the right are two soldiers 
 on horseback. Sketch for the Altar-piece in the Munich 
 Pinacothek. 
 
 From, the Collection of Graf Widman, de Wiese Castle near Iglau in Moravia 
 
 No. 78 
 
 GONZALES (GONZALO) GOQUES or COCX 
 
 Flemish School. Born in Antwerp 1618; died 
 there April 18th 1684. Painted in Antwerp. 
 
 A Family Group 
 
 On oak. Height, 68; width, 91 
 
 In the centre of a portico with pillars, an elderly married 
 couple sitting on a dais in front of an outspread curtain; 
 four younger couples and two children are approaching 
 them. On the left are seen a solitary man with a letter 
 and on the left a Moor with a horse. 
 
 From the Manfrin Collection, Venice 
 Described in Smith’s Catalogue, Vol. IV., No. 20 
 
 73 
 
No. 79 
 
 GONZALES (GONZALO) COQUES or COCX 
 
 Flemish School. Born in Antwerp 1618; died 
 there April 18th 1684. Painted in Antwerp. 
 
 A Family Group 
 
 On oak. Height, 52,5; width, 69,5 
 
 In the foreground on a verandah stands a young man leaning 
 on his stick, by his side his fair-haired wife, and on the left 
 their little daughter holds a greyhound on the leash. To 
 the right rather further back, a girl playing the lute. 
 
 Smith’s Catalogue, Vol. i, Page 260, No. 27 
 Collection of David Bailey, Esq. 
 
 Saltmar Collection 18^6 
 Adrian Hope Sale, 189i London 
 Rodman Wanamaker, Philadelphia 
 Sedelmeyer’s Catalogue of 300 Paintings 1898 
 
 No. 80 
 
 CHARLES EMANUEL BISET 
 
 Flemish School. Born in Antwerp December 
 26th 1633; died at Breda about 1710. After a 
 prolonged stay in Paris he painted in Antwerp. 
 
 Portrait of a Young Man 
 
 On copper. Height, 23,5; width, 16,5 
 
 Long wavy fair hair; standing, looking slightly to the left. 
 Dressed in black with a bright bandolier; his right hand 
 resting on a mandoline which is lying on the table to the 
 left. On a light ground. 
 
 Small size, three-quarter length. 
 
 74 
 
No. 81 
 
 DAVID TENIERS THE YOUNGER 
 (less commonly TENIER) 
 
 Flemish School. Baptized in Antwerp December 15th 1610; died 
 in Brussels April 25th 1690. Painted in Antwerp and Brussels. 
 
 A Peasant Wedding 
 
 On oak. Height, 28; width, 36 
 
 In front of the farm house a table laid, behind which a curtain 
 is drawn. In the centre sits the bride between two older 
 women. In front of her in the foreground three couples are 
 dancing children’s dances. On the left are spectators, and 
 on a platform two musicians. In the foreground on the right 
 amidst all sorts of utensils is a young fellow asleep, and 
 behind him a sunny landscape is seen. 
 
 Signed: “D. T. ” (The “T” within the “D.”) 
 
 Niesewand Collection, Cologne 
 A. Neven Collection, Cologne 
 
 No. 82 
 
 DAVID TENIERS THE YOUNGER 
 (less commonly TENIER) 
 
 Flemish School. Baptized in Antwerp December 15th 1610; died 
 in Brussels April 25th 1690. Painted in Antwerp and Brussels. 
 
 At Breakfast 
 
 On oak. Height, 34; width, 25,5 
 
 In an unpretentious room, in the foreground on the left, 
 sits a young man at a round table, raising his full glass. 
 By him on the right, but slightly in the background, is an 
 old woman about to cut him a piece of ham. A servant 
 appears in the doorway with a filled basin. On the wall is 
 a drawing and over it a shelf with all kinds of jars, bottles, etc. 
 Signed with name. 
 
 75 
 
No. 83 
 
 DAVID TENIERS THE YOUNGER 
 (less commonly TENIER) 
 
 Flemish School. Baptized in Antwerp December 15th 1610; died 
 in Brussels April 25th 1690. Painted in Antwerp and Brussels. 
 
 A Young Couple , drinking 
 
 On oak. Height, 24; width, 27 
 
 In a mean tap-room a young man, with his hat on, is sitting 
 in the foreground in front of an extemporized table, made by 
 placing a board on a cask, and is pouring wine out of a jug 
 for a girl. On the right an elderly woman is coming through 
 the doorway with the food. On the wooden partition on 
 the left is a leaf with an owl and a candle drawn upon it. 
 Signed: “D. Teniers Fct.” 
 
 Collection of Lady Wantage, Lockinge, Wantage 
 Collection of Sir George Donaldson, London 
 
 No. 84 
 
 DAVID TENIERS THE YOUNGER 
 (less commonly TENIER) 
 
 Flemish School. Baptized in Antwerp December 15th 1610; died 
 in Brussels April 25th 1690. Painted in Antwerp and Brussels. 
 
 In the Picture Gallery 
 
 On copper. Height, 39; width, 50 
 
 In a room, whose walls from floor to ceiling are hung with 
 pictures close together, stands the owner, a distinguished 
 looking man, in the foreground to the left, while the young 
 David Teniers shows him a picture which a boy is holding. 
 Further to the right, near a globe and books, is a little dog. 
 To the right a man is looking through a doorway into another 
 room with pictures in it, in which is standing a young man 
 with a picture in his hand. 
 
 Signed with name. 
 
 Collection of Graf Schonborn-Pommersfelden, Paris 1867, No. 225 in the Catalogue 
 A Hulot Collection, Paris 1892. No. 51 in the Catalogue 
 Jules Porges Collection, Paris 
 
 76 
 
No. 85 
 
 DAVID TENIERS THE YOUNGER 
 (less commonly TENIER) 
 
 Flemish School. Baptized in Antwerp December 15th 1610; died 
 in Brussels April 25th 1690 Painted in Antwerp and Brussels. 
 
 A Landscape 
 
 On oak. Height, 21,5; width, 15,5 
 
 In the centre, at the foot of an elevation, is a little group 
 of houses, with a church and steeple. In the foreground to 
 the left is a steep eminence, in front of which three men are 
 engaged in conversation in the foreground. Of these three, 
 one is sitting down, whilst a fourth, who has a stick in his right 
 hand, is just going away, to the right a horse and some sheep 
 are grazing. 
 
 Signed: “D. T. f.” (The “T” within the “D”) 
 
 From the Flory Collection, Paris 
 
 No. 86 
 
 ADRIAEN BROUWER 
 
 Flemish School. Born at Oudenarde, 1605 or 1606, 
 buried in Antwerp, February 1st, 1638. Painted in 
 Haarlem, Amsterdam and principally in Antwerp. 
 
 Room of a Surgeon 
 
 On wood. Height, 31,5; width, 2^,5 
 
 In the foreground, in a well lighted room, a surgeon is oper¬ 
 ating on the left shoulder of a patient, who is screaming with 
 pain. On the right, at a table, sits a boy warming a plaster 
 over a small pot. In the background an assistant of the 
 surgeon operates on another patient. In the rear is to be 
 seen a window and on a shelf some jugs. On the right, on other 
 shelves, various jugs and bottles and below a violin. 
 
 Signed below on the right: “A. B.” 
 
 A copy of a part of the picture is in the Louvre. 
 
 Collection Arthur Kay, Glasgow. 
 
 77 
 
' No. 87 
 
 MASTER OF HALF FIGURES 
 
 Flemish School. Painted about 1520-1540. 
 
 St. Mary Magdalene 
 
 On wood. Height, 53; width, ^0,5 
 
 Behind a table, with richly ornamented cover, is sitting the 
 young Saint, dressed in a costume of the period about to 
 write. She wears a red velvet robe with short, black sleeves, 
 from under which appear rich, white puff-sleeves. Her 
 abundant hair is held together behind by a handsomely 
 ornamented cap. On the table before her is an ivory 
 receptacle, behind her a high gold-pokal; on the wall a 
 clock, all with rich Renaissance Ornaments. To the left a 
 latticed window. 
 
 Collection Jules Porges, Paris. 
 
 78 
 
BACKER, Jacob Andr.: 
 
 Portrait of the Go! dsmith Johannes Lutma 36 
 
 (( a i c 
 
 Portrait of the Wife of Johannes Lutma 36 
 
 BEYEREN, A. H. van: 
 
 The Dessert .... 
 
 . 68 
 
 BISET, Ch. Emmanuel: 
 
 Portrait of a Young Man 
 
 . 74 
 
 BOL, Ferdinand: 
 
 Portrait of a Girl 
 
 . 37 
 
 BREKELENKAM, Q. G.: 
 
 The Fisherman and the Cook 
 
 . 45 
 
 a an 
 
 A Young Couple, taking wine 
 
 . 46 
 
 CAPPELLE, Jan van de: 
 
 A Winter Landscape . 
 
 . 65 
 
 CODDE, Pieter: 
 
 A Lady at the Piano . 
 
 . 51 
 
 COQUES, Gonzales: 
 
 A Family Group 
 
 . 73 
 
 11 < < 
 
 A Family Group 
 
 . 74 
 
 CUIJP, Albert: 
 
 A River Landscape 
 
 . 56 
 
 a a 
 
 Starting for a Ride 
 
 . 57 
 
 a a 
 
 Horsemen in front of an Inn 
 
 . 57 
 
 a a 
 
 Landscape, with a horseman and herdsmen 5 8 
 
 DYCK, Antonius van: 
 
 Portrait of Ferdinand Boisschot 
 
 . 72 
 
 < i a a 
 
 The Martyrdom of St. Sebastian . 
 
 . 73 
 
 FLINCK, Govert: 
 
 Portrait of a Young Man 
 
 . 37 
 
 GOIJEN, Jan van: 
 
 A River Landscape 
 
 . 55 
 
 i i ii ii 
 
 A Calm Sea near the coast 
 
 . 56 
 
 HALS, Frans, the Elder: 
 
 Portrait of a Young Woman 
 
 . 34 
 
 ii ii ii ii 
 
 Portrait of Sara Andriesdr 
 
 . 35 
 
 HEIJDE, Jan van der: 
 
 Starting for the Chase 
 
 . 67 
 
 HOBBEMA, Meindert: 
 
 A Farmyard behind some Trees 
 
 . 61 
 
 (( ii 
 
 A Road by the side of a Wood 
 
 . 62 
 
 ii a 
 
 A Farmyard, amid some oak trees 
 
 . 63 
 
 HOOCH, Pieter de: 
 
 A Dutch Home 
 
 . 49 
 
 ii ii ii 
 
 The Young Mother 
 
 . 50 
 
 ii ii ii 
 
 The Flower-garden 
 
 . 50 
 
 JANSSENS VAN CEULEN : 
 
 Portrait of a Young Officer 
 
 . 40 
 
 KALF, Willem: 
 
 The Dessert .... 
 
 . 69 
 
 KEIJSER, Thomas de: 
 
 Portrait of a Young Nobleman 
 
 . 38 
 
 ii ii ii 
 
 Portrait of an Architect 
 
 . 39 
 
 ii ii ii 
 
 Portrait of a Gentleman 
 
 . 39 
 
 KEY, Adr. Thomasz 
 
 Portrait of Adrian Cromhout 
 
 . 40 
 
 KOEDIJCK, Isack: 
 
 A Mother and her Child 
 
 . 51 
 
 MAES, Nicolaes; 
 
 A Cook plucking a Duck 
 
 . 49 
 
 METSU, Gabriel: 
 
 Portrait of a Young Man 
 
 . 44 
 
 «< < < 
 
 The Letter .... 
 
 . 44 
 
 ii ii 
 
 A Lady, feeding her little dog 
 
 . 45 
 
 MOREELSE, Paul: 
 
 Portrait of a Girl 
 
 . 38 
 
 NEER, Aert van der : 
 
 A Canal ..... 
 
 . 64 
 
 ii ii ii a 
 
 A Winterlandscape 
 
 . 64 
 
 OSTADE, Adr. van: 
 
 Rollicking Peasants 
 
 . 52 
 
 ii ii ii 
 
 Man with a Hurdy-gurdy 
 
 . 52 
 
 ii ii ii 
 
 A Party of Smokers 
 
 . 53 
 
INDEX ( continued ) 
 
 OSTADE, Adr. van: 
 
 A Peasant making purchases 
 
 
 
 Page 
 
 53 
 
 OSTADE, Isack van: 
 
 Rest in front of a Public-house 
 
 
 
 54 
 
 ii (( it 
 
 A Horse on the Highroad 
 
 
 
 54 
 
 it a a 
 
 A Winterlandscape 
 
 
 
 55 
 
 POTTER, PAULUS: 
 
 Cattle, resting 
 
 
 
 68 
 
 REMBRANDT, VAN RIJN: 
 
 Portrait of a Man 
 
 
 
 32 
 
 it it ft 
 
 Flora .... 
 
 
 
 33 
 
 it it <( 
 
 A Girl at a Window 
 
 
 
 33 
 
 RUBENS, Petr. Paulus: 
 
 Portrait of a Young Lady 
 
 
 
 70 
 
 a a a 
 
 Portrait of the painter Frans Francken 
 
 71 
 
 a a a 
 
 Christ triumphing over Death 
 
 and 
 
 Sin 
 
 71 
 
 a a a 
 
 A Landscape 
 
 
 
 72 
 
 RUISDAEL, Jacob van: 
 
 Stagnant Water 
 
 
 
 59 
 
 it it it 
 
 A Road leading to a Village 
 
 
 
 60 
 
 it it it 
 
 View on the Bleaching Grounds 
 
 
 
 60 
 
 it it it 
 
 View from the Sand Dunes 
 
 
 
 61 
 
 RUIJSDAEL, Salom. van: 
 
 A broad River, with Cows 
 
 
 
 58 
 
 it it it 
 
 River-landscape 
 
 
 
 59 
 
 STEEN, Jan: 
 
 The Music-lesson 
 
 
 
 46 
 
 it it 
 
 Music-lesson by Candle-light 
 
 
 
 47 
 
 it it 
 
 Grace before Meat 
 
 
 
 47 
 
 it it 
 
 The Drawing-lesson 
 
 
 
 48 
 
 it it 
 
 The Siesta .... 
 
 
 
 48 
 
 TENIERS, the Younger: 
 
 A Peasant Wedding 
 
 
 
 75 
 
 it it it 
 
 At Breakfast 
 
 
 
 75 
 
 it it it 
 
 A Young Couple, Drinking . 
 
 
 
 76 
 
 ft a a 
 
 In the Picture Gallery 
 
 
 
 76 
 
 a a a 
 
 A l.andscape 
 
 
 
 77 
 
 TERBORCH, Gerard : 
 
 Portrait of a Man 
 
 
 
 41 
 
 it it 
 
 Portrait of a Lady 
 
 
 
 41 
 
 it it 
 
 Portrait of Herr Jan de Graaf 
 
 
 
 42 
 
 it it 
 
 A Girl, reading 
 
 
 
 42 
 
 a a 
 
 The Music-lesson 
 
 
 
 43 
 
 a a 
 
 Playing Cards 
 
 
 
 43 
 
 VELDE, W. van de: 
 
 A Calm Sea on the Flats 
 
 
 
 65 
 
 tt t 6 it 
 
 A Calm Sea 
 
 
 
 66 
 
 VERSPRONCK, Jan C.: 
 
 Portrait of a Young Man 
 
 
 
 35 
 
 WOUVERMAN, Phil.: 
 
 A Ford near the Dunes 
 
 
 
 66 
 
 WYNANTS, Jan: 
 
 A Road skirting a Wood. 
 
 
 
 67 
 
 80 
 
A 
 
 V