THEGETTYCENTERLIBRARY 9952 Digitized by the Internet Archive in 2013 http://archive.org/details/loanexhibitionOOmetr CATALOGUE OF PAINTINGS BY OLD DUTCH MASTERS ATALOGUE OF A LOAN EXHIBITION OF PAINTINGS BY OLD DUTCH MASTERS HELD AT THE METROPOL- ITAN MUSEUM OF ART IN CONNECTION WITH THE HUDSON FULTON CELEBRATION -SEPTEMBER' NOVEMBER MCMIX^ BY WILHELM R-VALENTINER: CURATOR OF DEC ORATIVE ARTS h/P PUBLISHED BY THE METROPOLITAN MUSEUM OF ART- NEW YORK- MCMX Copyright, 1910 by The Metropolitan Museum of Art PREFACE HE Collection of paintings by Dutch masters described in the following catalogue formed a part of the exhibition held in the Metropolitan Museum of Art from September 20 to November 30, 1909, in connection with the Hudson* Fulton celebra* tion of the City of New York. The celebration commemorated two important events in the hiss tory of the city, one the first exploration of the Hudson River, by Henry Hudson, 1609; the other the introduction of steam power upon the river by Robert Fulton, in 1807. It was desirable that the Museum's share in the celebration should be of a distinctly artistic character; and as there was practically no artistic material relating directly to either of the two events commemorated, the committee in charge of the exhibition decided to take as the subject for the Hud* son section the great art of Holland in the century in which Henry Hudson lived, and to illustrate this by examples of the Dutch masters owned in America today. For the Fulton section a collection was brought together illustrative of the various arts which were repre* sented in America from the beginning of the Colonial period to the end of the first quarter of the nineteenth century. The exhibition was held under the auspices of the Hudson* Fulton Celebration Commission, in cooperation with the Trustees of the Museum, and its administration -was in charge of a committee ap* pointed by the Commission, consisting of J. Pierpont Morgan, Gen* eral Chairman of the Art and Historical Committee ; Robert W\ de Forest, Chairman of the Committee on Art Exhibits ; Sir Caspar Purdon Clarke, George A. Hearn, George F. Kunz., and Edward Robinson. The work o£ selecting, securing and arranging the pic* tures in the Dutch section was done by Edward Robinson, Bryson Burroughs, andWilhelm R. Valentiner, of the Museum staff. The iii response with which their efforts were met resulted in the most noteworthy exhibition of Old Masters which has thus far been held in America; and as the interest which it excited seemed likely to be of more than a temporary nature, two friends of the Museum gave substantial expression to a general desire by offering to guarantee the expenses of a special catalogue, in which all the pictures should be illustrated as finely as modern processes of reproduction permit, to serve as a permanent and worthy record. In accordance with their instruction the present book has been prepared. IV CONTENTS PAGE Introduction i Abbreviations 29 Catalogue of Artists 31 artist contributor Berchem, Nicolaes i The Ford . . . Mr. Charles E. Bushnell, New York 32 Beyeren, Abraham van 2 Still Life . . . Mrs. William L. Elkins, Philadelphia 37 Bol, Ferdinand 3 Portrait of a Lady Mr. Theodore M.Davis, Newport . 38 Capelle, Jan van de 4 Winter Scene . . Mr. P. A. B. Widener, Philadelphia 43 5 Marine . . . Mr. John G. Johnson, Philadelphia . 44 Cuyp, Aelbert 6 Village in the Dunes Senator W\ A. Clark, New York . 49 7 Piping Shepherds . Mrs.CollisP. Huntington, New York 50 8 The Maas near Dordrecht . . Mr. Henry C. Frick, New York . . 55 9 River View . . Sir William van Home, Montreal . 56 I o Milking sTime . . Mr. "W. B. Dickerman, New York . 61 I I MilkingsTime . . Mr. George J. Gould, New York . . 62 12 Landscape with Fig? ures and Cattle . Mr. J. Pierpont Morgan, New York . 67 1 3 Landscape with Bridge . . . Mrs. John W. Simpson, New York . 68 14 Man Eating Mussels Mr. M. C. D. Borden, New York . 73 1 5 Cock and Hens . Mr. John G. Johnson, Philadelphia . 74 16 Peaches . . . Mr. John G.Johnson, Philadelphia . 79 v Go yen, Jan van 17 View of Rhenen . The Metropolitan Museum of Art . 80 18 View of Rhenen . Senator W. A. Clark, New York . 85 19 View of Dordrecht Senator "W. A. Clark, New York . 86 Hals, Dirk 20 Children Playing Cards .... Mr.J. Pierpont Morgan, New York . 91 2 1 Girls with a Cat . Mr. J. Pierpont Morgan, New York . 92 Hals, Frans 2 2 The Smoker . . The Metropolitan Museum of Art . 97 22A The Merry Com* pany .... Mr. B. Altman, New York ... 98 2 3 Singing Boys . . Mr. Charles Stewart Smith, New York 103 24 Boy Playing a Flute Mr. E. D. Libbey, Toledo .... 104 2 5 Samuel Ampzing, 1630 .... Sir William van Home, Montreal . 109 26 Wilhemvan Heyts huysen . . . Mr. Charles L. Hutchinson, Chicago no 27 Portrait of a Man, 1633 .... Mrs. Morris K.Jesup, New York . 115 28 Portrait of an Artist, 1635 .... Mr. Henry C.Frick, New York . . 116 29 The Rev. Caspar Sibelius, 1637 . Mr. M. C. D. Borden, New York . 121 3 o Michiel deWael (?) 1638 .... Mr.J. Pierpont Morgan, New York . 122 31 Portrait of a Lady Mr.J. Pierpont Morgan, New York . 127 32 Portrait of a Man . Mr. P. A. B.Widener, Philadelphia 128 3 3 Heer Bodolphe . Mr.J. Pierpont Morgan, New York . 133 34 Vrouw Bodolphe, 1643 .... Mr.J. Pierpont Morgan, New York . 134 3 5 Portrait of a Man, 1643 • Mrs. CoUis P. Huntington, New York 139 36 Dorothea Berck, 1644 .... Mrs. Collis P. Huntington, New York 140 vi Hals, Frans — Continued 3 7 Balthasar Coymans, 1645 .... Mrs. Collis P. Huntington, NewYork 145 38 Isabella Coymans Mr. P. A. B. Widener, Philadelphia 146 3 9 Portrait of a Man, 1648 .... Mr. Charles M. Schwab, New York 151 40 Portrait of a Lady The Metropolitan Museum of Art . 152 4 1 Portrait of a Man The Metropolitan Museum of Art . 157 Helst, Bartholomeus van der 42 Portrait of a Man, 1647 .... The Metropolitan Museum of Art . 158 43 Portrait of a Lady Mr. Robert W\ de Forest, New York 163 Heyden, Jan van der 44 Street in Delft . . Mr. Theodore M. Davis, Newport . 164 4 5 Bull in the Street . Mr. William T. Blodgett, New York 169 HoBBEMA, MeINDERT 46 The Pool . . . Mr. William T. Blodgett, New York 170 47 Castle Kostverloren Mr. M. C. D. Borden, New York . 175 48 Holford Landscape, 1663 .... Mr. J. Pierpont Morgan, New York . 176 49 Cottage Among the Trees, 1665 . . Mr. Henry C. Frick, New York . 181 50 Wooded Road . Mrs. William L. Elkins, Philadelphia 182 5 1 Trevor Landscape, 1667 .... Mr. J. Pierpont Morgan, New York . 187 52 Road in the Woods Mr. George J. Gould, New York . 188 HoOCH, PlETER DE 5 3 The Visit . . . Mrs. Henry O. Havemeyer, NewYork 193 53A Woman at the Washtub . . Mr. J. Pierpont Morgan, NewYork . 194 54 Woman and Child in Courtyard . . Mr. P. A. B. Widener, Philadelphia 199 55 The Bedroom . . Mr. P. A. B. Widener, Philadelphia 200 vii Rembrandt, van Rijn — Continued 92 Portrait of a Young Man, 1647 • • Mr. Henry C.Frick, New York . . 313 9 3 A Young Painter, 1648 (Jan van de Capelle?) . . . Mr. J. Pierpont Morgan, New York . 314 94 Portrait of Himself, 1650 .... Mr. P. A. B. Widener, Philadelphia 319 95 Study of an Old Man, c. 1650 . . Mr. George J. Gould, New York . . 320 96 The Philosopher, c. 1650 . . . Mr. P. A. B. Widener, Philadelphia 325 97 The Savant, 1653 . Mrs. Collis P. Huntington, New York 326 98 The Standard* Bearer, 1654 . . Mr. George J. Gould, New York . . 331 99 Portrait of a Man, 1655 .... Mr. James Ross, Montreal . . . 332 100 Portrait of an Old Man, c. 1655 • • Mr. W. A. Slater, Washington . . 337 101 The Sibyl, c. 1656 Mr. Theodore M. Davis, Newport . 338 102 Portrait of Himself, 1658 .... Mr. Henry C. Frick, New York . . 343 103 Hendrickje Stoffels, 1660 .... Mrs. Collis P. Huntington, New York 344 104 The Accountant . Mr. Charles M. Schwab, New York 349 104A Portrait of a Young Man (Thomas Ja* cobszHaring?) . Mr. B. Altman, New York . . . 350 105 Lucretia Stabbing Herself, 1664 . Mr. M. C. D. Borden, New York . 355 106 Portrait of a Man, 1665 .... The Metropolitan Museum of Art . 356 107 Portrait of a Man, c. 1665 . . . The Metropoli tan Museum of Art . 361 x Rembrandt, van Rijn — Continued 107A Titus the Son of Rembrandt (The Man with a Mag* nifying Glass) . Mr. B. Altaian, New York . . . 362 107B Magdalena van Loo (Lady with a Pink) Mr. B. Altaian, New York . . . 367 Ruisdael, Jacob van 108 Cottage under Trees Mr. J. Pierpont Morgan, New York . 368 109 The Sluice . . . Mrs. John W\ Simpson, New York 373 no Dunes near Haarlem Mr. "W. A. Slater, Washington . . 374 in Winter Landscape Mr. John G.Johnson, Philadelphia . 379 112 Stormy Sea . . Mr. James Ross, Montreal . . . 380 1 12 a The Wheatfields (Un Coup deSoleil) Mr. B. Altaian, New York . . .385 113 Woods . . . . Senator W\ A. Clark, New York . 386 1 14 The Forest Stream The Metropolitan Museum of Art . 391 115 The Gnarled Oak . Mr. Robert W. de Forest, New York 392 397 398 116 The Cascade . . Mr. M. C. D. Borden, New York 1 1 7 A Waterfall . . Mr. Henry C. Frick, New York 118 The Mountain Tor* rent .... Mrs. Collis P. Huntington, New York 403 Ruysdael, Salomon van 119 Canal Scene, 1640 Mrs. Morris K.Jesup, New York . 404 120 A Country Road, 1648 .... The Metropolitan Museum of Art . 409 121 Winter Scene, 165*? The Metropolitan Museum of Art . 410 122 V/internearHaar* lem, 1656 . . . Mr. P. A. B. Widener, Philadelphia 415 Steen, Jan 123 Kermesse . . . The Metropolitan Museum of Art . 416 124 Grace Before Meat Mr. John G.Johnson, Philadelphia . 421 125 The Drained Cask Mr. Charles M. Schwab, New York 422 xi Steen, Jan — Continued 126 The Dancing Couple 1663 .... Mr. P. A. B. Widener, Philadelphia 427 127 The Merrymakers Mr. P. A. B. Widener, Philadelphia 428 Terborch, Gerard 128 The GuardsRoom, 1658 .... Mr. John G. Johnson, Philadelphia . 433 129 Lady Pouring Wine Mr. M.C. D.Borden, New York . 434 130 Portrait of a Young Man .... Senator W\ A. Clark, New York . 439 131 Portrait of a Lady Mr. Henry C. Frick, New York . 440 Velde, Adriaen van de 132 Landscape with Cattle . . . Velde, Willem van de 133 Calm Sea . 1 34 Calm Sea . Vermeer, Johannes 135 Lady with Lute 136 Lady Writing 137 Girl with Water* Jug • • 137A Girl Sleeping Mr. John G.Johnson, Philadelphia . 445 Mr. William T. Blodgett, New York 446 Mr. M.C. D.Borden, New York . 451 Mrs. Collis P. Huntington, New York 452 Mr. J. Pierpont Morgan, New York . 457 458 463 464 469 470 The Metropolitan Museum of Art . 475 The Metropolitan Museum of Art Mr. B. Altman, New York . . 138 The Music Lesson Mr. Henry C. Frick, New York . 139 Lady with Guitar Mr. John G. Johnson, Philadelphia Verspronck, Jan Cornelisz 140 Portrait of a Man . Mr. Wilhelm Funk, New York . Vlieger, Simon de 141 Calm Sea . Wouwerman, Philips 142 Frozen Canal . 143 The Horse Fair List of Contributors Senator W. A. Clark, New York Mrs. E. C. Hobson, Washington xii 476 481 483 INTRODUCTION INTRODUCTION O representative a survey of Holland's achieve* ment in the art of painting during the Seventeenth Century as the Hudson*Fulton exhibition affords is proof of the fortunate acquisitions made in this direction by American collectors in recent years. Some little astonishment will no doubt be felt in European art circles that it was possible to assem* ble in New York one hundred and fifty paintings of first importance, among them thirty*seven by Rembrandt, twenty*one by Frans Hals, and six by Vermeer. Even so the supply o£ Dutch masters in private collections is far from exhausted. Two large private collections have made no contribution to the exhibition, and from others only a part of their wealth of examples could be chosen. Only about half, there* fore, of the seventy Rembrandts now in America are exhibited, with perhaps two*thirds of the works by Frans Hals, Hobbema andCuyp. Of the seven Vermeers in this country, however, we have been so fortunate as to secure six, and the work of Pieter de Hooch is -with two exceptions almost completely illustrated, so far as his best period is concerned. In assembling the exhibition it became evident that American collectors evinced marked preference for certain masters and classes of paintings. The art of portraiture, in particular, is most satisfy* ingly illustrated in their collections, masters like Rembrandt and Frans Hals being almost solely represented by portraits. Among landscape painters the preference is given to Hobbema and Cuyp. Other sides of Dutch art are not so popular here : there are com* paratively few examples of genre subjects by masters like Terborch, Metsu, Jan Steen, the two Ostades; o£ Biblical subjects (of the sev* enty Rembrandts in America only four deal with this theme); o£ still life by its best exponents, and of the work of several animal and landscape painters such as Adriaen van de Velde, Paulus Potter, Tan van der Heyden, Jan van de Capelle and others. It is possible that the exhibition may incite art lovers to extend their collections in these directions, since it was fortunately possible, through the kindness of several gentlemen whose collections include works by the above-named masters, to obtain examples by them for the exhibition. It was only after the death of Hudson, whose life was content poraneous with the period of Holland's political development, that a Dutch school of painting of international significance arose. If the Dutch paintings shown at the Hudson*Fulton Exhibition are the fruit of the succeeding fifty years, it must be remembered that they are expressive of the ideas of Hudson's contemporaries who in achieving Holland's political freedom made this expression possible. It was only on the favorable issue o£ the Lowland wars, after the truce with Spain in 1609, that the nation had time and opportunity to occupy itself with the aesthetic expression of its newly*achieved nationality. That there had been Dutch painters of independent character since the Fifteenth Century is true, but Holland at that time was still united with the southern Lowland states, belonged to the empire of the Habsburgs, and followed in artistic expression the general trend o£ central European culture. In the Sixteenth Century, with Germany and Belgium, it fell under the influence of the Italian Renaissance ; and toward the end of the century interior discords brought a cessation of artistic endeavor. At the beginning of the Seventeenth Century Holland had apparently not yet estab* lished her independence, which was only proclaimed in 1648; but the Thirty Years' War, which so far as Holland was concerned, had been preceded by a successful war of fifty years' duration, had in her case no destructive effect. The nation could now turn its atten* tion completely to the development of an inner life, though the art of this period frequently reflects the war spirit that was still abroad in the land. The golden era of Dutch painting is compressed into the brief period between 1625 and 1670, although three generations of masters lent their lustre to it— Frans Hals, born in 1584, Rembrandt, born in 1606, and Jan Vermeer, born in 1632. If the art of the first genera* tion flowered late, and that of the third had an early close, it is due to the fact that a certain period — about two decades — was necessary for the development and establishment of a national art, and that in 1670 the French school made its victorious appearance, completely submerging the native painting. Unusually late was Hals" develop* ment, and Jan Vermeer died early in 1677. In this manner Rem* brandt's productive era embraces almost the three generations, the art of which but for his influence could never have attained so rich a development. During this golden age Holland's contribution to the universal progress of painting lay primarily in the fact that she freed it from its dependence upon the Church, and originated a series of new- types which have since become common to all nations. Until that period the painter had occupied himself chiefly with the production of altarpieces and paintings which were intended to exert a religious influence upon the spectator. The Dutch Church, however, no longer wished for pictures, so it devolved upon the artist to originate his own theme or to procure it from some private patron. Paintings were now destined for the decoration of private houses, and conse* quently assumed a less unwieldy form. In the place of altarpieces or wall paintings, easel pictures came into vogue. It was natural, too, that a reaction should take place against all forms of the idealism of -which at least a pretense, until that time, had been made. Artists began to reproduce simply -what they observed in nature around them, and their patrons were content to hang on their walls a land* scape or a street scene such as they -were familiar with in their daily life. The simple realism, closely following the chosen model, was natural to the Dutch people, whose strength lay less in their imag* ination than in their powers of close observation. In this manner were inaugurated the various types of paintings as we now know them — landscapes, genre subjects, still life, and portraits. Of these only portraiture had before enjoyed an independent existence, and even then frequently in connection with religious subjects. The highest achievements of Dutch art are confined to paintings of the above types — which are those represented by the pictures 3 of this exhibition. The portrayal of religious subjects fell almost altogether into abeyance, Rembrandt being their only exponent, although his deeply spiritual conception compensates for any appar* ent lack of inspiration among his contemporaries. In addition to his realism, the Dutch artist is characterized by a strong feeling for color and a peculiarly keen observance of the play of light and shadow. He rejects, as a rule, the rich variations of local coloring, pitching his composition in one or few tones. A glance over the exhibition convinces one of this sparing use of the more lively colors; here and there perhaps one at most appears. The silvery?gray tones so exquisitely rendered during the Hals period, or the golden browns characteristic of Rembrandt, predominate. Within this restricted scale, however, what rich, -what subtile gra* dations ! To explain this preference for brown and gray one needs but to recall Dutch scenery, which, naturally not rich in color, is often still further dimmed by the mist which veils it. Then, too, dark tones with strong contrast of light and shade were characteristic of the Baroque period, and a love of dark shadows and monochrome prevailed in all other European countries in the Seventeenth Cens tury, as in the works of Salvator Rosa, Murillo and Gaspar Poussin. The depicting of the play of light and shadow, which demands a certain subduing of the color scheme, became among certain Dutch masters the keynote of their art. This is true of Pieter de Hooch and Jan Vermeer, who in their interiors reproduced marvelously the play of light, and of Rembrandt, who obtained his most poignant shades of expression through its medium. The landscapists were especially happy in their delineation of the effect of sunlight on clouds : Cuyp, for instance, with his love for the golden tones of evening, and Jan van Goyen and Jacob van Ruisdael, whose clouds drenched in silver light seem to be living organisms. Regarded as a whole, Dutch art from the period of Frans Hals to that of Rem* brandt developed along the line of an increasingly individual and spiritual conception of nature. The works of Hals and his content poraries express a naive and momentary impression, which in Rembrandt's time has been replaced by a more thoughtful and contemplative mood. The period of Frans Hals is represented in the exhibition by twentysone -works from tbe master's own band and by several of bis followers, Jan Verspronck, Juditb Leyster, Dirk Hals, as well as by tbe landscapists of tbe period, Jan van Goyen and Salomon Ruysdael. Frans Hals was tbe son of stirring times wbicb are reflected botb in bis life and in bis art. He came from Antwerp and brougbt witb bim to Haarlem sometbing of tbe Flemisb temperament. On bis arrival, be seems, before settling down to work, to bave devoted bimself for some time to a life of pleasure. Tbe pictures on wbicb bis fame rests seem all to bave been painted after bis thirty* fifth or fortietb year. He was twice married and bad several children, whom he depicts for us charmingly in his genre pictures. During his long life in Haarlem, he became the founder of an important school, more by force of example than by any methodical instruct tion. His pictures seem painted in a passion of eagerness, with a wonderfully sure band: impressions of a moment, hastily seized from his restless models — wild youths drinking in a beer shop, children laughing unrestrainedly at their play, above all, the industrious burghers still eagerly occupied in the upbuilding of their nation. The expression mirrored in the countenance in a moment of passing excitement appealed to him particularly, expressions characteristic of a people newly attained to independence, naive pride, defiance, triumph or wild merriment. At the same time his brushswork dis* plays a semiconsciousness and individuality undreamed of by any earlier artist. He was the most "modern" of his time, knowing that by his fluid, sketch*like brushstrokes he obtained a mobflity and animation never before reached, and realizing that his colors seemed thereby more luminous and deeper. Frans Hals is probably more fully represented in America than any other Dutch artist. The works here exhibited show him at his best, for almost all of them date from his most felicitous period (1635 to 1655), and have neither the hard dryness of his earlier style, nor the black shadows of his later -work. Hals seldom again displayed the mastery exhibited in the "Portrait of an Artist," owned by Mr. Frick, in Mr. Morgan's "Heer and Vrouw Bodolpbe,"in the 5 "Portrait of a Woman," belonging to the Museum, and in the "Isabella Coymans," from Mr. Widener's collection, whicb equal any of Kis best works in Haarlem. The same freedom and spirit, too, are displayed in the smaller pictures (the portraits of clergy? men owned by Sir William van Home and Mr. Borden, and Mr. Hutchinson's " W'ilhem Heythuysen,") while in similar works his contemporaries so often lost themselves in details. And how excel* lently the character of his subjects is expressed in their pose! Wliile his fellow* artists Mierevelt, Ravesteyn, Honthorst and Moreelse constantly repeat a single attitude, the three*quarter view, Hals seems to allow his model to pose himself at will. The rather haughty young aristocrat "Balthasar Coymans," from Mrs. Huntington's collection, rests his arm nonchalantly on the back of his chair; in the other portrait lent by Mrs. Huntington, a man with a strained, nervous countenance clasps his gloves stiffly to his breast, while the preacher Sibelius holds his right hand aloft in eloquent gesture. The women, whose true, domestic natures were inimitably portrayed by him, are shown with hands crossed comfortably on their laps. And what unconstrained merriment his children reveal ! Scarcely another painter, even Rembrandt himself, has portrayed them in so fresh and lifelike a manner. Mr. Charles S. Smith's and Mr. Libbey's pictures show this side of his art, an approach toward genre painting in portraiture. The manner in which his style was modified by his pupils is shown in the two charming pictures by Dirk Hals, lent by Mr. Morgan, and in Judith Leyster's gaily*colored painting, belonging to Mr. Johnson. The same bright, joyous mood is there, but the figures are on a smaller scale, in more spacious surroundings and depicted in lively, concerted action. In temperament and brush* work these pictures are so closely allied to the master that their former attribution to him is easily understood. It is indeed only of recent years that the works of Judith Leyster, the foremost Dutch -woman painter and -wife of Jan M. Molenaer, a pupil of Hals, have been distinguished from those of the master himself. In the art of portraiture Jan Verspronck was Hals' most worthy follower, and his gracious style is well represented by the painting lent by Mr. Funk. 6 The same simple realism with which Hals painted his contem? poraries is apparent in the portrayal of Dutch scenery by Jan van Goyen and Salomon Ruysdael, who raised the art of landscape paint? ing to independence. There exists a spiritual relationship between these two masters, both of whom chose as subjects the flat country* side intersected by canals, the lines of dunes, a view of open sea or a frozen canal. Salomon Ruysdael has, perhaps, a richer, more glowing palette, van Goyen finer gradations of tone. It was a great innovation, compared with the old school of landscape painting, that these artists dared to picture a low?lying, level horizon, as in reality it appears to the eye, giving at the same time to the heavens the full value of their height. The earlier artists, with a kind of bird's? eye perspective, had covered their canvases with scenery, and then, fearing that this alone -would not hold the interest, had generally added numerous brightly? colored figures. Nov/ the beauty of the wide Dutch landscape began to be felt, and its exponents relied upon the close observation and portrayal of atmospheric shades to relieve the seeming emptiness. All figures were subordinated to the general color?scheme, and receded before the preoccupation with nature. In the two paintings lent by Senator Clark, and the one owned by the Museum, van Goyen is shown at the height of his middle and later periods. The two larger paintings, depicting the same scene, the town of Rhenen, and painted ten years apart, are still in the brown tones of the thirties and forties, while the view of Dordrecht has the silvery tints of the later period. In the golden? brown tones of the two large woodland scenes by Salomon Ruys? dael (in the Museum and the collection of Mrs. Jesup) the influence of the school of Rembrandt is easily discernible. Salomon Ruys? dael is further charmingly represented by some rare winter scenes, notably that owned by Mr. ^Videner. In this connection mention should be made of Aert van der Neer, an artist who, belonging in part to a later period, confined himself to a narrow field of expres? sion, the painting o£ moonlight, sunset and -winter scenes. The night scene belonging to Mr. Hermann is painted in an exquisite miniature?like finish. The most prominent place in the exhibition is naturally occupied 7 by Rembrandt. It would seem impossible to see too many of bis works side by side, for bardly anotber master in tbe bistory of art can sbow so varied a development. Tbrougb four decades, from year to year, one can trace bis ever*unfolding powers, wbile per* baps no one else bas depicted so diverse a range of subjects. He was tbe one Dutcb painter wbo attempted witb equal success all forms of pictorial representation — portraiture, religious and bistorical scenes, genre, landscape and still life — and to all tbese varied types be brougbt bis deeply personal point of view. As superficial medi* urns of bis art one notes especially tbe contrast of bgbt and sbadow, tbe empbasizing of some special feature tbrougb a bgbt falling into a dark room ; its inner strengtb rests on bis masterly delineation of feeHng, for wbicb tbis mysterious and concentrated bgbting is but tbe preparation. He is one of tbe greatest delineators of cbaracter and of tbe patbetic side of bumanity, and is related tberein to Snake; speare, to wbom tbe analysis of buman nature witb all its sbades and passions was of paramount interest. Rembrandt, as an earnest, slow*blooded Dutcbman, naturally occupied bimself more witb tbe portrayal of tbe quieter moods tban witb violent manifestations of passion. By a sbade of expression be mirrored on tbe countenance tbe innermost feeHngs of tbe soul, in a manner satisfying even from tbe modern psycbological standpoint and unique in earlier art. Tbis buman side of bis art makes so strong an appeal, wbile tbe form is of sucb tecbnical perfection, tbat one asks ones self at times, wbicb is tbe more wonderful, Rembrandt tbe artist, or Rembrandt tbe man? Tbrougb bis interest in psycbology, portraits and portrait studies — studies, tbat is, in wbicb tbe model seems to be unconscious of observation — constitute tbe greater part of bis artistic acbieve^ ment. Tbey embrace about two*tbirds of bis total output of more tban six bundred and fifty pictures, and predominate in tbe exbi= bition. Tbere are, first of all, a series of selfportraits representing tbe artist at tbe various stages of bis career. Tbe study from tbe collection of tbe late King of Belgium, now owned by Mr. Morgan, and tbe pictures of Mr. Libbey and Mr. Logan sbow bim witb smootb, untroubled countenance, bis blunt features suggesting a bumble origin, but 8 already reflective and regarding the world with an expression o£ confidence. The last two paintings date from the period when the young artist, leaving his circumscribed surroundings in Leyden, went to cosmopolitan Amsterdam, where fame awaited him. The portrait from Mr. Terrell's collection, painted twelve years later, depicts the artist at the pinnacle of his fortunes as the first painter of Amsterdam. An air o£ confident distinction has replaced the hesi= tancy of youth, and inner content and the congenial exercise of his powers are expressed in his hearing. The portrait owned by Mr. Widener, pre-eminent in its coloring, dates from the year 1650 and denotes in the slightly saddened expression the change that had taken place in the artist's fortunes. His fame had begun to diminish, and public and domestic misfortune went hand in hand, but the glitter o£ splendid color with which he has surrounded himself in this canvas serves to mitigate the bitter expression of his features. Lastly, there is that supreme, much4auded work belonging to Mr. Frick, painted at the time -when through his bankruptcy the artist's social position was shattered. Seldom has an artist, arrayed in such humble gar* ments, presented more consciously and imposingly his true majesty to the eyes of the world. To the society which will no longer recog* nize him he presents a countenance of royal disdain and smiling scorn, expressed with a perfection of technique as simple as it is powerful. From other portraits we learn of Rembrandt's family life, for he was of an essentially domestic nature, and his devotion to his family is mirrored in their eyes as painted by him. The portrait of Saskia belonging to Mr . Widener is full of the transfiguring glow of the first years of their married life and is one of the most charming studies o£ this gracious woman ever painted by the artist. When Saskia died in 1642, Rembrandt, after some years o£ solitude, took into his home a girl of humble origin to care for the little Titus, his son. This was Hendrickje Stoffels, who later became his second wife. It may be that she "was the original of the picture from the Art Institute in Chicago, dated 1645, "which bears a resemblance to some of her assured portraits of later date. She was a simple girl, possibly an orphan, neither so accomplished nor so distinguished as was Saskia, but possessed of a warm heart, and she proved a true helpmeet to the 9 artist until her early death. The portrait owned by Mrs. Huntington dates from the period of her illness, fifteen years later. A golden evening light, like a dissolving dream, surrounds her figure ; her look expresses weariness, but the pose is full of touching devotion and love. Such works as this show the remoteness of Rembrandt from Frans Hals, who saw only the joyous side of life, and understood nothing of resignation, pain, or the feelings which He concealed beneath the surface. After her death, only Titus remained to his father, and to this son, as numerous portraits prove (one of the most beautiful of which with the companion portrait of his wife is lent by Mr. Altman), the master clung with touching affection. He, too, died, a year before his father, having married but a short time pre* viously. From Rembrandt's portraits of strangers we obtain a further insight into his relations with the outer world. "We have, in the first place, several belonging to his early Amsterdam period (1631s 1633), namely, those belonging to Mrs. Jesup and the Historical Society, the important head lent by Mr. Ellsworth, and the portrait of Nicolaes Ruts owned by Mr. Morgan, in which Rembrandt has given us clear and objective likenesses of his sitters. At this period the master was occupying the role of fashionable painter, and in defers ence to the wishes of his patrons and in his own interest had to efface much of his originality of temperament. Nevertheless these simple paintings, with their pregnant characterization and intensity of exs pression, outrank by far the contemporaneous works of de Keyser and Mierevelt, though frequently similar to them in arrangement. During the following three or four years, occasionally earlier, in works where he had a freer hand, this suppressed originality of temperament asserts itself strongly in the vivacity of action which he lends to his models. This was the period -when, full of the confi- dence of a young conqueror, he wished in intensity and animation to equal the -works of Rubens and Frans Hals. This powerful pathos is displayed in the gorgeously colored "Noble Slav" from theW. K. Vanderbilt collection, one of the most imposing works achieved by him during that period. In another painting, dated 1634, belongs ing to Mr. Mortimer, he endeavors to heighten the expressiveness 10 through the introduction of an almost genre4ike motive. This pre* occupation with the dramatic -was followed in the Beginning of the forties by a period of inspired quiet, characterized by a rejection of all exterior effects, and illustrated by such masterpieces as the "Gilder" and the "Old Woman" of the Havemeyer collection, works which in technical perfection and the manipulation of light and shadow stand unsurpassed. The simple conception and arrangement of his subjects, which he had affected until that period, were supplanted in the course of the forties by a poetic and inspired delineation. The pinnacle of this style was reached about 1650, from -which period date the "Good Samaritan" in the Louvre and "Daniel's Vision" in Berlin. To this period belong the two portraits of artists owned by Mr. Frick and Mr. Morgan, and Mrs. Huntington's portrait of a savant, works to -which the master has lent so great a part of his own romantic sensibilities, or discerned so much in his subjects, that we may well ascribe poetic gifts to these possibly simple natures. During the fifties, this gracious mood gave way to one of touching melancholy and reflectiveness, especially in the studies ofheads — the "Old Man," lent by Mr. Slater, for example — which were perhaps clearer revelations of the artist's soul than his finished works ; and finally, in the last decade, a resigned, somewhat rigid earnestness per* vaded his works, -which were clothed in broad majesty of form. In these final -works Rembrandt rejected all elaboration of pose. The figures are generally depicted facing the spectator ; the artist no longer seeks to make the attitude expressive of the temperament of his subject, and the gaze seems veiled and uniform. But some secret charm resides in these paintings. It is as though the soul imprisoned in gloomy depths pursues under their cover a far-away and mys* terious existence. Rembrandt's skill in composition is displayed in only two or three -works. One ofthese, however, "The Finding ofMoses,"is splendidly illustrative of his gift in this direction. Into a small compass he has compressed a -work of Oriental fantasy and splendor. The figures, in themselves of no great charm, are so transfigured by the lighting and the natural beauty of the scene in which they stand that they seem to us like some tale from the "Arabian Nights." Comparing 11 this work with the so«called "Sibyl" owned by Mr. Davis and the "Lucretia" of thirty years later in Mr. Borden's collection, one scarcely recognizes the hand. In the early work there is still an echo of the miniature4ike finish of the Leyden School ; in the later, broad, free brush-work directness of representation and concentration on one figure — it might even be said on the expressive features of one figure — which sufficed to relate the whole story. How marvelously the sorrow, the very passing of the soul, are portrayed in Lucretias swimming eyes and slightly ^parted lips, and how subtile are the smiles that play over the shadowed face of the Sibyl. The art of breathing the divine spirit of genius upon what in itself is ordinary is the only characteristic common to both the early and the late work ; for Rem= brandt painted with a sympathetic understanding of the pathos and mystery of human life that — as in the case of these two pictures where everyday models were used — raised his subject to a higher plane without depriving it of its own individuality. The school of Rembrandt is represented satisfactorily by works of three of his best pupils — Philips Koninck, the landscapist, Nicolaes Maes, the genre and portrait painter and Ferdinand Bol, who most successfully imitated his master in his early portraits such as the painting lent by Mr. Davis. The delightful landscape owned by Sir William van Home shows how closely Koninck's work was re? lated to that of the master himself, forming a link in the chain which connects Rembrandt with the great English masters, Turner and Constable. He has the concentrated, glowing light of the Rembrandt pictures, but, contrary to the master, he does not confine himself to ideal landscape, depicting the flat lowland scenery, and perfecting, as van Goyen's successor in this field, the manner of that earlier mas* ter. In much the same manner Maes, through lack of imaginative power, was constrained in his compositions to follow reality much more closely than Rembrandt. He approached him more nearly in his early -works, the richlyscolored study of an "Old Woman," owned by Mr. Johnson, for example. In his later period he fell quite under the influence of the French school and seldom again attained the mastery displayed in the portrait lent by Mr. Adams. It seems as though in Rembrandt's time innumerable artists of 12 prominence arose as at one stroke, surrounding the master like a following of nobles about their chief. The crowning point of Dutch art "was reached during the years 1650*1665. It was during this period that almost all the masterpieces of Pieter de Hooch, Meindert Hob* bema, Jacob van Ruisdael, JanVermeer, Gerard Terborch, and last, but not least, a great part of those of Rembrandt and the aging Frans Hals, were painted. All the masters of this period strove to attain a more highly*poetical expression in so far as their characteristic real* ism permitted. The fresh actuality and audacity of the Hals period were replaced by the contemplative, quiet and more spiritualized conception of a quiet civic community enjoying the firuitsofits newly? won peace. Every stratum of this civic society found its illustrator; all types of painting were represented by masters of first merit. Among them genre subjects should perhaps receive our first con* sideration. Gerard Terborch is the exponent of the more aristocratic circles of Dutch society, a master with a delicate color sense and most sensi* tive hand. The portraits lent by Senator Clark and Mr. Frick are examples o£ his strange portraiture, in which his model, cleverly silhouetted at full length and in small proportion, is placed in spacious surroundings; while his refined and distinguished genre painting is illustrated by the works lent by Messrs. Borden and Johnson. In the latter work, one of his masterpieces, Terborch employs a motive of the Frans Hals school, the glorification of the soldier's life, but with a vast difference from those older and rougher pictures with their studied arrangement and rude technique. Here the cool gray tones are finely harmonized, the figures surrounded by delicate lights and shadows, and their costumes depicted -with an exquisite feeling for shimmering surfaces. Gabriel Metsu, who sought his subjects among the middle classes, approaches Terborch in refinement of execution and charm of color. His artistic talent developed early and he died while still young. At fifteen years of age he became a member o£ the Guild of Painters. This youthfulness is discernible in his works. They have a fresh, romantic swing, that is often a little too impetuous, for instance in the picture owned by the Museum. Metsu affected rich, fiery colors far J 3 more than the sedate, cooler Terborch. The colors are extraordinarily luminous, especially the red, in his well*known masterpiece, "The Visit to the Nursery," formerly in the Kann collection, now owned by Mr. Morgan; in fact, the whole color*scheme is deliciously fresh and light. The storytelling subject in this work is so cleverly chosen and graciously executed that few Dutch genre pictures can be com; pared with it. The artist is, above all, animated by the dramatic spirit, and is, for a Dutchman, of an unusually emotional nature. Pieter de Hooch, the third great portrayer of Dutch life, is of a slower, more earnest temperament. He developed from small begin* nings, originally painting military scenes as did Terborch, and his art early lost in power, partly, no doubt, as a result of the narrow circumstances in which he lived. He was a valet by calling and painted his pictures for a few guilders without receiving much recog* nition or encouragement. During the ten years of his best period, however, he painted works which rank with the finest achieve* ments of Dutch art. He is exceedingly well represented in the exhi* bition by four works of this period, three interiors and one outdoor scene. Mr. Borden's picture alone is in his later manner. It is, however, a fine example of a period when his compositions, drawn from more aristocratic circles, were apt to be overcrowded and were somewhat hard and black in the shadows. The picture lent by Mrs. Havemeyer is one of the most finished works of the artist's best period, unexcelled in its warmth and glow of color, and the render* ing of the sunlight which floods the room. In the two other interiors, Mr. Blodgett's and Mr. V/idener's, he has introduced a double play o£ light. The bedroom scene lent by Mr. Widener shows one of those charming glimpses of a courtyard which are so characteristic of de Hooch. In his outdoor scenes, as well as in the interiors, he contents himself with few figures — a mother and child, for instance, in which his wife and little daughter may be recognized — and con* centrates all his art in rendering the play of light and shadow, against which the few colors employed in the costumes stand out glowingly . In conjunction with Terborch, Metsu, and de Hooch, who may be termed the delineators of the upper classes of society, stand Jan Steen and the two Ostades, who turned their attention to the illus* 14 tration of peasant life and the humbler citizens. Next to Rembrandt, Jan Steen is more richly endowed witb imagination tkan any otker artist of the Dutch school. The inventive faculty displayed in his works, of which more than eight hundred survive, seems inexhaust* ible . His is a nature bubbling over with high spirits, delightful humor and carelessness. His wealth of fancies reminds one of the Shake* spear ean comedies, to which he seems unconsciously to have supplied illustrations. His quick manner of working did not always result happily. Sometimes he fails completely, at others executes works of the highest perfection. In these he displays himself as a wonderful colorist, tuning his composition to a key of rich, glowing color, or, more in the manner of the Dutch school, harmonizing it delicately in one tone. Mr. Johnson's "Grace Before Meat," built on a scale of delicate gray and pale violet harmonies, is an example of this latter class and shows the artist in the role of an earnest, kindly observer of family life. Contrasted with this picture are the examples lent by Mr . Widener and Mr. Schwab, showing him in a mood of rollicking abandon, reveling in bright, gay color. It is remarkable that with all his wealth of fancy he is always primarily an artist, equaling Terborch in his rendering of fabrics, rivaling van Goyen in his land* scape backgrounds, while his still life is unexcelled by the best ex* ponents of that form. In inventive faculty the Ostades cannot be compared to Jan Steen. Adriaen, especially, who is the public's favorite, repeats over and over again his comfortable, round-headed, thick*nosed peasants, and never quite shakes himself free from a somewhat Philistine atmos* phere, except in his youth, -when, in imitation of Brouwer, he was particularly exuberant in manner. In him genius is replaced by a loving and careful execution; he pleases by his choice of winning motives and the cheerful, peaceful mood in which all his -works are conceived. He portrays, as a rule, the joys of family life, the bless* ings of labor, or occasionally the conviviality of the inn, all in a quiet, temperate mood, and characterized by a fine feeling for color and close observation of the interior play of light. The two pictures which represent him in the exhibition were painted thirty years apart. The earlier, belonging to the Museum, and, for Ostade, a painting r 5 of unusually large compass, was painted during the period of his transition from his earlier style to one arrived at under the influence of Rembrandt. The figures are still rough, Brouwer4ike types of rude character, but a rich golden tone predominates to which the local color is subordinated, and there is a concentrated, Rembrandt* like fall of light. The famous painting belonging to Mr. Widener, formerly in the collection of Lord F. Pelham Clinton Hope (which was peculiarly rich in masterpieces of the Dutch school), is a late work, dated 1673, one of the latest pictures included in the exhibition, and belonging in reality to the third period of Dutch art. It has the cool smooth colors — a fine graysblue predominates — and silvery daylight of that period. In it the artist displays a restrained perfection and clever arrange* ment of the few figures, which are rendered with delicate care and enameklike color. Adriaen's younger brother Isack, who died young, was for a long time overshadowed by him. He is, however, in his best works quite equal if not superior to his elder brother. He naturally does not dis* play so varied a development as was attained byAdriaen during his long life. His favorite theme is a traveler halting for rest, generally on a country road and with a white horse. He also painted very successful winter scenes. He was of a more poetic and romantic nature than Adriaen, as the artistic nature of the costumes he depicts alone would demonstrate, and his glowing, deep gold tones are more closely allied to the Rembrandt school. His art, so splendidly repre? sented in England, is little met with in this country. Mr. ^Videner's picture is in his best manner, and charms us by its flickering play of afternoon light in the foliage of the background and among the numerous figures on the village street. Landscape painting, too, reached in Rembrandt's period its highest perfection at the hands of Jacob van Ruisdael, nephew of the older master, Salomon Ruysdael, and Meindert Hobbema, who was Ruis* daels pupil. A worthy representation of these masters is of special interest in America, showing as they do how much the older English masters and the Barbizon school, both so well represented in this country, owe to their inspiration. 16 Jacob van Ruisdael is by far tbe most many=sided of tbe Dutcb landscapists, bringing to a riper perfection tbe different types of landscape essayed by tbe masters of an earlier generation — lowland, forest, winter scenes and marines. Altbougb more varied tban Hob* bema, be scarcely fascinates us so mucb at first glance, concealing as be does bis personality bebind tbe strict objectivity of bis studies of nature. Tben, too, tbe numerous works of bis later period, tbe water* falls and nortberly mountain landscapes witb tbeir black sbadows, bave detracted from bis fame. Tbe artist, wbo nearly starved to deatb, found in tbese artificial scenes, wbicb were popular witb tbe public, tbe easiest way of earning bis bread. A nearer inspection of bis many works reveals, bowever, a powerful if retiring individu* ality. He bows before tbe majesty of nature, and tbis perception o£ ber migbty forms is visible in all bis works — in tbe giant treestrunks of ancient -woods, in tbe soaring cliffs over wbicb tbe mountain tor* rent precipitates itself, in tbe dark clouds massing before a storm, or in tbe farsreacbing lowlands over wbicb cloud sbadows are bover* ing. His landscapes are all toucbedwitbmelancboly. Tbey speak of tbe past, tbese sbattered oak*trees, mountain ruins and deserted buts, and of man's subdual at tbe bands of tbe elements, sbowing bim burrying tbrougb tbe sbadows over perilous bridges, or in tbe dreary deptbs of tbe forest, witb an eternally frowning sky above bim. Ruisdaels tecbnique is of a solid, consistent texture, more "worked out tban Hobbema's more liquid brusb*work. He began -witb simple pictures of tbe country around Haarlem, a couple of tree*sbaded cot* tages, or a road beside tbe dunes, more or less in tbe manner of tbe earlier masters, but cbaracteriz-ed from tbe first by greater sbarpness of detail, a more sculptural feeling, stronger contrasts of ligbt and sbadow, and more sense of distance. Tbe pictures lent by Mr. Mors gan and Mrs. Simpson are excellent examples of tbis early manner. Later be devoted bimself cbiefly to depicting forest scenery, wbicb before bis time -was practically neglected. In sucb pictures be neces* sarily reveals a large part of bis own poetic nature, for Holland and especially tbe neigbborbood of Haarlem, wbere Ruisdael lived, is but sparsely wooded, and be -was obliged to go to Guelderland and towards tbe German frontier to make bis studies, creating bis com* J 7 positions upon his return home. The works produced during the sixties show an especially happy union of his own personality ■with the impressions he absorbed. The large forest scenes owned by the Museum, Senator Clark and Mr. de Forest belong to this period, as do the three masterpieces depicting the country around Haarlem, which are expressive of a deeply personal mood: the "Dunes near Haarlem" owned by Mr. Slater, the "Winter Landscape" in the collection of Mr. Johnson, which is one of the most beautiful land* scapes of the Dutch school, and the stormy sea owned by Mr. Ross. Towards the end of the sixties, the artist, in an effort to render his ■work still more effective, became interested in mountain scenery, -with -which he himself was almost totally unfamiliar, knowing it only through sketches made by his teacher, Allaert van Everdingen, -who had visited Norway. One is astounded at the adaptability and imaginative power with which Ruisdael transplanted himself to this unknown world, and his earlier -works in this manner, which still belong to his good period, combine realism -with poetic and heroic feeling. The works lent by Messrs. Borden and Frick and Mrs. Huntington come under this category. Meindert Hobbema, -who in his early development was strongly under the influence of Ruisdael, stands out in strong contrast to him. His temperament was cheerful and lively ; he seems to have worked more quickly than Ruisdael, and in his inspired moods painted pic? tures of great perfection. The Holford picture lent by Mr. Morgan, and that from the collection of Mrs. Elkins, may be numbered among the finest landscapes of the Dutch school, unsurpassed in their light and their warmth of tone, in the minutelysobserved play of light and shadow in the foliage and variegated green of trees and grass. Hobs bema's landscapes have a Sabbathslike repose and beauty, inviting the beholder to transplant himself in spirit beneath the trees of their shady, -winding walks. Their facility of execution, too, lends to them the freshness of a newly painted -work. The artist confined himself to a restricted field, choosing generally an open, wooded landscape crossed by a small sheet of water, a mill-stream or a couple of winds ing paths, and generally repeating the same arrangement — a tall group of trees -whose silhouette is balanced on the other side by a 18 smaller group standing farther in the background, so that there results as upper contour aflat diagonal curve, typical of the Baroque style. This diagonal arrangement was employed by van Goyen and the earlier landscapists, but a comparison with Hobbema's work reveals the darker side of the picture as much emptier in their case, the later master preoccupying himself more with the filling of this plane. Jan van der Heyden stands related to Aert van der Neer, an artist of the foregoing period, in the similarity of their conception, although they differed widely in their choice of subject — van der Heyden restricting himself to the portrayal of buildings and architectural views. Both are characterized by a typically*Dutch love of detail, to the delineation of which they bring as much love and interest as they expend upon the larger forms. This peculiarity of the Dutch painters, which seems consistent with the smallness of their native land and the narrow circumstances in which most of them lived, was already discernible in the Fifteenth Century, beginning with the art o£ the van Eycks, who were of Dutch origin, and in the Seventeenth Century is but an unconscious perpetuation of their manner. It was not given to all the Dutch artists to combine this care for detail with a sure feeling for the whole, but van der Heyden was among the fortunate exceptions. The admirable work owned by Mr. Davis shows his love of detail in the perfecting of every little brick in the wall, 'while he by no means sacrifices the general har* mony, presenting a firm, well*balanced architectural composition. No inconsiderable part of the happiest achievements in Dutch landscape painting was the result less of the direct study of nature than of the yearning to depict scenery with -which the artist was not daily familiar, as evinced in the portrayal of woodland scenes. In this manner Cuyp and a -whole group of artists painted landscapes of an Italian character through their longing for more smiling skies -which they had perhaps never, or at best only fleetingly, known. This very personal mood, -which completely pervades Aelbert Cuyp's pictures, stands very close to our modern spirit. His subjects are of the utmost simplicity, often even prosaic — a view of the Maas with a couple of sail boats and a lofty sky, or a meadow -with cows at x 9 pasture. But these wide, empty spaces are a domain for his poetry and dreams. He has lost sight of detail and of the material side, seeing only the irradiating light that floods this modest corner of the earth with a golden evening glow, transforming it into a domain of happi= ness and peace. His art is a lesson in masterly restraint. All his life long the artist confined himself to painting this sunset hour. He would have wearied of it soon had he not interwoven in the scene the thousand transforming moods which nature then wears, lending to it an inexhaustible and varying charm. What a contrast between the wonderful distance in the view of the Maas lent by Mr. Frick, and the homely, narrow dune road with its snuglysnestling village in the little picture belonging to Senator Clark, or, again, in the neg; ligent, admirablysplaced group of fowls in Mr. Johnson's picture ! Cuyp was a dreamer o( phlegmatic temperament. He depicts his figures and animals reposing in harmony with their silent, peaceful surroundings. His shepherd lads are at rest, the cattle idly grazing, the rider halts for repose. Still life was therefore a natural field for his powers, although, unlike the other still life painters, he arranges his whole composition in one tone, as exemplified in Mr. Johnson's picture, the still life with "Peaches." His development was slow", but marked by distinct stages which may be followed in the pictures here exhibited. His early landscapes are reminiscent of van Goyen. He painted lowland scenes in pale colors, which, however, in their harmonious simplicity, excelled those of the older master. The charming "Village on the Dunes," belonging to Senator Clark, and Mrs. Huntington's "Piping Shepherds" belong to this period. The middle period, in which he produced his masterpieces, is represented by the landscapes lent by Messrs. Morgan, Frick, and Gould. Later he shared Ruisdael's dissatisfaction with his native scenery. His Souths ern skies demanded Southern surroundings, and he introduced cliffs and occasionally fantastic ruins and bridges reminiscent of the Ro= man Campagna. The picture lent by Mrs. Simpson is an excellent example of this manner. Cuyp is generally designated as a cattle painter, in company with Paulus Potter and Adriaen van de Velde. While Cuyp, however, characteristically subordinates his cattle to the general harmony of 20 the scene, Potter devotes the closest attention to each animal, neg* lecting occasionally, in his love of detail — especially in his larger pictures like "The Bull" at the Hague — to observe sufficiently the harmony of the whole. He studies individualities so closely that he may actually be termed a painter of animal portraits, depicting mar* velously their sculptural quality and the texture of their hides. With this unbiased rendering, he is probably more sensitive than the other artists of his time to the plein=air effect of cattle at pasture. This is well shown in the admirable painting owned by Mrs. Elkins and in Mr. Hirsch's cattle scene, which is a smaller variant o£ the Hague "Bull." It is instructive to compare with Cuyp's and Potter's cattle the animals by Adriaen van de Velde shown in Mr. Johnson's important painting and the bull painted by this artist in Jan van der Heyden's street scene from the collection of Mr. Blodgett. In this painting Adriaen van de Velde is, above all, preoccupied in depicting the play of light on the silky velvet of the animal's hide, subordinating it at the same time, with more suppleness than Potter displayed, to the general scheme of the painting. He was, in fact, the most adaptable of Dutch animal painters, lending his gracious art to the enrichment of landscapes by other masters and attuning his contribution in an invariably just proportion to the general pictorial scheme. The Hoi* ford landscape by Hobbema, owned by Mr. Morgan, with cattle and figures by van de Velde in the foreground, is a fine example of this cooperation. Marine painting, so important for our exhibition, hardly occupied the place in Dutch art that the role played by the sea in the nation's life would seem to claim for it. This is perhaps due to the fact that most of the artists lived in Binnenland, the sea being there too near at hand, perhaps, to become, as did mountain scenery, for example, the object of their dreams. V/e miss, too, that larger mood -which wide, uninhabited spaces inspire in the modern spirit. The love of detail characteristic of the Dutch artist led him here to devote a penetrating attention to each individual part of the picture. He introduced, if the spaces seemed too wide, boats, men, or a glimpse of busy shore, all depicted in a realistic, unimpassioned manner, that does not rise 21 above actualities. Real marines are rare. In most of the so-called sea pictures there is a glimpse of land on one side or the other, or in the background, suggesting that the subject may be some broad Dutch canal, a glimpse of the Maas or of the Zuyder Zee. The ocean's stormy moods, which found in Rubens' impressionable Flemish tern* perament so fine an exponent, were alien to the quiet, placid Dutch nature. With one notable exception, Jacob van Ruisdael, Dutch painters all present the ocean in its moments of placid calm, with a somewhat concentrated light, more reminiscent, occasionally, of an interior than of outdoors. Simon de Vlieger, of the older generation of Frans Hals and van Goyen, is represented by a little picture belonging to the Museum, which has the silverysgray tones and fine atmospheric shading of those earlier masters. From this simple realism developed the art of Jan van de Capelle and Willem van de Velde the younger, the two most famous Dutch sea painters. To these the name of Jacob van Ruisdael should be added by right of his few noteworthy pre* sentations of storm scenes. V/illem van de Velde received commissions from the British government to paint battleships or pictures commemorative of sea fights, and it is due to this that he at times adopted a hard, accurate style, even in his original compositions. His two exhibited works (Mr. Borden's and Mr. Blodgett's) show him at his best. The color* scale is much enriched since de Vlieger's time, and the little coast scene lent by Mr. Blodgett expresses a more inspired mood. Jan van de Capelle is preeminently a master of original genius. He seems to have been the first to recognize the fascination of the ocean's endless spaces and the poetry of its sunset hour. The Dutch marine painters, like the landscapists, laid the foundations for the ensuing development of their art. As the distant vie ws of the Rem* brandt period foreshadow Constable, and Hobbema's forest scenes Crome and Rousseau, Jan van de Capelle and Ruisdael, in their ma* rine pictures, are the forerunners of Turner, although in the later masters, in harmony with the general artistic trend of their period, we find a more subjective mood. No review of Dutch art -would be complete did it not include 22 examples of still life, in which direction, also, Holland laid the foun* dations for succeeding generations to build upon, in this case more for the French masters of the Eighteenth and Nineteenth Centuries, fromChardin to Courbet and Manet, than for their English confreres. StilUlife pictures do not, as a rule, stand high in public favor. Perhaps their significance may receive fuller recognition when expressed by- masters of such genius as Rembrandt in the "Slaughtered Ox" and in Cuyp's still life with w ' Peaches " (both lent by Mr . Johnson), which latter seems prophetic of Courbet's work. To these are added works by two painters, Willem Kalf and Abraham van Beyeren, who have obtained recognition only in recent years. Now, however, they are reckoned the best Dutch exponents of still life and are ranked with Jan Davidsz de Heem, the earliersrecognized leader in this branch of art. Kalf lived in Delft, a town which sheltered some of the greatest Dutch masters—Jan Vermeer, Karel Fabritius and Pieter de Hooch among the number. Like them, he was more preoccupied than most of his contemporaries in the skilful contrasting of a few broadly* applied colors, which were in turn subordinated to a stronglyscon* centrated lighting. Like them, again, he rejected all petty detail, and, in spite of his individuality, was strongly influenced by Rembrandt. This influence is discernible in the large painting lent by Mr Johnson, which is at the same time, in the color and in the treatment of the rug and porcelain, reminiscent of Vermeer. ^Vhile Kalf is more preoccupied with color contrasts, van Bey* eren is a master of tone gradations. In the fine painting lent by Mrs. Elkins the rich profusion of objects portrayed is subordinated to a brownish?red colorsscheme, which in a single instance is enhanced by a touch of glowing red. Van Beyeren did not confine himself exclusively to still life. Within recent years a number of excellent marines from his brush have come to light, one of which is in a private collection in this country. There remains now for our consideration but Jan Vermeer, a master who in himself alone represents a whole period in the history o£ Dutch art. He is a remote disciple of Rembrandt and a pupil of Karel Fabritius. His chief period of production falls between the years 1656 and 1675 — not mucn later, therefore, than that of de Hooch, 2 3 Hobbema and Terborch, from whom, however, be differs by bis more progressive style. He stands alone at tbe end o£ a period of bigb achievement, and bis work is characterized by the subtlety that pre* cedes decay. In him the tremendous creative power of the foregoing generation of masters is a little reduced. None of the great masters previously considered left less than two hundred works, Rembrandt about six hundred and fifty; by Vermeer, however, not more than thirty=six are known. Then, again, his whole power is concentrated in obtaining a perfection of surface, -which hitherto, through absorps tion in the matter portrayed, had not received this close attention. In this Vermeer approaches the French Eighteenth Century school, which had its origin in the same influences that produced him. He himself fell perhaps a trifle under the spell of contemporary French art, which after his death completely submerged the Dutch school. In his works we find already that smooth brush-work and love for cool, clear color and the careful modeling which the later academical Dutchman preached as alkimportant, as opposed to the Rembrandt conception. In Vermeer's work, however, all this is still artistically transfigured. At a first glance there seems to be nothing complex. His motives are of the utmost simplicity, differing little from those of other Dutch genre painters, except in a heightened simplicity. In most cases he depicts but one figure — the two in Mr. Frick's picture are exceptional — occupied in some different manner — writing a letter, playing the guitar, embroidering, or some such homely task. And these figures seem arranged according to an almost invariable scheme, standing always in front of a gray wall, near a window, through which the light falls upon them. Some dark object in the foreground, a table, chair or piece of drapery, provides the necessary contrast. The color*scheme is equally simple. The complementary colors, blue and yellow, are almost invariably repeated against the neutral gray of the background. And yet these pictures are of a far more penetrating effectiveness than any other Dutch genre paint* ings. One questions wherein this superiority lies ; one cannot help trying to solve the secret of their wonderful art. Vermeer 's figures wear a curious, inexplicable expression, a partly - veiled smile behind a sheen of light. His models are unaf= 24 fected, plumpscheeked Dutch women, not even intelligent looking, unconsciously placed in a transfiguring atmosphere. Tnis choice o£ expression, apparently simple, yet full of subtlety, presupposes an artist who had the great masters Rembrandt and Hals behind him. Frans Hals portrayed fresh natural merriment with infinite realism ; Rembrandt, humanity's deepslying, inward griefs. Vermeer's fig* ures seem to lead a detached existence, apart from joy or sorrow. They are in themselves almost expressionless, and only clothed in a lovely outward sheen which touches their simple life with mys* tery. There is no deep spirituality in this art as in Rembrandt's. Its perfection is purely aesthetic and, like all artificial and slightly decadent art, only conceivable within certain spiritual limitations. The wonderful play of light is what most charms the eye in Vers meer's work. It is different from that of Rembrandt, in which it found its inspiration. This light is diffuse and permeates the whole room equally ; it is not concentrated like that of Rembrandt, nor does it impose strong contrasts. In Vermeer's early work, the picture lent by Mrs. Huntington, for example, when he was still frankly under the influence of the Rembrandt school, we find rugged contrasts of light and shade. Later the dark, contrasted objects in the foreground disappear, and the light loses some of its golden "warmth, taking on the silvery sheen of early morning light. The seeming nearness of the figures in Vermeer's work forms a curious contrast to the all* pervading light. He must have sat very close to his model, so near that the foremost parts seem to project from the canvas, heightening thereby the sculptural effect. This plastic feeling is further accentu* ated by an extraordinarily^perfect modeling of light and shadow, executed with a care so minute that it accounts for the length of time devoted by the master to each canvas. In many respects Vermeer had more of the modern spirit than most of his contemporaries — in the painting of shadow's, for instance, which in his works are blue, in contrast to the prevailing brown. His color*scale, too, is unique in Dutch art, which elsewhere leans towards the warmer tones, enhancing them further by the use of red. Vermeer's preference for blue has probably some connection with the coloring of Delft porcelain, of which his somewhat glassy technique is suggestive, calling to mind the tradition that he occas sionally turned his attention to this industry. Not the smallest part of* the charm of his work lies in the wonderfullysperfect arrangement of the few colors he employs, and the manner in "which these are blended to a perfect harmony. He is unique, too, in his rejection of all the detail in -which contemporary genre painters delighted. Corns pared with their work, his canvases with their few large surfaces seem empty, but the little there depicted presents in its exquisite proportions an absolutely harmonious whole. Simplicity and con* viction, too, which characterize all truly great work, are not lacking in his. The pictures exhibited are most satisfactory examples of Ver* meer's art. There is small variation of style in the short series. His first period, examples of which are also in Dresden, Glasgow and Budapest, is represented in Mr. Altaian's painting ; and as previously remarked, Mrs. Huntington's picture seems to be a comparatively early work. Mr. Johnson's is later, differing in the larger scale of the figures . The other three pictures were probably painted during the intervening period. In surveying the artistic achievements of the thirty years, during which period all the works here exhibited -were painted, one is astounded at the number of rarelysgifted masters who arose in Hoi* land during this short time ; at the variety of types originated by them for the enrichment of future generations; at the quick development and at the sudden decay. There did not exist several schools, as in Italy, for instance, forming individual centres of artistic activity ; the country was too small for that, the towns lay too close together, and the restless artist folk lived first in one, then in another. It might be described as a number of great personalities dominating the art of the country and rallying around them little groups of minor masters. And finally it became one personality alone to whom all others were subordinated — Rembrandt. That the traces of his genius are every* where to be found lends, in spite of numerous strong individualities, a species of unity to the art of the entire period. This flowering of the country's genius is visible in the industrial arts of the period, as well as in the paintings -which were its choicest 26 blossoms. The gold and silver smiths of the period modeled vessels with tne strong Baroque feeling for light and shadow, emulating the painters from whom they drew their inspiration. One recalls Rem* brandt's relations with the famous goldsmiths Lutma and Eeckhout. The Delft faience industry, which was started in imitation of the Chinese porcelains, became shortly the most famous European ware of the period, unsurpassed in the beauty of its glaze and the depth of of its color; while the furniture, with its broad, solid lines, was expressive of the comfortable Dutch homes, and influenced English and American furniture. It is this richness of inner development which, combined with political and commercial strength, -won for Holland a position of universal importance among European powers in the Seventeenth Century, and enabled her to give from her own abundance to other lands, America in particular. And these elements were the fruits of the highest period of Dutch culture, born of a nation's successful struggle for independence. 2 7 The works of the artists are arranged chronologically; such arrange* ment is, however, naturally hypothetical with artists who frequently omitted the dates, i. e., Cuyp and Vermeer. ABBREVIATIONS Bode St. ... "W. Bode : Studien zur Geschichte der hollan* dischen Malerei. Braunschweig, 1883. Bode R. ... "W. Bode (assisted by C. Hofstede de Groot): The Complete Works of Rembrandt. Paris, 1897 ff. Dutuit .... Dutuit: L'OEuvre complete de Rembrandt. Paris, 1883. Hofstede de Groot. C. Hofstede de Groot : A Catalogue Raisonne of the "Works of the Most Eminent Dutch Painters of the Seventeenth Century. Lon* don, 1908 ff. Klass. d. K. . . Rembrandt, desMeisters Gemalde in 643 Ab* bildungen. Klassiker der Kunst, 3d edition, by W. R. Valentiner, Stuttgart, 1909. Michel .... G.Michel: Rembrandt, sa vie, son ozuvre et son temps. Paris, 1893. Moes .... E.^V. Moes: Frans Hals, sa vie et son oeuvre. Bruxelles, 1909. Smith .... John Smith: A Catalogue Raisonne of the "Works of the Most Eminent Dutch, Flemish and French Painters. London, 1829*1842. Vosmaer . . . C.Vosmaer: Rembrandt, sa vie etsesceuvres. Haag, 2d edition, 1879. Waagen . . . Fr.Waagen: Works of Art and Artists in England. 1838 ff. 29 CATALOGUE NICOLAES BERCHEM BORN in Haarlem in 1620. Died at Amsterdam, 1683. Pupil of his father, of Jean Baptise Weenix and others. He prohably traveled in Italy. Painter and etcher of landscapes and animals, mostly in the Italian manner. THE FORD On the right a precipitous cliff. The river flowing at its base winds down from mountains in the left back* ground. In the left foreground a woman on horseback, wearing a dark blue skirt and red bodice, in conversation with another woman, who walks beside her carrying one child and leading a second by the hand. On the further left a seated woman and a shepherd lad. In the right foreground a boy is playing with a dog. Goats and sheep are scattered among the figures. The brown tones of the foreground melt into the tender gray^green of the mountains and the translucent pale yellow of the slightly* cloudy sky. Signed in the centre foreground: N. Berchem (partly illegible). Panel: H. 19% inches; "W. 15% inches. An identical composition, of larger size, dated 1659, hangs in the Dresden Gallery, Cat. No. 1489. Lent by Mr. Charles E. Bushnell, New York. 3 2 ABRAHAM VAN BEYEREN BORN at The Hague in 1620*21. Died at Alkmaar in 1675. Probably a pupil of his brothersinslaw, Pieter de Putter. Worked at Leyden, at Delft, at Alkmaar and especially at The Hague. Painter of still life and marines. STILL LIFE On a table covered witb a blue clotb edged witb silver fringe is a basket holding a silver dish filled with grapes, peaches and figs; on the left a golden beaker and a silver plate with a ham; behind this is a Delft stein and a Re* naissance cup. In the foreground on a white cloth is a silver tray with a lobster and two Rhine*wine glasses ; on the right some oysters and a small loaf. A red curtain is draped over a window at the left. Canvas : H. 49 inches; W. 41V2 inches. Lent by Mrs. William L. Elkins, Philadelphia. 37 FERDINAND BOL BORN at Dordrecht in 1616. Died at Amsterdam in 1680. Pupil of Rembrandt between 1635 and 1640. Worked at Amsterdam. Painter of portraits, religious and allegorical subjects. 3 PORTRAIT OF A LADY Half4ength. The figure turned slightly to the left, facing the spectator. Her waving brown hair falls about her shoulders, and her hands, the left holding a fan, are folded before her. She wears a black dress -with a greenish bodice, an elaborate lacestrimmed collar, pearls on her wrists and throat and a gold comb in her hair. Signed on the left: F. Bol, 1643 (the ^ a ^ figure uncertain). Canvas: H. 33 inches; W. 27 inches. Lent by Mr. Theodore M. Davis, Newport. 38 JAN VAN DE CAPELLE CONTINUED MARINE BROAD expanse of -water and sky. On the right a pier and sailboats; at the end of the pier the figures of three men are outlined against the horizon. On the left a large sailboat with reddishsbro wn sails and beyond it two war vessels, the larger under full sail. In the centre of the foreground a rowboat with two fishermen, one drawing a net. From the left a neck of land extends along the horizon. Signed on the right: J. v. C. Panel: H. 23 inches; "W. 33 inches. Lent by Mr. John G. Johnson, Philadelphia. 44 AELBERT CUYP BORN in Dordrecht in 1620. Died in 1691. Pupil of his father, Jacoh Gerrits Cuyp. Primarily influenced by Jan van Goyen and Pieter Molyn, later by Rem* brandt. Painter of landscapes, portraits, animals and still life. 6 VILLAGE IN THE DUNES In the middle distance a village, with a church on the left and two windmills on the right, partly obscured by the dunes. In the centre of the foreground a peasant, in a darksgr ay jacket, leans on his staff and looks toward the village. A gray, clouded sky. A warm yellow tone suffuses the landscape. Panel: H. 8V2 inches; W. 10% inches. Early work under influence of van Goyen, about 1640. Hofstede de Groot, No. 701. Von Preyer Collection, Vienna. Lent by Senator "W. A. Clark, New York. 49 AELBERT CUYP CONTINUED PIPING SHEPHERDS A GROUP of three shepherds on a hill near the borders of the Maas, one playing a bagpipe, the second a flute, the third reclining on the bank. Behind the group the heads of two cows are seen in front of some shrubs, and in the foreground a small barking dog. On the slope of the hill a flock of sheep. In the back* ground a distant view of the Maas. Signed on the right : A. Cuyp. Canvas: H. 35V2 inches; W\ 47% inches. Early work, about 1640*50. Hofstede de Groot, No. 331. Lent by Mrs. Collis P. Huntington, New York. 5o AELBERT CUYP CONTINUED 8 THE MAAS NEAR DORDRECHT THE river, alive with many boats, occupies the lower part of the canvas. Rush=grown shore with piles in the foreground. On the right a sailboat with partly* reefed sails. Toward the left, on a small jut of land, three boats are beached and loading. A man with a sack and a woman with a basket on her arm stand clearly outlined against the horizon. Two boats, one with six passengers, are rowing toward the shore. Farther back several sail* boats. Dordrecht lies on the opposite shore, with the "Great Church" on the right. The larger part of the canvas depicts a misty sky. The sun breaking through on the left is reflected in the water. Afternoon light. Signed on the left at the base of the boat: A. Cuyp. Canvas: H. 41% inches; "W. 64 inches. About 1650. The picture may be identical with one of the following numbers of Hofstede de Groot: 646, 652b, byjd. Catalogue of the H. C. Frick Collection, No. 7. Bode, Dutch and Flemish Painters, 1909, p. 192. Collection of a Northumberland family. Lent by Mr. Henry C. Frick, New York. 55 AELBERT CUYP CONTINUED RIVER VIEW " Sea view with cattle on snore" ABROAD expanse of water and sky, with several warships carrying the Dutch flag, and smaller craft in the foreground. At the edge of the marshy shore, seven cows. A warm evening sky with clouds is reflected in the water. Signed on the right : Cuyp. Panel: H. 10V2 inches; W. i6ys inches. About 1650*60. Lent by Sir William van Home, Montreal. 56 AELBERT CUYP CONTINUED 10 MILKING TIME SIX cows are pastured in a meadow lying at the foot of Kills . A maid is milking a black cow, and a bro wn one stands near by, turned in profile to the left. In front He two more brown cows and a white one. On the left, behind some bushes, a sixth cow stands facing the spec* tator. Afternoon light. Yellow clouds on the horizon. Signed on the lower right: A. Cuyp. Panel: H. 17V2 inches; W\ 21^ inches. About 1660*70. Probably identical with Hofstede de Groot, Nos. 380b and 387g. Sale Pieter Oets in Amsterdam, 1791. Sale Earl of Cork and Orrery, London, 1905. Lent by Mr. W. B. Dickerman, New York. 61 AELBERT CUYP CONTINUED 11 MILKING TIME A MEADOW with a distant view of Dordrecht and its cathedral. At the right three cows andawonu an in a red bodice milking ; in the foreground meadows weeds. Evening sky with clouds. Signed at the lower left : A. Cuyp. Panel: H. 22 V2 inches ; "W. 28 V2 inches. About 1660*70. Lent by Mr. George J. Gould, New York. 62 AELBERT CUYP CONTINUED 12 LANDSCAPE WITH FIGURES AND CATTLE IN the foreground on the right a large group of trees, a shepherd with his dog and two cows ; heyond him on a hillock in the shadow of the trees, a horseman in red followed by a group of peasants, one on a mule. On the left a pool at which a cow is drinking ; on the opposite shore the stooping figure of a man, and heyond him, two shepherds and some sheep. In the centre a lake and a castle. At the extreme left high mountains, one crowned by a tower. Evening sky with clouds. Signed at the lower left: A. Cuyp fecit. Canvas : H. 52 inches ; "W. jj inches. About 1670. A large replica, -with slight variations, of a picture in the possession of Lord Scardale. Smith, No. 91; Waagen, Vol. II, p. 398; Hofstede de Groot, No. 437. Exhibited at the Royal Academy , London, 1828, 1871, 1894, 1903. Collection of Lord Dudley, London. Lent by Mr. J. Pierpont Morgan, New York. 67 AELBERT CUYP CONTINUED 13 LANDSCAPE WITH BRIDGE AT the left a road leading to the right over an arched stone bridge which spans a narrow stream. At the right several mountains which slope off to the horizon. In the foreground, on the left, a seated shepherd and four cows, a white one going toward the water. On the op* posite side of the bridge two men on the road. A warm golden light suffuses the picture. Signed on the right: A. Cuyp. Panel: H. 19 inches; "W. 28% inches. About 1660*70. Hofstede de Groot, No. 304. Collection of W. A. Hankey, Beaulieu in Hastings. Lent by Mrs. John W. Simpson, New York. 68 AELBERT CUYP CONTINUED 14 MAN EATING MUSSELS ON the right of the canvas, a Blacksmith, wearing a golden*brown jacket, is seated in his smithy, beside a cask, eating mussels ; a small hoy and a little girl who wears a red bodice and a white apron are watching him. On the right two richlysdressed men are looking through a window. The smith's assistant stands in the left backs ground in the shadow, holding a hammer in his hand. A small dog lies in front of the cask. On the left a cock and two hens. Signed at the lower left: A. C. Panel: H.2o!4 inches; W. 30V2 inches. About 1660*70. This picture is a smaller replica o( the painting in the Boyman's Museum in Rotterdam. Smith, No. 178; Hofstede de Groot, No. 50. Van Loon Collection, Amsterdam. Sale A. Febvre, Paris, 1882. Sale Baron de Beurnonville, Paris, 1883, No. 13. Sale F. Zschille, Cologne, 1889. Collection of Baron C. v. d. Heydt, Berlin. Lent by Mr. M. C. D. Borden, New York. 73 AELBERT CUYP CONTINUED 15 COCK AND HENS ACOCK, turned toward the left, stands near a wooden fence. On his left five hens. In the right foreground a brass milk*can, and behind the fence a large tree==trunk. Some cabbages in the left foreground, and in the rear a hilly landscape against an evening sky. Warm goldensbrown tones predominate. Panel: H. 35V2 inches; "W. 45 inches. About 1650*60. A similar picture belonging to Dr. A. Bredius at The Hague is dated 1651. Lent by Mr. John G. Johnson, Philadelphia. 74 PEACHES I of blue and white Chu /k ing peaches, stands on the j ! n one of the peaches a beet a butterfly. Behind the dish, on t grapes. Signed on the left edge of the table Panel: H. ij inch - 2 $ inches. Hofstede de Groot, Nos. 836, 837. Sale H at, Paris, 1875. e Paul Galitzin. Par ■ AELBERT CUYP CONCLUDED 16 PEACHES A DISH of blue and white Chinese porcelain, hold* ing peaches, stands on the right-hand side of a table. On one of the peaches a beetle and on the leaves a butterfly. Behind the dish, on the left, a bunch of grapes. Signed on the left edge of the table : A. C. Panel: H. 17 inches; "W. 25 inches. Hofstede de Groot, Nos. 836, 837. Sale H. de Kat, Paris, 1875. Sale Prince Paul Galitzin, Paris, 1875. Lent by Mr. John G. Johnson, Philadelphia. 79 JAN VAN GOYEN BORN at Leyden in 1596. Died at The Hague in 1656. Studied under Esaias van de Velde and others. Worked at Leyden and at The Hague. Visited France. Painter and draughtsman of flat landscapes and marines. 17 VIEW OF RHENEN A sloping hillside surmounted by the walled city of Rhenen, from which rises the high cathedral tower, and beyond it a windmill. In the foreground at the right a road, winding about a sunlit slope, leads along the banks of the river to the city. In the foreground, several peas* ants, a vehicle, and near them some cows standing in a pool. Broad expanse of clouded sky. Signed on the right: J. v. Goyen 1636. Canvas: H. 39% inches; "W. 53V2 inches. Property of The Metropolitan Museum of Art, New York. 80 JAN VAN GOYEN CONTINUED 18 VIEW OF RHENEN ON the left the river winds through a hilly country. The town, situated on a hillside, is dominated by the high Gothic church tower, a castle and two wind* mills on the right. In the left foreground a little inlet in which a boat is lying . A road leads from the town toward the right foreground; on it, in a sunlit spot, an equipage, drawn by four white horses and accompanied by a rider. Brown tones predominate in the foreground, changing to a background of graysgreen. Dark gray clouds are massing in the pale blue sky. Signed on the right foreground: J. v. Goyen 1646. Canvas: H. 251/2 inches; "W. 34V2 inches. Collection of T.Wright, Apton Hall, Notts, England. Lent by Senator W\ A. Clark, New York. 85 JAN VAN GOYEN CONTINUED 19 VIEW OF DORDRECHT IN the foreground the river Maas, gay with boats. Among them a ferry-boat with tall sails and contains ing numerous passengers, nearing the left shore. In the middle distance the red roofs of the town are seen through a gray mist. The "Great Church" on the right. High, light blue sky with gathering clouds. Signed on a boat in the right foreground: v. G. 1651. Canvas: H 40% inches; W. 53% inches. Lent by Senator "W. A. Clark, New York. 86 DIRK HALS BORN at Haarlem, 1591. Died there in 1656. Pupil of his older brother, Frans Hals. Worked at Haar* lem. Genre painter. 20 CHILDREN PLAYING CARDS A little girl wearing a green dress -with white sleeves is seated on the right, laughingly holding out an ace of spades. On the left a boy seated in a crouching attitude is playing a card. He wears a brownish?gray costume and a slouch hat. The children are using a foot=stove as a table. In the foreground some cards are lying on the floor. Signed in background above right hand of girl : Dirck Hals 163— (last figure indistinct). Panel: H. 13 inches; "W. 11 inches. Companion piece to No. 21. Grefner Fagel Collection, sold in London, 1801. Collection of King Leopold of Belgium. Lent by Mr. J. Pierpont Morgan, New York. DIRK HALS CONTINUED 21 GIRLS WITH A CAT A LITTLE girl is seated, holding a cat on her knee ; a smaller girl offers it something. The children have blonde hair and fresh red cheeks and are laughing heartily. They are dressed in tones of yellow, brown and grayishsgreen. The elder child wears a blue and red hood and a white collar. An earthenware vessel stands in the foreground. Panel: H. 13 inches; W\ 11 inches. Companion piece to No. 20. Grefner Fagel Collection, sold in London, 1801. Collection of King Leopold of Belgium. Lent by Mr. J. Pierpont Morgan, New York. 92 FRANS HALS THE ELDER BORN at Antwerp, 1584. Died at Haarlem, 1666. Pupil of Karel van Mander . Worked mostly at Haar* lem. Portrait and genre painter. 22 THE SMOKER Bust of a smiling boy looking toward the spectator, the figure turned slightly to the right. He wears a striped brown coat and smokes a long clay pipe. Behind him at the left a young girl, whose arms are about his shoulders ; at the right a second girl in a red dress, holding a stein. Behind the group at the left a graysgreen curtain. Octagonal panel: H. 17% inches; "W. 18% inches. Moes, No. 212. Exhibited at the Royal Academy, London, 1887. Collection of R. G. Wilberforce, London. Collection of Henry G. Marquand, New York. Property of The Metropolitan Museum of Art, New York. 97 FRANS HALS CONTINUED 22A THE MERRY COMPANY "Ausgelassene Gesellschaft" A YOUNG girl seated at a table with her right hand raised in warning as she gaily turns her smiling face toward the man at her left. Her blonde hair is crowned with laurel. She "wears a white satin costume with an overdress of deep orange, richly embroidered, and a flar* ing lace collar. At her throat and wrists are strings of coral. A man with a florid face rests his cheek against her head and has his arm about her shoulders; he is dressed in black, with a clay pipe stuck in his large soft hat, and over his right shoulder hangs a string of sausages and dried fish; in his right hand he holds the tail of a fox. A man at the right looking down at her wears a gray cloak and a red cap and holds a cane in his left hand. In the background at the left is a smiling buffoon dressed in green, with a wooden spoon in his red hat. The table in the foreground has a green cover, and standing on it are various household utensils — a pot of coals, a stein and a dish of sausages. Dark green background. Signed in Gothic letters on the stein: F. H. Canvas: H. 50% inches ; "W. 39 inches. About 1620. Dirk Hals, the brother of the artist, has copied this com* position in a small picture in the Louvre. Bode St., No. 75; Moes, N0.208; K. Erasmus, Der Cice* rone, January and May, 1909; Bode, Der Cicerone, Feb* ruary and May, 1909. Exhibited at the Palais du Corps Legislatif, 1874. Cocret Collection, Paris. Lent by Mr. B. Altman, New York. 98 FRANS HALS CONTINUED 23 SINGING BOYS BUST, slightly turned to the right. A boy with long light curls, wearing a Mack hat with a feather, sings from a hook which he holds before him; -with his left hand he marks the time. A second boy looking over his right shoulder is singing from the same book. Canvas: H. 23% inches; "W. 19% inches. About 1625. Moes, Nos. 225, 226. Lent by Mr. Charles Stewart Smith, New York. 103 FRANS HALS CONTINUED 24 BOY PLAYING A FLUTE BUST. The figure is turned to the left, the head thrown back; the pose suggests the motion of the dance. He wears a dark coat and a black hat with a feather. His hands, holding the flute, are raised to the left. Canvas: 25I/2 inches; W\ 25V2 inches. Lent by Mr. E. D. Libbey, Toledo. 104 ( ^"^Nk ^ ^ BSSi ^ ^Life ■ {' A&*'M ^v^^M K^W FRANS HALS CONTINUED 25 SAMUEL AMPZING, PREACHER IN THE REFORMED CHURCH, HAARLEM BUST, turned to the right, looking at the spectator. He has a heard and wears a black robe with a white linen ruff at the neck. With the left hand he holds a parch* mentsbound hook with red leaves against his breast. On the right the inscription: Aetat 40, AN01630. Copper: H. 6% inches; W. 4% inches. Print by J. Suyderhoef. Moes, No. 12. Lent by Sir William van Home, Montreal. [09 FRANS HALS CONTINUED 26 WILHEM VAN HEYTHUYSEN BUST, turned to the right, facing the spectator, wears ing a pointed beard. The face is smiling and the right hand toys with the tassel of a lacestrimmed collar ; the left holds his gloves. He wears a dark coat and a broad? brimmed hat. Gray background. In a painted oval frame. Panel: H. cy/s inches; "W. 7% inches. Bode St., No. 43; Moes, No. 47. Exhibited, Palais du Corps Legislatif, Paris, 1874. Double Collection, Paris. Collection of Henry Hecht, Paris. Lent by Mr. Charles L. Hutchinson, Chicago. no FRANS HALS CONTINUED 27 PORTRAIT OF A MAN HALF-LENGTH . Turned to the right. He has a gray beard and wears a black bat and cloak with a white ruff. His right hand is folded over the left, which holds a twig. Signed on the right: Aeta Svae 66 An° 1633, with the monogram F. H. Canvas: H. 30% inches ;"W. 24% inches. Moes, No. 184a. Lent by Mrs. Morris K. Jesup, New York. "5 FRANS HALS CONTINUED 28 PORTRAIT OF AN ARTIST HALF-LENGTH. Seated, the right arm renting on the arm of his chair. His hair is long and he wears a large slouch hat. Black costume with broad white col* lar and cuffs. A cloak is thrown over his left shoulder. He holds a paint-brush in his right hand. A column be* hind him on the right. Signed at the lower right : F. H. 1635. Canvas: H. 39V2 inches; "W. 32% inches. By some called a portrait of the artist. Bode St., No. 140; Moes, No. 37; Catalogue of the H. C. Frick Collection, No. 18. Exhibited at the Burlington House, London, 1882, No. 87. Collection of S. K. Mainwaring, Otley, England. Lent by Mr. Henry C. Frick, New York. 116 vNS HALS ig on i H and he ! essed in h ck skull^c Signed on th Aeta the artist's mon. At the top of th< Natus 1590 S M Ft. Panel: H. 10 V2 inch,: Print hy J. Suyderh Sibelius was born 1 first in London, then in where he died in 1658. : of the p. por certain Moes, No. 74. Exhibited at the Lent i FRANS HALS CONTINUED 29 THE REV. CASPAR SIBELIUS HALF*LENGTH. Turned slightly toward the right, addressing his congregation. The left hand is raised in eloquent gesture and he holds a small prayer-book in the right. He is dressed in Hack with a -white outstand* ing ruff and a black skulUcap. Signed on the right: Aetat Svae 47, An° 1637, beneath the artist's monogram composed of the letters F. Hals. At the top of the canvas, in the centre, the inscription Natus 1590 S M Functus 40. Panel: H. 10V2 inches; W\ 9 inches. Print by J. Suyderhoef. Sibelius was born in Elberfeld in 1590, and preached first in London, then in Zurich, and finally in Deventer, where he died in 1658. From what is written on the back of the painting it would seem that Sibelius presented this portrait to a certain Professor Hoffman. Moes, No. 74. Exhibited at the Palais du Corps Legislatif, Paris, 1874. Lent by Mr. M. C. D. Borden, New York. 121 ■ FRANS HALS CONTINUED 30 MICHIEL DE WAEL(?) HALF*LENGTH figure turned to the right. He has a moustache and a slight chin*tuft, and wears a large black felt hat, a black costume with a white ruff and yel? lowish gloves. His left hand rests on a stick. Inscribed on the right: Aetat Svae 32, An 1638. Canvas: H. 34 inches; "W. 26% inches. This portrait is said to be Michiel de Wael, who appears in the picture of St. Jons' Shooting Company, 1639. Moes, No. 135. Collection of Arthur Seymour, London. Lent by Mr. J. Pierpont Morgan, New York. 122 as a >rk. FRANS HALS CONTINUED 31 PORTRAIT OF A LADY HLFsLENGTH figure turned to the left, facing t spe holding a fan m the right hand. Sne wears a black dress with, a wid<: c s lace*trimmed col; and cuffs, a close*ntting cap, and a pearl necklace. Gray background. Canvas: H. 31V2 incnes;"W. 25 V2 inches. About 1640. Moes, No. 206. Exhibited at the Royal Academy, London, 1903. Sale Isle of V/ig )6. Lent by h ierpont Morgan, New York. 127 FRANS HALS CONTINUED 31 PORTRAIT OF A LADY HALF*LENGTH figure turned to the left, facing the spectator, holding a fan in the right hand. She wears a black dress with a wide, white, lace*trimmed collar and cuffs, a close*fitting cap, and a pearl necklace. Gray- background. Canvas: H. 31V2 inches ; W. 25V2 inches. About 1640. Moes, No. 206. Exhibited at the Royal Academy, London, 1903. Sale Isle of Wight, 1896. Lent by Mr. J. Pierpont Morgan, New York. 127 FRANS HALS CONTINUED 32 PORTRAIT OF A MAN HALF-LENGTH, turned to the left, facing the specs tator. He has long, straight black hair. His right hand in the folds of his cloak. A square, white cambric collar. Canvas: H. 25 inches; "W. 21 inches. Lent by Mr. P. A. B. Widener, Philadelphia. 128 h FRANS HALS PORTF i brie 'KiladelpL 128 FRA BODOLPHE THE TERS LENGTH. Fig de a seated in a high*backed ch> The face, three-quarters view, lc tor; in his hand dark coat is closely buttoned, falls over the left: shoulder anc ruff and a black felt hat v crown. Signed on the right : A . -43, monogram F. H. Canvas : H . 4 ;s ; V/ Companion p The identity Bode St., Nc Collection c Ler FRANS HALS CONTINUED 33 HEER BODOLPHE THREE^UARTERS LENGTH. Figure of an el* derly man seated in a highjacked chair, turned to the right. The face, three-quarters view, looks intently at the spectator; in his hands he holds his gloves. His dark coat is closely buttoned, and a cloak of similar tone falls over the left shoulder and knees. He wears a white ruff and a black felt hat with a broad brim and a high crown. Signed on the right: AeTat Svae 73 An° 1643, w^ the monogram F. H. Canvas: H. 48 inches; "W. 38V2 inches. Companion picture to No. 34. The identity of this subject is uncertain. Bode St., No. 55; Moes, No. 105. Collection of Count Mniszech, Paris. Lent by Mr. J. Pierpont Morgan, New York. 133 FRANS HALS CONTINUED 34 VROUW BODOLPHE THREE^UARTERS LENGTH. An elderly lady seated in a carved chair, turned to the front and look* ing at the spectator, full face ; her left hand rests on the arm of the chair, and in her right hand she holds a pair of long white gloves. She wears a dark dress with fur trimmings, a white ruff around the throat, and a close* fitting, ■white linen cap. Signed on the left: Aetat Svae 73 An° 1643, with the monogram F. H. Canvas: H. 48 inches; W\ 38I/2 inches. Companion picture to No. 33. The identity of this subject is uncertain. Bode St., No. 56; Moes, No. 106. Collection of Count Mniszech, Paris. Lent by Mr. J. Pierpont Morgan, New York. J 34 34 >DOLPHE TH. An elderly lady nd look* >n the ( this subject is unc Mo. Collect ^.odolphe Kann, Pa Lentb Mrs. Collis P. H-. wYork. *45 FRANS HALS CONTINUED 37 BALTHASAR COYMANS Alderman of Haarlem HALF*LENGTH. Portrait of a young man witk long curling hair, light moustache and a chinstuft, seated on a red chair turned to the right, his arm resting on the back as he looks at the spectator. He wears a goldsem* broidered coat with puffed white sleeves and a high black hat. On the wall to the left his armorial bearings, and the in* scrip tion Aetat Svae 26, 1645. Canvas: H. 29% inches; "W. 24% inches. The identity of this subject is uncertain. Moes, No. 27. Collection of Rodolphe Kann, Paris. Lent by Mrs. Collis P. Huntington, New York. 145 FRANS HALS CONTINUED 38 ISABELLA COYMANS "The Lady with the Rose" THREE-QUARTERS LENGTH. Turned slightly to the right, the face looking to the left, smiling, as she holds a red rose in her extended right hand. She wears a white skirt trimmed with silver lace and a black over* skirt and bodice with a white lace collar and cuffs ; at her right side a bowof ribbon from which hangs a watch. Around her throat and her right wrist are strings of pearls, and she wears earrings tied with red ribbons. Her waving brown hair falls about her neck and is orna= mented with a ribbon. In her gloved left hand she holds her right glove. Her armorial bearings hang on the wall at the left. Canvas: H. 49 inches; "W. 50 inches. Companion portrait of her husband, Stephanus Geraerdts, in the Museum at Antwerp. Moes, No. 35. Lent by Mr. P. A. B. Widener, Philadelphia. 146 38 i slightly as she irsa . er* r and cuffs; at h hangs a wat*. ings of ■ d, Stephanus Gcraerdts, B. "* dadelphia. FRANS HALS iNTINUED 39 PORTRAIT OF A MAN THREE-QUARTERS LENGTH. Stan ,htly to the right. He has gray hair an moustache, and wears a black hat and a c square cambric collar. His right hand is or his left, folded in his cloak, holds his yellow glc Signed on the : Aetatis Svae 55, -with tl. gramF. H. 16 Canvas: H. 49 J /.> inches; W. 40 inches. Moes, No. 107. Lent by Mr. Charles M. Schwab, Nev 15 1 FRANS HALS CONTINUED 39 PORTRAIT OF A MAN THREE-QUARTERS LENGTH. Standing, turned slightly to the right. He lias gray hair and a small moustache, and wears a black hat and a cloak with a square cambric collar. His right hand is on his hip, and his left, folded in his cloak, holds his yellow gloves. Signed on the right: Aetatis Svae 55, with the mono? gram F. H. 1648. Canvas: H. 49% inches; W. 40 inches. Moes, No. 107. Lent by Mr. Charles M. Schwab, New York. I5 1 FRANS HALS CONTINUED 40 PORTRAIT OF A LADY HALF-LENGTH. Seated, the figure turned to the left, her right arm over the back of the chair, facing the spectator, with her hands clasped before her. She wears a richly*trimmed black silk dress with a pink front ; a broad lacestrimmed collar and cuffs ; a black cap with a point over the forehead, trimmed with a gold band studded with pearls; and gold bracelets. On the left, in the background, two columns, and on the right a distant view with church spires. Canvas: H. 38% inches ; "W. 30% inches. Moes, No. 205. Erroneously called portrait of the wife of the artist. Collection of the Earl of Besborough. Collection of Louis Banker, Kings Lynn, Norfolk. Collection of Henry G. Marquand, New York. Property of The Metropolitan Museum of Art, New York. *5* 40 . r OF Y F^ turned to the iir, facing tier. She front; th ad . On thel. hjht a distant No. 205. cously called portrait of the wife of t n of the E ; esborough. n of Louis Banker, Kings I rfolk. 1 of Henry G Marquand. York. ^perty of The Metropolitan Museum of Art, New York. *5 2 41 PORTRAIT OF A MAN THREE-QUARTERS LENGTH. Stand turned to the right, the right hand re&„ e left holding a broad^brimmed hat. bla . et with slashed sleeves over a whi a small white collar. Signed at the right with the monogram F. H. Canvas: H. 42^8 inches; W. 33V2 inches. About 1650. Moes, No. 184. Collection of the Earl of Buckinghamshire. Collection of Henry G. Marquand, New\ Property of The Metropolitan Mus. New Yc FRANS HALS CONTINUED 41 PORTRAIT OF A MAN THREE-QUARTERS LENGTH. Standing, slightly turned to the right, the right hand resting upon the hip, the left holding a broadsbrimmed hat. He wears a black jacket with slashed sleeves over a white shirt with a small white collar. Signed at the right with the monogram F. H. Canvas: H. 42 5 /s inches; W\ 33 V^ inches. About 1650. Moes, No. 184. Collection of the Earl of Buckinghamshire. Collection of Henry G. Marquand, New York. Property of The Metropolitan Museum of Art, New York. 157 BARTHOLOMEUS VAN DER HELST BORN at Haarlem, 1613. Died at Amsterdam in 1670. Established himself in Amsterdam in early life, where, under the influence of Nicolaes Elias, he became, after Rembrandt, the most famous portrait painter in the city. 42 PORTRAIT OF A MAN Bust. The hands not visible. Turned slightly to the right. Dark brown hair, gray moustache and chin*tuft. Black costume with flat cambric collar. Gray background. Signed on the right: Aeta 62. B. van der Helst, 1647. Panel: H. 25V2 inches; "W. 20 s /q inches. Property of the Metropolitan Museum of Art, New York. 158 EUS V/ R HELST )iedat rn in 1670. in early life, ) c became, :iter in :"r. Bl Pane Pre BARTHOLOMF VAN DER HELST 43 PORTRAIT OF A LADY IT ENGTH figure, turned slightly to tl >ot visible. She wee dress t 1 d and silver 1 collar. Pearls at her throat and in her hair, whi brushed plainly back and falls in rir a eithe A dark green curta; 'hind her. Brownish-g background on the Canvas: H. 28% inches ; W. 25% inches. About 1660. Formerly ascribed to Terborch. Rightly attribu van der Helsr by Hofsfrede de Groot. Lent by Mr. Robert W. de Forest, Nt 163 BARTHOLOMEUS VAN DER HELST CONTINUED 43 PORTRAIT OF A LADY HALF-LENGTH figure, turned slightly to the right, the hands not visible. She wears a bluish*gray silk dress trimmed with gold and silver lace and a broad lace collar. Pearls at her throat and in her hair, which is brushed plainly hack and falls in ringlets on either side. A dark green curtain hangs behind her. Brownish?gray background on the right. Canvas: H. 28% inches; "W". 25% inches. About 1660. Formerly ascribed to Terborch. Rightly attributed to van der Heist by Hofstede de Groot. Lent by Mr. Robert W. de Forest, New York. 163 JAN VAN DER HEYDEN BORN at Gorkum, 1637. Died at Amsterdam in 1712. Traveled in Germany, Belgium and England. He was an engineer and introduced street lamps. Painter of landscapes with architecture, and still life. 44 STREET IN DELFT A street leading to the City Hall at Delft. At the right several men and boys playing at bowls beneath a shed built against the wall of a house ; beyond this some small shops. At the left a row of old houses forms an irregular sky4ine. In the background on the left the street narrows to a passageway between the buildings . In the foreground children, groups of civilians and peasants. Signed on the right: J. V. Heyden. Panel: H. 21 V4 inches; "W. 27V2 inches. The figures are byjanvander Heyden, not by Adriaen "van de Velde, as is often the case in works of this artist. Lent by Mr. Theodore M. Davis, Newport. 164 DER I DEN ,1637. DieaatAm^lcraamini7i2. many, I . England. He ps. Painter of .FT At the right oneath a shed 1 erHeyder yAdriaen s of this artist. dore M. I Newport. JAN VAN DER HEYDEN CONTINUED 45 BULL IN THE STREET ARED^BRO WN bull, turned towards the right and tethered to the steps of a house, stands in a strong light; of his driver behind him nothing but the feet, and legs encased in dark blue stockings, are visible. On the right a woman is looking out of the window. In the left foreground a large dark brown hound is lying in the shade. In the rear a canal, its farther bank edged with trees. Several roofs lit up by the sun are visible beyond. A number of figures are standing beneath the trees, partly in the shade ; among them a lady and gentleman, a servingsmaid and two dogs. Dark and cloudy sky. Canvas: H. i2 3 /s inches ; "W. 15% inches. About 1660*65. The bull, the dog and the figures, are painted by Adriaen vandeVelde. Smith, No. 109. Lent by Mr. William T. Blodgett, New York. 169 MEINDERT HOBBEMA BORN at Amsterdam, 1638; died there in 1709. Ed* ucated under the influence of Jacob van Ruisdael. "Worked at Amsterdam (seldom after 1668). Painter of wooded landscapes. 46 THE POOL In the foreground a small pool lies across a path which leads to a Gothic church in the background. A straw? thatched cottage overgrown with vines stands in front of the church. Tall oaks on the left, beneath which two humble thatched cottages are partly hidden. A man, and a woman -wearing a red skirt, with a boy at her side, are standing on the road. Thick white clouds are massing in the sky behind the church. The sunlight shines through the trees and falls in patches on the road. In the foreground on the right, signed: M. Hobbema. Panel: H. 20V2 inches ;"W. 26V2 inches. Early work, about 1660. Probably identical -with Smith, No. 39. Muilman Sale, Amsterdam, 1813. Lapeyriere Sale, Paris, 181 7. Collection of George Morant, London, 1832. Lent by Mr. William T. Blodgett, New York. 170 MEINDERT HOBBEMA B:^N at died da Bd* ik h van Ruisdael. W i(seld 068). Painter of 46 THE POOL cross a path wnich -: ground. A s1raw= thai front ■-ath w vvo udden. A man, and . boy at her side, are hurch id falls I. HOBBE?: v Smith, N ale, Amsterdam Lai e Sale, Paris, 18- e Morant '832. Tew York. MEINDERT HOBBEMA CONT.i 47 CASTLE KOSTVERLOREN IN the centre a square tower o{ . with four* :bles, rises amid crur is from the castle* ■2 working on the walls. Near the en? drawbridge are two large trees with autumn t nan in a red coat -walk* ing along a road. Beyond the trees a cottage and gate are visible, and behind the castle, on the opposite side of the moat, woods. White clouds. Signed in the > ight^hand come Hobbema. Panel: H. 22% ir "2 incb Smith, No. 116. Collection of Fi' Perkins. Lent by L C. D. Bord> rk. 175 MEINDERT HOBBEMA CONTINUED 47 CASTLE KOSTVERLOREN IN the centre a square tower of red brick, with fours step gables, rises amid crumbling walls from the castle* moat; four men are working on the walls. Near tbe entrance to tbe drawbridge are two large trees witb autumn foliage, and a boy witb a man in a red coat walks ing along a road. Beyond tbe trees a cottage and gate are visible, and behind the castle, on the opposite side of the moat, woods. ^Vhite clouds. Signed in the lower right-hand corner : M. Hobbema. Panel: H. 22% inches; W. 29 V2 inches. Smith, No. 116. Collection of Frederic Perkins. Lent by Mr. M. C. D. Borden, New York. 175 MEINDERT HOBBEMA CONTINUED 48 WOODED LANDSCAPE "Holford Landscape" FROM the central foreground a road -winds to the left through a grove of trees. On each side of the road is a pool of water; to the right a steep slope overgrown with young trees, a footpath running along the crest; at the extreme right avistaof distant fields. In the centre are two men and a woman; back of this group a fisherman, and on the roads at the right and left other figures. The horizon is placed at about one*third of the picture's height and large cumulus clouds are drawn in the sky. Signed on the lower right: Meindert Hobbema, 1663. Canvas: H. 36 inches; W. 50 inches. Smith Suppl., Nos. 724, 725; Waagen, Vol. II, p. 202. Exhibited British Institution, 1840, 1851. Manchester Art Treasures, 1857. British Institution, 1862. Royal Academy, London, 1887. Collection of Charles Cobb of Dublin until 1830. Collection of R. S. Holford, London. Lent by Mr. J. Pierpont Morgan, New York. 176 MEINDERT HOBP \ 48 WOODED LANDSCAPE pe" d a road winds to the left h side of the road is a p -i slope rown wi s, a footpath i ong the crest : vightavistaoi ire ^herrr - he lov. res, 1 8 Br' Dublin until 1830. York. *p HPSBbM jjj&- ' ■ > ■ --- ■ . |^b ■ ... ■ . ■: . wi •■■■■■ ■■■' < " " 1 99 - ■ '<* - ■ - ' ■ ' .»■■ ■}3S - jjp '&" t ^Bz> r ■ -'<■ . ■ ■ : - % Hfc& • Jki # :■, ;•: .',* ST • * SBi BE." > <- ?•:■ ; ; n 1 ""^S^Mi^^ ■-■' "'- B 1 ■^f- -. .-' f 1 s^^^y^ h - f V e > ■ ■ • 1 i . | ■ : A 4 1 H ,t 1 15 i A am ad ma Blue sky with Signed on the k Panel: H. 30m Probab are some v Catalogue Exhibited Collec'tio; land, 18 Collect MEINDERT HOBBEMA CONTINUED 49 COTTAGE AMONG THE TREES A PATH winds from the foreground toward the diss tance; on both sides are cottages among the trees. At the left in foreground a large group of trees, through which is seen a trick cottage in strong sunlight. At the door stand a man and a boy. In the shadow of the trees a man in a red jacket reclines at the feet of a woman; a second man stands near by. Other figures in the road. Blue sky -with white clouds. Signed on the lower left: M. Hobbema, 1665. Panel: H. 30 inches; "W. 43V2 inches. Probably identical with Smith, No. 86, although there are some variations in the description. Catalogue of Mr. H. C. Frick's paintings, No. 19. Exhibited at the Royal Academy, London, 1882. Collection of 'William Blathwayt, near Bristol, Eng* land, 1834. Collection of G.W\ Blathwayt, 1882. Collection o£ "W.T. Blathwayt, Durham Park, 1901. Lent by Mr. Henry C. Frick, New York. 181 MEINDERT HOBBEMA CONTINUED 50 WOODED ROAD THE road leads from the left of the foreground into the distance, branching off near the centre to two cot* tages at the left standing among groups of oak trees; be* yond the trees other cottages. At the left in the shadow a seated woman talking with a man ; beyond a group of three on the road, and in the distance other figures. Signed on the left: M. Hobbema f. i 66- (the last figure illegible). Canvas: H. 40 inches; W. 50 inches. About 1665. Collection of Sir Richard Ford. Collection of Sir Richard Fowler. Sale Sir Richard Fowler, 1892. Lent by Mrs. William L. Elkins, Philadelphia. [82 MEINDERT HOBBEMA 51 THE WATER-MILL ■"•Trevor Land. A WOODED landscape with a large p. in die foreground on the right bank stream. In the middle distance a group of cot -rounded by trees; beyond the mill :ht sunlight; at 1 1 at, on a roa to the fc a boy. .he water in a blue . by a i stream. On the left a sedgy t i th a fallea a wooden fence. A gray, clot Signed in the left corner: M. 1 ,vtA 1667. Canvas: H. 39 j "W* $r 3. The cow and th * ? s of the man and worn Adriaen van de :gures arc bema. Exhibited at the Royal Acadf Collection of the I Baron Tr Sale Lady Hampden, London Collection of Jor ilker o: Collection of Sir Edgar Vine*- Lent by Mr J. Pierpont Morgan 187 MEINDERT HOBBEMA CONTINUED 51 THE WATER=MILL "Trevor Landscape" A WOODED landscape with a large group of trees in the foreground on the right bank of a milk stream. In the middle distance a group of cottages and a mill surrounded by trees; beyond the mill an open space in bright sunlight ; at the right, on a road leading to the ford, a man and a boy; near the water a woman in a blue skirt, assisted by a man, leads a cow into the stream. On the left a sedgy bank with a fallen tree and a wooden fence. A gray, clouded sky. Signed in the left corner: M. Hobbema 1667. Canvas: H. 39 inches; "W. 57 inches. The cow and the figures of the man and woman are by Adriaen van de Velde, the other figures are by Hob* bema. Exhibited at the Royal Academy, London, 1882. Collection of the fourth Baron Trevor (1701^83). Sale Lady Hampden, London, 1834. Collection of John Walker of Bearwood. Collection of Sir Edgar Vincent, London. Lent by Mr. J. Pierpont Morgan, New York. 187 MEINDERT HOBBEMA CONTINUED 52 ROAD IN THE WOODS A ROAD in the centre of the canvas leads through the woods. At the left, beneath a group of trees in autumn foliage, is a peasant's cottage with a girl standing in the open door conversing with a woman and child. On the road beyond the cottage are two pedestrians, a vehicle and a horseman ; in the foreground a huntsman in a red coat with two dogs ; on the right a small hut. Signed in the right lower corner: M. Hobbema. Canvas: H. 36 inches ;V/. 50 inches. Lent by Mr. George J. Gould, New York. :88 RT HOBBEMA hi OODS Agn •up of i. aut Islanding in rr cnild. MEINDERT HOBBEMA CONTINUED 52 ROAD IN THE WOODS A ROAD in the centre of the canvas leads through the woods. At the left, beneath a group of trees in autumn foliage, is a peasant's cottage with a girl standing in the open door conversing with a woman and child. On the road beyond the cottage are two pedestrians, a vehicle and a horseman ; in the foreground a huntsman in a red coat with two dogs ; on the right a small hut. Signed in the right lower corner: M. Hobbema. Canvas: H. 36 inches ;"W. 50 inches. Lent by Mr. George J. Gould, New York. [88 Ml HOBBEMA Ajgh up of trees in .irk. PIETER DE HOOCH INUED 54 WC D CHILD IN COURTYARD A NTT wearing a light brown and a white aprcn ever a red skirt is ere, courtyar: at her side. She carries a i basket in Her a jug in ber left, and looks at the child, wl .mg a bird-cage. Both are go; towards a pump built against the wall in the left fo ground. In the middle distance the town wall is se:. above which are tree*tops. On the right a lady, and t gentlemen wear hats, sit under an arbor dri; ing wine. Signed on the lc t hand: P. de Hooch. Canvas: H. 29 inches; AV. 26 inches. About 1660. The scene is laid in a courtyard near the city w Delft. Hofstede de Gro> Lent by Mr. P. A. B. A iia. [99 PIETER DE HOOCH CONTINUED 54 WOMAN AND CHILD IN COURTYARD A MAIDSERVANT wearing a light brown jacket and a white apron over a red skirt is crossing a courtyard with a little girl at her side. She carries a flat basket in her right hand, a jug in her left, and looks at the child, who is holding a birdscage. Both are going towards a pump built against the wall in the left fore* ground. In the middle distance the town wall is seen, above which are tree*tops. On the right a lady, and two gentlemen -wearing slouch hats, sit under an arbor drink* ing wine. Signed on the lower left hand: P. de Hooch. Canvas: H. 29 inches; "W. 26 inches. About 1660. The scene is laid in a courtyard near the city wall at Delft. Hofstede de Groot, No. 294. Lent by Mr. P. A. B. Widener, Philadelphia. [99 PIETER DE HOOCH CONTINUED 55 THE BED ROOM A YOUNG woman in a red bodice with a white kerchief over her head stands on the right taking some clothes from a wooden box*bed and throwing them over a chair. She stands in profile and smiles at a little girl in the open doorway on the left, who holds an apple in her hand. The child's figure is illuminated from a high window on the left and from a door in the back* ground. This door leads from a little anteroom into the open, where ■walls and garden hedges are visible. In the left foreground a table with a jug. On each side of the door a chair. Canvas: H. 20 inches; "W. 23 inches. About 1660. A nearly identical picture hangs in the Museum at Karls* ruhe. Both pictures are originals. Waagen, Vol. II, No. 71 ; Hofstede de Groot, No. 78. Sale S. T. Stinstra, Amsterdam, 1822. Sale Lord Radstock, London, 1826. Collection of Lord Stafford, London. Collection of C. Scarisbrick, London, 1861. Sale Adrian Hope, London, 1894. Lent by Mr. P. A. B. Widener, Philadelphia. 200 in a red bodice with a wl inds on the right taking a box^bed and throwing A smiles at a lo holds an ;lfrom OT ceroom into the No. 78. a. ondon, 1861. 4. r, Philadelphi in a red bodk \ a white ;ht taking i and throwing miles at a Holds an .1 from iteroom into the als. t, No. 78. 1 ' 186 Philadelph PIETER DE HOOCH CONTINUED CAVALIERS A ADIES ACA ' dressed in black stands in the middle ith marble*tiled floor and a high v. dow, in con v r i with a lady seated on his left holding a glass of v j entleman r seated at the table. Apagein redholdii in his hand stands behind I lady on the left. On ht, aladyinblue and a gentle* man in light brown bis back toward the spectator, arc at the tab: The light falls from the -window, thi oh two houses are visible, and from another wind .he left which is concealed by a cupboard. The r ith Flemish tapestries, and a hed with ghigs stands against the wall at the right. Signed on the lower right hand: P. de Hooch. Canvas: H. z&A s;W. 30V2 inches. About 1665. Hofstede de Groot. No. 217. Sale La Neuville, Paris, 18 Lent by Mr. Willian New- York. 205 PIETER DE HOOCH CONTINUED 56 CAVALIERS AND LADIES AC AVALIER dressed in black stands in the middle of a room, with marblestiled floor and a high win* dow, in conversation with a lady seated on his left holding a glass of wine. A gentleman in gray seated at the table. A page in red holding a jug in his hand stands behind the lady on the left. On the right, a lady in blue and a gentle? man in light brown, with his back toward the spectator, are seated at the table playing cards. The light falls from the window, through which two houses are visible, and from another window at the left which is concealed by a cupboard. The walls are hung with Flemish tapestries, and a bed with green hangings stands against the "wall at the right. Signed on the lower right hand: P. de Hooch. Canvas: H. 26 V& inches; "W. 30V2 inches. About 1665. Hofstede de Groot, No. 217. Sale La Neuville, Paris, 1813. Lent by Mr. William T. Blodgett, New York. 205 PIETER DE HOOCH CONTINUED 57 THE MUSIC PARTY ON a terrace leading at the rear into a park and shels tered by a curtain looped against a pillar, a young lady is seated singing ; she -wears a white silk dress and marks time with her right hand. A cavalier seated at the opposite side of the table accompanies her on the lute. A young lady, dressed in blue, stands resting her hand on the table, which is covered with a dark*red Persian rug ; another, dressed in red, carrying a small lute in her right hand, advances through a door on the right. Be? yond the park a building resembling the Amsterdam Town Hall is visible. Evening sky. On the right hand the monogram P. H. Canvas: H. 16% inches ;"W. 32% inches. About 1665*70. Smith, Suppl., No. 13; Hofstede de Groot, No. 136. Sale Nieuwenhuys (Brussels) in London, 1833. Sale Count R. de Cornelissen, Brussels, 1857. Sale Gilkinet, Paris, 1863. Sale Vicomte de Buisseret, Brussels, 1891. Collection of Baron Konigswarter in Vienna. Lent by Mr. M. C. D. Borden, New York. 206 WILLEM KALF BORN in A: am in 1621 or r 1693. Pu ndrick Pot. At tim influence o{ ' Painter of interiors scale and of still I S LIFE A chased silver dish blue, containing a kail i lemon, a peach, a 1 and some grapes, stand ole covered with a Smy . clc 1 them a s i aker and a Venc containing wine. In ti foreground a high gol cup, its cover lying he , a silver sugar^box an second Venetian glass he corner of the table i watch. The gold and si] ?sels are excellent exam: of the Dutch and Ger Renaissance. Signed on the lower le I iv (the K and the Christ name hidden) 1662. Canvas : H. 46 inches ; W . 40 inches. A work of similar styl ed in the same year Berlin Museum. Lent by Mr. John G. Johnso: .delphia. 211 WILLEM KALF BORN in Amsterdam in 1621 or 1622. Died about 1693. Pupil of Hendrick Pot. At times under the influence of Rembrandt. Painter of interiors on a small scale and of still life. 58 STILL LIFE A chased silver disk and a Chinese bowl, decorated in blue, containing a half peeled lemon, a peach, a melon and some grapes, stand on a table covered with a Smyrna cloth ; behind them a shell beaker and a Venetian glass containing wine. In the left foreground a high golden cup, its cover lying beside it, a silver sugar^box and a second Venetian glass. On the corner of the table is a watch. The gold and silver vessels are excellent examples of the Dutch and German late Renaissance. Signed on the lower left: Kalf (the K and the Christian name hidden) 1662. Canvas : H. 46 inches ; "W. 40 inches. A work of similar style painted in the same year in the Berlin Museum. Lent by Mr. John G. Johnson, Philadelphia. 211 PHILIPS KONINCK BORN at Amsterdam, 1619. Died there in 1688. Pupil of Rembrandt. Worked at Amsterdam, sometimes at Rotterdam. Painter and etcher of landscapes, portraits and genre. 59 THE DUNES "The Valley of the Rhine near Arnheim" In the foreground a road leads through a park beyond a building with a cupola. On the left of a stream of water rises a steep bank on the other side of which is a hollow, with trees and houses in deep shadow. In the middle distance other houses. The plain stretching out toward the horizon is traversed by the winding river. On the right, in the distance, the dunes. In the foreground a man fishing on the banks of the stream, a man with a panier and a peasant with a bundle on her head. Broad expanse of sky -with clouds which cast irregular shadows over the plain. Canvas: H. 52 V4 inches; "W. 66!4 inches. Lent by Sir William van Home, Montreal. 212 Ph NCK BORN n 1688. Pupil Jterdam, som . at I s nd etcher of landscapes, portraits 59 _igh a park id a iter ird panier ^d expanse i cast hadows over \ches. an Horne, Montreal. DI' B Jar? dam a- portrait p 60 THE GAY ALIERS A youtb, drinki little table onwbich a Kgbt is burning. He blue trousers and a dark brown coat, stands on tbe rig] \ a pipe alol band and in tbe mverted beer*jug. h from bead to foot at red. Under nis coa' a glimpse of a bl itcoat and open sbirt background. Canvas : H. 34 h *V. 281/2 incbes. Hoogendycl- n, Tbe Hagu Lent by hn G. Jobnso JUDITH LEYSTER BORN probably at Haarlem about 1600*05. D^d about 1660. Pupil of Frans Hals. Wife of the genre painter Jan Miense Molenaer. Worked at Haarlem, Amster* dam and Heemstede. Genre and portrait painter. 60 THE GAY CAVALIERS A youtb, drinking out of a jug, is seated at tbe left of a little table on wbicb a ligbt is burning. He wears ligbt blue trousers and a dark brown coat. His companion stands on tbe rigkt singing, Holding a pipe aloft in bis rigbt band and in tbe left an inverted beersjug. He is clotbed from bead to foot in brigbt red. Under bis coat one catcbes a glimpse of a blue waistcoat and open sbirt. Dark gray background. Canvas : H. 34 incbes ; "W. 28 V2 incbes. Hoogendyck Collection, Tbe Hague. Lent by Mr. Jobn G. Jobnson, Pbiladelpbia. 217 NICOLAES MAES BORN at Dordrecht, 1632. Died at Amsterdam, 1693. Pupil of Rembrandt about 1648*52; later while at Antwerp be came under the influence of the Flemish and French portrait painters. Worked at Dordrecht and Amsterdam. Genre and portrait painter. 61 PORTRAIT OF A MAN Threesquarters length. Standing, the figure turned slightly to the left, facing the spectator. He has long dark hair ; his right hand rests on a stone pedestal, and the left is in the folds of a black cloak finished at the neck with a lace* trimmed collar. Canvas: H. 49 inches; "W. 38V2 inches. About 1670. Lent by Mr. Thatcher M. Adams, New York. 218 COLAES MAES Amsterdam, 1693. about later while at f the Flemish Dordrecht and USI s, New York. : 62 WOMAN HALF^LENC \n old table upon wnicn her reads She wears a red bodi. I ack cap an ermine wrapped abc iers. 7 ered with an Orient \nd on it are i two bound in bL background. Panel: H. 29V2 i About 1650*55. Formerly attribu Lent by Mr NICOLAES MAES CONTINUED 62 OLD WOMAN HALF-LENGTH, the figure turned slightly to the left. An old woman with eye-glasses, seated at a tahle upon which her arms rest, reads from an open book. She wears a red bodice and a black cap and has a cape of ermine "wrapped about her shoulders. The table is cov* ered with an Oriental carpet and on it are three books, two bound in black leather and one in vellum. Gray background. Panel: H. 29 V2 inches; W. 28 inches. About 16505=55. Formerly attributed to Jan Lievens. Lent by Mr. John G. Johnson, Philadelphia. 223 GABRIEL METSU BORN at Leyden, 1629=30. Died at Amsterdam, 1667. Probably a pupil of Gerard Dou; later under the in* fluence of Rembrandt andTerborch. V/orked at Leyden and Amsterdam. Painter of genre, religious and mytho* logical subjects. 63 A MUSIC PARTY In the centre, at the left of a table, a seated lady, dressed in orange silk with a blue shawl around her shoulders, holds a lute in her left hand as she hands a cavalier stand* ing behind her a sheet of music ; he leans against an open window, with his back to the light, and wears a black cap with a red feather and a dark red, gold*embroidered jacket; on the right a fair*haired cavalier, in a black cos* tume, tunes a 'cello. In the background some steps lead to a room beyond, where a maidservant in a blue*gray dress stands in the door. On the left, over the window, a dark gray*blue curtain. Signed on a music*stand on the floor: G. Metsu 1659. Canvas: H. 24 inches; W\ 21 inches. Smith, No. 53; Hofstede de Groot, No. 164. Described by Descamps (II) in the Voyer Collection. Exhibited at the Royal Academy, London, 1832. Sale E. Hooft, widow of "W. Valkenier, Amsterdam, 1796. Sale Robit, Paris, 1801. Sale Zachary, London, 1828. Property of The Metropolitan Museum of Art, New York. 224 GABRIEL METSU BLeydeo 1667. he in* <:d at Leyden ^nre, religious and mytho* A [C PARTY In . ady, dressed er shoulders, ho : lier stand* in^ -* an open h his back to th black cap i feather . ~ed ighta in a bl ps lead om beyc i : Voyer Collection. , London, 1832. -Jkenier, Amsterdam, Sale Zachary, L*. ;8. Property of m of Art, New York. 224 sit stands her h and blue ribbo; enters the roc chair and a fc with short sl<. skirt and a right a table cov- carpet. Behind tht the style of Signed above the door : Canvas: H. 30 inches; Described by Houbrak Smith, No. 19; Hofs; Probably the picture Hinloopen, which v ? an Vos in 16 In the possession of J. by Houbraken (befi Sale at Amsterdam Sale D. Ietswaai t Sale G. Braamcc Sale Due de W Collection of Len York. GABRIEL METSU CONTINUED 64 A VISIT TO THE NURSERY AT the right a young mother with a red velvet jacket sits in profile, holding her infant. At her right stands her husband in a gray doublet with slashed sleeves and blue ribbons, raising his hat to salute a lady, who enters the room followed by a maidservant carrying a chair and a foot*warmer ; the lady -wears a silk overdress with short sleeves and red ribbons, a silversembroidered skirt and a black veil. At the back sits the old mother with her right hand on the green^covered cradle. On the right a table covered with a bright red and blue Ispahan carpet. Behind the group is a chimneypiece -with a marine in the style of Everdingen hanging above it. Signed above the door: G. Metsu 1661. Canvas: H. 30 inches ; W\ 31I/2 inches. Described by Houbraken (III, 40) and Descamps. Smith, No. 19; Hofstede de Groot, No. no. Probably the picture, then in the cabinet of Jan Jacobsz. Hinloopen, which was the inspiration of the poem writ* ten by Jan Vos in 1662. In the possession of Jan de Wolf, The Hague, when seen by Houbraken (before 1718). Sale at Amsterdam, 1706. Sale D. Ietswaart, Amsterdam, 1749. Sale G. Braamcamp, Amsterdam, 1771. Sale Due de Morny, Paris, 1865. Collection of Rodolphe Kann, Paris. Lent by Mr. J. Pierpont Morgan, New York. 229 AERT VAN DER NEER BORN at Amsterdam in 1603. Died there in 1667. In* fluenced by Jan van Goyen and Esaias van de Velde. Began painting rather late, his earliest work 1635. Until this time he was the servant of Heer van Arckel. V/orked at Amsterdam. Painter of night and winter scenes. 65 SUNSET A canal leading toward the distance, with village houses on either side ; at the right of the background is a church, and in the middle distance a boat with four men. At the left a windmill, and in the foreground a point of land running out into the water, where two men sl;and looks ing toward the horizon ; near them a fisherman is seated. Signed on the left with the monogram A V D N Panel: H. 10,1/2 inches ;"W. 311/2 inches. Lent by Mr. Theodore M. Davis, Newport. 230 DER NEER [603. Died therein 1667. In* vandeVelde. 635. Until :kel. Worked . enes. \emaf< a ted. iewpoi AERT VAN DER NEER CONTINUED 66 SUNSET A CANAL leads from the foreground toward the horizon. At the right a wooded hank, in front o£ which is a sailboat. On a road at the left, village houses and a church; trees with autumn foliage. At the right of the foreground are a rowhoat and a man wearing a red cap. The deepsblue, slightly«clouded evening sky is bright at the horizon with the yellow light of the set? ting sun, -which is reflected in the water. Signedon theleftof the foreground with themonogram AVDN Panel: H. i2 1 /2 inches ;W. 15% inches. Lent by Mr. Ferdinand Hermann, New York. 2 35 AERT VAN DER NEER CONTINUED 67 THE FARRIER A STREAM of water broadening out toward the horizon, showing the reflection of the moon. On the left, in the shadow, a blacksmith's shop where the smith is seen working near a fire. On the right an ave* nue of trees and in the foreground a woodpile ; near an open fire stand two boys and a man smoking. In the left*hand corner the monogram A V D N. Panel: H. 19 inches; "W. 24 % inches. Property of The Metropolitan Museum of Art, New York. 236 AERT VAN DER NEER CO HD 67 *RIER Aiening out toward the horizon, she :>n of the < On the \ the shac h's she smith working near a fire. On the nue offerees and in the .an opt tand two bo> In opolitc AERT VAN DER NEER CO HD 67 *RIER Ang out toward the On tK' h's shop where the smith work; an op*. In *5 polite New A \EN \ TADE BORN Frans Ha Rembrandt, of genre scenes. THE OLD FIDDLER Through an open shed is seen an adjoining cotta^ e which an old fi n a blue coat, plays to o of children; an old won halfopen doc; . 2 at the left a group of children thro * and near them a dog and some poultry. In the shadow the building at the right, three men are seated at a one pouring wine from a flagon ; beside them a laugh woman; at the ext, "gbt, in deep shadow, s Signed at the lower . v Ostade 1641 Canvas : H. 26 inches; W\ 33 inches. Property of The Metropc m of A New Yc ; 241 ADRIAEN VAN OSTADE BORN at Haarlem, 1610. Diedthereini685. Pupil of Frans Hals and influenced by Brouwer and later by Rembrandt. Worked at Haarlem. Painter and etcher of genre scenes. 68 THE OLD FIDDLER Through an open shed is seen an adjoining cottage, he* fore which an old fiddler, in a blue coat, plays to a group of children ; an old woman leans on the half open door of the cottage ; at the left a group of children throwing dice, and near them a dog and some poultry. In the shadow of the building at the right, three men are seated at a table, one pouring wine from a flagon; beside them a laughing woman; at the extreme right, in deep shadow, an old pump. Signed at the lower left: A v Ostade 1641 Canvas: H. 26 inches; "W. 33 inches. Property of The Metropolitan Museum of Art, New York. 241 ADRIAEN VAN OSTADE CONTINUED 69 THE COTTAGE DOORYARD ON the right a vine*covered cottage with an open casement; at its side a chicken*coop and pigeon? house, which adjoin a wall surmounted by a picket fence extending to the left. Leaning against the open door of the wall stands a peasant looking at an old woman who sits at his left preparing vegetables ; at his right, a woman and child. In the foreground a girl in a blue bodice and a yellow skirt watches a boy playing with a dog. At the extreme right some red and -white clothes are hung on a line, and lying on the chicken*coop, near them, are a bunch of carrots and a towel. Signed at the left of the foreground: A v Ostade 1673. Canvas: H. 17% inches; "W. 15% inches. Exhibited at the Royal Academy, London, 1 8 1 5 ; at Man* chester, 1857. Smith, No. 188; Waagen, Vol. II, p. 119; Burger (Man* chester), No. 315. Collection of Thomas Hope, London, 1829. Collection of Lord Francis Pelham Clinton Hope, Deep* dene. Lent by Mr. P. A. B. Widener, Philadelphia. 242 ' c OSTADE 69 >TTAGE DOORYARD /ith an open and pigeon* : surmounted by a picket fence open door of inwKo it his r. wman anda •e a 1 i. iVldal^ r. Burger (Man* i ham Clinton Hope, Deep* . B. Widener, PhiladelpKi \ B ORNa- of his b T At the front of ai i th a ch in the back tlerr j a blue velvet saddlec righ 'ted on a a. ing fodder in a trc the right a a bench eating soup ; before a small cottag and a two children. Signed on tbe right n Ostade 1645. Canvas: H. 19V2 finches. Smith Suppl., N: Collection of the Lent by h B ISACK VAN OSTADE ORN at Haarlem, 1621. Died there in 1649. P u p^ of his brother Adriaen. Worked at Haarlem. 70 THE HALT At the front of an inn on the right, with a church steeple in the background, several horsemen have halted ; a gen* tleman, who has just dismounted from a gray horse with a blue velvet saddlecloth, converses with another at his right, mounted on a dun*colored horse, while a peasant is putting fodder in a trough. On the right a man sitting on a bench eating soup ; at the left other figures and poultry before a small cottage. In the foreground a woman and two children. Signed on the right: Isack van Ostade 1645. Canvas: H. 19V2 inches; V/. finches. Smith Suppl., No. 177. Collection of the Duchesse de Berri, 1837. Lent by Mr. P. A. B. Widener, Philadelphia. 247 ISACK VAN OSTADE CONTINUED 71 COTTAGE SCENE BEFORE a cottage shaded by trees a sled, drawn by a white horse, from which three men are unloading casks, while a fourth arranges a feed*box for the horse ; three children are watching them. The cottager stands in the doorway looking at his wife, who is sitting out* side with two children and a dog ; near her a traveler is seated on a cask. Other figures in the window of the house and on the left. Further back a cottage is seen among the trees. The figures are costumed in pale blues and yellows with touches of red. Warm golden after* noon light. Signed on the right : I . v. Ostade i 6-(the last two figures illegible). Canvas: H. 21% inches; "W. jiVs inches. About 1640*50. Lent by Mr. William T. Blodgett, New York. 248 -,. . ** - 1 iif 1 1 ■pK u ft- vM M f^mi 7 — rvj ■ : , ^__ ''-•' ^ ^P ^feSfcfcSBP* ^' '"•*' t* f . . fsi "-IB 1 ^' l^SHtt&^V q ^H i-- r» - i^^BMl' I'" -v P\ 7 "~ pi^*a ^# H ■ i KX^ f UtJ -£ ■" ' 1 • * 5 POTTER BORJN )ied e i in 1654 _r Pott ob deW he Hague a at. Uer of landsc SCENE ;ght, where a man a. a win the left of th a tree, near whl elding a nurr child; beyond her a m f McKay 1 ewYork. y Mr. W. K. Vanderbilt, New York. wsBBm '• ■■-!'--V "'■...,.■•'. ■;•■'■ fflBliflMI fliM i> ii ml 1 1 1 1 1 • 1 1 - ,! " rv t ' •■ V - *% r i ?'^ii« i I SwrfWlflf&s'FiiL JS^\.* sa "QUSTofay J3 and heard. . gray bairssbirt. I background at tb Signed on tbe lef ' 1632. Panel: PL 25% in 1 In tbe inventory . of Amsterdam., dated ] occurs: "Imvestibul; brandt." Dutuit, p. 47, No. 46 ; Klass. d. K., p. 113. Tbis is not tbe S Smitb, No. 137, a sely, No. jS). Exbibited at tbe . 239. Collection of I Collection of I Lent by I REMBRANDT CONTINUED 80 SAINT JOHN THE BAPTIST BUST of a young man with thick dark brown hair and beard. A brown mantle is tbrown across bis gray hair-shirt. His reed cross appears against the light background at the right. Signed on the left, above the shoulder: Rembrandt ft. 1632. Panel: H. 25 V4 inches ,V^. 18% inches. In the inventory of the bankrupt Jan Ingels, an advocate of Amsterdam, dated January 7, 1654, the following entry occurs : "Im vestibul (Voorhuis) : Een St. Jan van Rem* brandt." Dutuit, p. 47, No. 46; Michel, p. 561 ; Bode R., No. 134; Klass. d. K., p. 113. This is not the Saint John the Baptist mentioned by Smith, No. 137, and mezzotinted by Vallerant (Wes* sely, No. 78). Exhibited at the Royal Academy, London, 1876, No. 239. Collection of Lord Palmerston. Collection of Lord Mount Temple, Broadlands. Lent by Mr. Charles Stewart Smith, New York. 277 REMBRANDT CONTINUED 81 SASKIA BUST, turned to the right. She wears a dark blue mantle with narrow gold trimming at the throat, showing a fine plaited chemisette beneath. A gold chain hangs across her breast. A transparent veil with a col* ored pattern rests on her golden*red hair and falls over her shoulders and on her back. A pearl on a long loop in her ear. Panel: H. 23% inches ;W. 18 inches. Painted about 1633. Smith, Nos. 502, 576, 578; Bode R., No. 153; Klass. d. K. p. 129. De Gaignat Collection, Paris, 1768. De Calonne Collection, Paris, 1788. De ChoiseuL=Praslin Collection, Paris, 1793. Bouc Cleeve Collection. Wells Collection, Redleaf, 1890. BinghamsMildmay Collection, London, 1893. Lent by Mr. P. A. B. Widener, Philadelphia. 278 RANDT 81 SASKIA . She a dark blue inuning at the throat, _;old chain 4th a col= 1 hair ver :arlonal< pin 5. d. . Paris, 1788. m, Pa on, Redleaf, 1890. may Collection, London, 1893. >. A. B. Widener, Philadelphia. R RANDT )N*T1NU1 82 PORTF OF A YC 3 MAN BUST, turned to the right, th< facing the spec* tator. He -wears a black ith a flat plaited collar; His dark h partly hidden by the broad brim of a black Panel: H. 2^ 3 /& inches ; W. 20 '/2 incbes. Painted about 1633. Companion picture to No. 83. "Waagen, Vol. Ill, - Bode R., No. 90; Klass. d. K., p. 90. Exhibited at Leeds, Collection of Sir Simon Clarke, London, 1840. Collection of Lord North wick, Cheltenham, 1859. Collection of Sir R Napier, London, 1877. Lent by Mrs. Morris K. Jes fork. 283 REMBRANDT CONTINUED 82 PORTRAIT OF A YOUNG MAN BUST, turned to the right, the head facing the spec* tator. He wears a black doublet -with a flat plaited collar ; his dark hair is partly hidden by the broad brim of a black slouch hat. Panel: H. 24% inches;^/. 20V2 inches. Painted about 1633. Companion picture to No. 83. V/aagen, Vol. Ill, p. 207; Bode R., No. go; Klass. d. K., p. 90. Exhibited at Leeds, 1868. Collection of Sir Simon Clarke, London, 1840. Collection of Lord North wick, Cheltenham, 1859. Collection of Sir Robert Napier, London, 1877. Lent by Mrs. Morris K. Jesup, New York. 283 REMBRANDT CONTINUED 83 PORTRAIT OF A YOUNG WOMAN BUST, turned slightly to the left and looking at the spectator. She wears a dark dress with a large ruff, a string of pearls around her throat and a pearl in each ear. Her dark hair is combed back from her forehead and arranged under a small cap with a lace border at the back of her head. Canvas: H. 23I/8 inches; "W. 20% inches. Painted about 1633. Companion picture to No. 82. Waagen, Vol. Ill, p. 207; Bode R., No. 91 ; Klass. d. K., p. 91. Exhibited at Leeds, 1868. Collection of Sir Simon Clarke, London, 1840. Collection of Lord North wick, Cheltenham, 1859. Collection of Sir Robert Napier, London, 1877. Lent by Mrs. Morris K. Jesup, New York. 284 83 DUNG WOMAN Eing at the large ruff, rl in each mher id and order a ck . Bode ] 1868. iimon Clark- 1840. Co Lord North 1 ham, 1859. Co ( Sir Robert Napier, London, 1877. -Irs. Morris K. ]esup. New York. REMBRANDT CONTINUED 84 PORTRAIT OF A MAN BUST. A middle turned slightly to the right, facing the specie lis light brown hair is gray at the temples and he T . a Henry IV heard. Black cos* tume with a white r Oval canvas : H lies ; W. 21 inciu Ahout 1632. Lent by the . ical Society, New York. 289 REMBRANDT CONTINUED 84 PORTRAIT OF A MAN BUST. A middle-aged man, turned slightly to the right, facing the spectator. His light brown hair is gray at the temples and he wears a Henry IV heard. Black cos? tume with a white ruff. Oval canvas: H. 26 14 inches; "W. 21 inches. About 1632. Lent by the Historical Society, New York. 289 REMBRANDT CONTINUED 85 THE MARQUIS D'ANDELOT THREE-QUARTERS LENGTH. Standing. A young beardless man with long dark hair stands in the act o£ buckling his belt. He wears a breastplate and greaves, and his helmet lies on a table to the left. His sleeveless corselet displays his embroidered coatesleeves and white cuffs. On the wall to the right, a piece o( paper on which the word plagaet is legible. Canvas: H. 40V2 inches; W. 33% inches. Painted in 1634. Smith, No. 284; Dutuit, p. 53, No. 145; Michel, p. 561; Bode R., No. 205; Klass. d. K., p. 202. The subject is identified by Jan Veth in "Kunstchronik,"' June, 1909, from a poem on the portrait in "Le Cabinet de M. de Scudery, Paris, 1646." Exhibited in the Bristol Gallery, London, 1818; Exposi* tion des Cent Chefssd'aeuvres, Paris, 1883. Gueffier Collection, Paris, 1791. Robit Collection, Paris, 1801. Collection of George Hibbert, London, 1829. Blake Collection, London, 1846. Collection of Prince Demidoff, San Donato, 1880. Collection of E. Secretan, Paris, 1889. Sutton Collection, New York, 1892. Lent by Mr. Richard Mortimer, New York. 290 UIS L "ERSLENGTI ung nth long dark 1 Sreastplat reaves, e left. His sleeveless i white t paper on which 31. :orge Hibt 1, London, midofF, San Donato, 1880. ?etan. 889. ork. REMBRANDT CONTINUED 86 THE FINDING OF MOSES A LANDSCAPE representing a secluded pool of the Nile, shut in by lofty trees, and approached on the left by two or three steps with a low balustrade ; on the lower step a basket in which is the infant Moses. The daughter of Pharaoh has emerged from her bath and a negress attendant wraps a white drapery about the nude form of her mistress. At the extreme right a bather in the water. Four companions kneel about the infant Moses. The garments of the bathers, in green, blue and brown tones, are spread out on the balustrade, under a large Oriental umbrella. Large water-plants in the fore* ground on the left. The golden evening light from the left falls on the group of figures. Canvas, oval: H. 17I/2 inches; "W. 23 Va inches. Painted about 1635 ; the signature on the wall to the left (now illegible) and the date 1656 are additions by a later hand. A study (pen^drawing) for the central figures is in the possession of Dr. Hofstede de Groot, The Hague. Smith, No. 24; Dutuit, p. 47, No. 17; Michel, p. 312, No. 555; Bode R., No. 195; Klass. d. K., p. 167. Crozat Collection, Paris, 1751. Collection of the Due de Choiseul, Paris, 1772. Collection of Prince de Conti, Paris, 1779. Boileau Collection, Paris, 1787. Collection of Robert de Saint* Victor, Paris, 1822. Collection of Sir Robert Peel, Drayton Manor, England. Lent by Mr. John G. Johnson, Philadelphia. 2 95 REMBRANDT continued 87 SLAUGHTERED OX IN a cellar a slaughtered and disemboweled ox hangs by cords from a horizontal pole. On the floor a flat dish and other utensils. In the background to the left, a win* dow. The light comes into the picture from above on the left. Signed below on the right: R. 1637. Panel: H. 18% inches; "W. 15 inches. Bode R., No. 575; Klass. d. K., p. 230. Duchteren Collection, Holland. Van der Kellen Collection, Utrecht. Lent by Mr. John G. Johnson, Philadelphia. 296 ' 7- les. I Mr.}: :lphia. THE HALF, right. H. that hangs from has short haii wears a broad4 vd black 1 plaited collar iah his black Signed bel Remb~ Car vV. 21 % inch. The companion p the wife c Martens, is in the H .>ge, St. Pi Exposition des O efs^d'cBuvre, Par Smith, Nos.3^ aer,pp. No. 288; Michel, 1 >i ; Moes, Icon. Ba., Nc Bode R., No. 27 IK., p. 254. Anonymous Co n at Geneva. Collection of An Cousin, London, iy( Van Helsleut ■■ , Paris, 18 Collection of ike of Ancaster Colledtion of deChavagn Collection Due de Morny. Colledtion Duchesse de : T Haveme) 301 REMBRANDT CONTINUED 88 7 THE GILDER, HERMAN DOOMER HALF-LENGTH. Seated, turned balfway to tbe rigbt. His rigbt band, in sbadow, bolds tbe cloak tbat bangs from bis left sboulder across bis breast. He lias sliort bair, a moustacbe and a pointed beard, and wears a broadsbrimmed black bat. An unstarcbed plaited collar falls over bis black cloak. Signed below on tbe rigbt: Rembrandt f. 1640. Canvas: H. 29 Vs incbes: "W. 21% incbes. Tbe companion portrait, tbe wife of tbe Gilder, Baartjen Martens, is in tbe Hermitage, St. Petersburg. Exposition des Cent Cbefssd'osuvre, Paris, 1883. Smitb, Nos. 334, 335; Vosmaer, pp.205, 5 2 3 ; Dutuit, p. 52, No. 288; Micbel,pp.27o,$6i; Moes, Icon. Ba., No. 2074; Bode R., No. 275; Klass. d. K., p. 254. Anonymous Collection at Geneva. Collection of Antbony Cousin, London, 1769. Van Helsleuter Collection, Paris, 1802. Collection of tbe Duke of Ancaster (?) Collection of Gentilde Cbavagnac, Paris. Collection of the Due de Morny, Paris, 1865. Collection of the Ducbesse de Sesto, Madrid, 1882. Lent by Mrs. H. O. Havemeyer, New York. 301 REMBRANDT CONTINUED 89 PORTRAIT OF AN OLD WOMAN HALF? LENGTH. An old woman seated in an arms chair and looking to the left, her figure turned slightly in the same direction. Her elbows rest on the arms of the chair, her hands are clasped. A close white cap with projecting shelkshaped side pieces appears under her black head-dress. She wears a wide soft gauf* fered ruff and narrow cuffs, a black jacket, trimmed -with fur in front and on the shoulders, over a dark dress. Signed on the right : Rembrandt f. 1640. Canvas: H. zjVq inches ; W. 23 5 /s inches. Dutuit, p. 20; Michel, pp. 268, 561; Bode R., No. 278; Klass. d. K., p. 256. Collection of Gerrit Muller, Amsterdam, 1827. Collection of the Comte de Robiano, Brussels, 1837. Collection of D. Nieuwenhuys, Brussels. Collection of Prince Demidoff, Paris, 1868. Narischkine Collection, Paris, 1883. Collection of the Baron de Beurnonville, Paris, 1884, 1885. Collection of Rodolphe Kann, Paris. Lent by Mrs. H. O. Havemeyer, New York. 302 H F AN OLD WOMAN \n old woman seated in an arms ante turned . est on the lose white ippears Olfs . a darl- 176; : ■ r' ■ . e Baron de Be S84, ■dolphe Kann, Pa. ew York. REMBRANDT CONTINUED 90 PORTRAIT OF HIMSELF BUST, tuj o the righ g the spedta^ tor. He has attache and a srnall chin-tuft; his short hair is cov« / a soft Hack cap. He wears a black velvet coat trimir.ed with fur and a white neck? band. A double gold chain bangs about his shoulders. Panel: H. 28 inch ;% inches. Painted about 1645. Vosmaer, p. 544 ; D p. 54, No. 158 ; Michel, p. 567 ; Bode R., No. 260; I 1. K., p. 316. Collection of the of Leuchtenberg, St. Petersbv. Lent by Mr ."it S. Terrell, New York. 307 REMBRANDT CONTINUED 90 PORTRAIT OF HIMSELF BUST, turned slightly to the right, facing the spedta* tor. He has a light moustache and a small chin=tuft; his short hair is covered by a soft black cap. He wears a black velvet coat trimmed with fur and a white neck* band. A double gold chain hangs about his shoulders. Panel: H. 28 inches; "W. 22% inches. Painted about 1645. Vosmaer, p. 544; Dutuit, p. 54, No. 158; Michel, p. 567; Bode R., No. 260; Klass. d. K., p. 316. Collection of the Duke of Leuchtenberg, St. Petersburg. Lent by Mr. Herbert S. Terrell, New York. 307 REMBRANDT CONTINUED 91 PORTRAIT OF A GIRL Hendrickje StofFels(?) HALF-LENGTH. She stands, facing the spectator, with both hands resting on the top of a half door, her crisp, fair hair combed back from her forehead under a small white cap. She wears a dark brown jacket, laced over a bodice of lighter brown, and a dark green apron. A double row of coral beads around the throat. Signed below in the centre: Rembrandt f. 1645. Canvas: H. 30^8 inches; "W. 33 inches. Smith, No. 532; Dutuit, p. 21, No. 310(7); Michel, pp. 308, 561, ; Bode R., No. 301 ; Klass. d. K., p. 323. Exhibited at the British Gallery, London, 1818. Guefner Collection, Paris, 1791. Robit Collection, Paris, 1801. Collection of George Hibbert, London, 1829. Collection of Prince Demidoff, Donato, 1880. Gift of Martin A. Ryerson to the Art Institute, Chicago. Lent by the Art Institute, Chicago. 308 OF A Gl vcing tKe spectator, half door, nhcTi d under brown jacket, laced i dark green apron. e throat. 08, 1791. libbert, London, 1829. emido' . 1880. rson to the Art Institute, Chicago. Art Institute, Chicago. PORTRAIT HALF-LENGTH,' with a brown coy some loose sheets oi par which he grasps a penc He wears a broad-brimmed golden-^greer. Signed, abc at, b< has been added : Rem i illegible). Canvas: H. 35I/8 W. The various hyp sometimes err e< ';all«? sound basis. Exhibited at Amsterdar Smith, No. 338; 314; Michel, pp. 3 82, 55- p. 345; Catalogue of the Aved Collection, Pa Collection of the Ear Lent by Mr. REMBRANDT CONTINUED 92 PORTRAIT OF A YOUNG MAN HALF*LENGTH. Turned to the right, seated at a table with a brown cover. 'With his left hand he holds some loose sheets of paper before him ; his right hand, in which he grasps a pencil, rests on the edge of the table. He wears a broadsbrimmed hat and a black coat over a goldensgreen doublet. Signed, above on the right, below the strip of canvas that has been added : Rembrandt f. 1647 ( tne ^ a ^ figure almost illegible). Canvas: H. 35I/8 inches ; "W. 44% inches. The various hypotheses as to the identity of the sitter, sometimes erroneously called Lombard Bramer, have no sound basis. Exhibited at Amsterdam, 1898. Smith, No. 338; Waagen, II, p. 280; Dutuit, p. 43, No. 314; Michel, pp.382, 555; BodeR., No. 365; Klass. d. K., p. 345; Catalogue of the Frick Collection, No. 30. Aved Collection, Paris, 1766. Collection of the Earl of Carlisle, Castle Howard. Lent by Mr. Henry C. Frick, New York. 313 T REMBRANDT CONTINUED 93 A YOUNG PAINTER Jan van de Capelle (?) HREE^UARTERS LENGTH. The body turned to the right, the face looking out into the distance. His left hand holds an ink*bottle and portfolio with draw* ingspaper, his right a pencil with which he sketches. He wears a dark cap and a brown, fur?trimmed mantle over a doublet showing one gold*embroidered sleeve. On the right a curtain. Canvas: H. 43% inches; "W. 33V2 inches. Painted about 1648. There is documentary evidence that Rembrandt painted the portrait of Jan van de Capelle, who was born 1624s 25, and it is probable that this painting represents the famous sea painter, as the date coincides with his age at that time. Smith Suppl., No. 27; Bode R., No. 364; Klass. d. K., p. 346. Exhibited at the Royal Academy, London, 1899. Collection of Lord Carrington, Wycombe Abbey. Lent by Mr. J. Pierpont Morgan, New York. 314 PAINT; i. The body turned at into the distance. nd portfolio with draw* ich he sketches. He funtrimmed mantle over abroidered sleeve. On the ting represents the incides with his age at R., No. 364; Klass. d. I London , 1899. Wycombe Abbey. it Morgan, New York. REMBRANDT CONTINUED 94 PORTRAIT OF HIMS HALF-LENGTH. Rembrandt, aged about fortysfour. lhalfto the right. Hisrigk estsonhis ovedhandon a stick. He wears a small mc chin«tuft, and on his pale brown hair a red net tinder a reddish*brown biretta witk a narrow gold border. A pearl in kis ear. He is dressed in a dark doublet -witk slashed olive^gret cut square at tke tkroat and skowing a yellow heck-clotk and tke gold*embroid= ered collar of a fine shirt. Signed on the right die hand: Remb> 1650. Canvas: H. 34% ^8 inches. Exhibited at the E Academy, London, 1899. Dutuit, p. 48, Nc Michel, p. 558; Waagen, II, p. 281 ; Bode R., No. y I J.K.,p. 319. Collection of Sir wdeRothsc >ndon. Lent by Mr . P . A. B . Widen Iphia. 319 REMBRANDT CONTINUED 94 PORTRAIT OF HIMSELF HALF-LENGTH. Rembrandt, aged about fortysfour. Turned naif to tbe rigbt. His rigbt band rests on bis side, bis gloved band on a stick. He wears a small mous* tache and cbin?tuft, and on bis pale brown bair a red net under a reddisb*brown biretta witb a narrow gold border. A pearl in bis ear. He is dressed in a dark doublet witb slasbed olive*green sleeves, cut square at tbe tbroat and sbowing a yellow neck^clotb and tbe gokUembroids ered collar of a fine sbirt. Signed on tbe rigbt above tbe band: Rembrandt f. 1650. Canvas : H. 34% incbes ; "W. 28 incbes. Exbibited at tbe Royal Academy, London, 1899. Dutuit, p. 48, No. 163 ; Micbel, p. 558 ; Waagen, II, p. 281 ; Bode R., No. 346; Klass. d. K., p. 319. Collection of Sir Antbony de Rotbscbild, London. Lent by Mr. P. A. B. Widener, Pbiladelpbia. 319 REMBRANDT CONTINUED 95 STUDY OF AN OLD MAN BUST, almost full face, the head bent slightly forward to the left. He has a grizzled beard and hair and wears a red cap. His dark gown is fastened with a jeweled gold clasp over a light garment. Signed above on the right: Rembrandt f. 1650. Canvas: H. 26% inches; "W. 22 inches. Bode R., No. 376; Klass. d. K., p. 366. Lent by Mr. George J. Gould, New York. 320 B REMBRANDT CONTlNtnBD 95 ha iew 50. York. THE "QJ icing tbe s JD to tbe left. S large black cap. He fine Dark coat witb red ar . background. Panel: H. 24% incnes ; Painted about 1650. BodeR., No. 582; KL Collection of Mauris Lent by Mr. P. A REMBRANDT CONTINUED 96 THE PHILOSOPHER BUST, facing the spectator, the head and eyes turned to tne left. Short dark brown heard. On his head a large black cap. He wears a light yellow doublet over a finely?plaited shirt, on which hangs a gold neck*chain. Dark coat with red and gold stripes. Light brownish=gray background. Panel: H. 24% inches; W. 19^ inches. Painted about 1650. Bode R., No. 582; Klass. d. K., p. 365. Collection of Maurice Kann, Paris. Lent by Mr. P. A. B. Widener, Philadelphia. 3 2 5 REMBRANDT CONTINUED 97 THE SAVANT NEARLY three*quarters length. Standing, gazing at a bust of Homer on a table at his rigkt, bis left band resting on bis side, tbe right on the bust of Homer. He has a beard and wears a broad flat hat and black doublet over a white linen vestment with full sleeves. A gold chain hangs from his right shoulder to his left hip. Signed, on the table at the right: Rembrandt f. 1653. Canvas: H. 54 3 /s inches ; W. 52 3 /e inches. The old description of this picture as a portrait of Pieter Cornelisz. Hooft, who died in 1647, must De rejected, as it does not bear the slightest resemblance to his features. Dr. Six suggests that the picture is a portrait of Torquato Tasso (Oud Holland, 1897, p. 4 et seq.). It is more probably an ideal portrait of Virgil, an author with whom the artist was familiar. The bust of Homer is mentioned in an inventory of Rembrandt's collection. Smith, No. 302; Vosmaer, p. 551 ; Dutuit, p. 43, No. 314; Michel, p. 555; Bode R., No. 385; Klass. d. K., p. 426. Collection of Sir Abraham Hume, London. Collection of Earl Brownlow, Ashbridge Park. Collection of Rodolphe Kann, Paris. Lent by Mrs. Collis P. Huntington, New York. 326 ingat :: tana ,Kisk iato of mer ■ c ■ trait o 42b. e% London. \snWge Park. ,„ New York. REMBRANDT THE STANDARD BEARER THREE-QUARTERS LENGTH. Standing, fac the spectator. I. ght hand he holds a glc his gloved left hand a banner hearing the arms of the City of Amsterdam. His gray hair is partly covered by a black hat with a white feather he wears a dark brown coat :h gold buttons and his right shoulder a richly embroidered sword Vt the right a rusticated pillar. Signed below on the left: Rembrandt fe. 1654. Canvas: H. 54K V. 44% inch. Smith, No. 279 ; Dutuit, p. 49, No. 4 jhel, pp. 500, 559; Bode R., N: Klass. d. K., p. 4 Exhibited at er, 1857; Royal Academy, Lon? don, 1871. Collection of iiua Reynolds, London Collection of the Earl of Warwick, Warwick CastL Lent by Mr. George J . Gc rw York. 331 REMBRANDT CONTINUED 98 THE STANDARD BEARER THREE-QUARTERS LENGTH. Standing, facing the spectator. In his right hand he holds a glove, in his gloved left hand a banner bearing the arms of the City of Amsterdam. His gray hair is partly covered by a black hat with a white feather ; he wears a dark brown coat with gold buttons and over his right shoulder a richly embroidered sword*belt. At the right a rusticated pillar. Signed below on the left: Rembrandt be. 1654. Canvas: H. 54 Va inches; W. 44% inches. Smith, No. 279 ; Dutuit, p. 49, No. 436 ; Michel, pp. 500, 559; Bode R., No. 370; Klass. d. K., p. 428. Exhibited at Manchester, 1857; Royal Academy, Lon* don, 1871. Collection of Sir Joshua Reynolds, London, 1795. Collection of the Earl of Warwick, Warwick Castle. Lent by Mr. George J. Gould, New York. 331 REMBRANDT CONTINUED 99 PORTRAIT OF A MAN THREE-QUARTERS LENGTH. Standing, facing the spectator, with head turned slightly to the left. He has long brown hair and a fair moustache. Over his duIUred doublet, the square opening of which shows a plaited shirt embroidered with gold, hangs a heavy fur* trimmed cloak. Around his neck a fine gold chain and a whistle suspended from a ribbon. On his head a broad black cap. His right hand at his belt. Signed below on the left: Rembrandt f. 1655. Canvas: H. 54% inches; "W. 34 !4 inches. Dutuit, p. 50, No. 332; Michel, pp. 451, 561; Bode R., No. 448; Klass. d. K., p. 438. Collection of Marquis de Beausset. Collection of A. Allard, Brussels. Collection of Prosper Crabbe, Paris, 1890. Lent by Mr. James Ross, Montreal. 33 2 T 99 r OF A MAN jTH. Standing, facing •i sligKtly to the left. iou^la vevhis ig of whic s a embrc ngs a 1 goldcKaij :>ad W. 34 '4 inck Michel, pp. 451, -Jlard, Br; sper Crabbe, Paris, 1890. Ross, Montreal. REfc PORT OB/ HALF*LENGT ated,i ■rmvedtii). earx ragged white beard on his curly gray hair He is cloak, the underlie a ligh right wrist. Panel: H. 32V2 inch Painted about 1655. Michel, p. 564; Bode R No. Collection of L. Le,^. Collection of M.C Lent by Mr. W. A. S REMBRANDT CONTINUED 100 PORTRAIT OF AN OLD MAN HALF-LENGTH. Seated, turned to the right, his right arm resting on the arm of the chair. He has a ragged white heard, and wears a broad black velvet cap on his curly gray hair. He is wrapped in a full brown cloak, the under*sleeve of a lighter tint showing at the right wrist. Panel: H. 32V2 inches; "W. 25V2 inches. Painted about 1655. Michel, p. 564; Bode R., No. 470; Klass. d. K., p. 431. Collection of L. Lesser, London. Collection of M. C. Waltner, Paris. Lent by Mr. W. A. Slater, Washington. 337 REMBRANDT CONTINUED 101 THE SIBYL MORE than half4ength. A young woman, seated, turned three-quarters to the right, her head bent forward, her eyes turned to the left, holding a large book on her lap with both hands. She wears a dark gown re* lieved by greenish reflections, a gold^colored mantle, and a light turban ornamented -with precious stones and a siring of pearls. Canvas: H. 3814 inches; W. 29V2 inches. Painted about 1656. Bode R., No. 528; Klass. d. K., p. 386. Barnett Collection, London, 1881. Lent by Mr. Theodore M. Davis, Newport. 338 V4BRANDT 1 bent *L d. K., p j8 i. M. Davis, Newport. 3f ». . ¥ . ... ■ "V V - *'■'■ raMB ■. ^>mB^'- ! Si'^f^ i: c^*' K fri^tr *j&-'' \^ v# ; .. fftjjjp « ■ ■ ■ ^ ■**' %^~~jf^ rj . A ■ ■ ■- . -. - T [REE.Q spectator RiHy-: red sash, a Ath. a goldsemh rsstra cap ; skull= short moi his lei: rand. Signed, on the k ■ Canvas: H. 5 Smith., No. 225 ; Moes, Icon B alogue of Mr s ColL. Exhibited in British Gallery, 1824; J - Collection of land. Lent L Henr> REMBRANDT CONTINUED 102 PORTRAIT OF HIMSELF THREE-QUARTERS LENGTH. Seated, facing the spectator. He wears a full yellow gaberdine with a red sash, a Brown cloak with a white neckcloth and gold* embroidered shoulder* straps. On his head a dark cap, under which a brown skull-cap is visible. He has a short moustache, and holds a stick with a silver knob in his left hand. Dark background. Signed, on the knob of the chair: Rembrandt f. 1658. Canvas : H. 51 inches ; "W. 40 inches. Smith, No. 225 ; Michel, pp. 434, 558 ; Bode R., No. 428 ; Moes, Icon Ba., No. 6693.58; Klass. d. K., p. 400; Cat* alogue of Mr. H. C. Frick's Collection, No. 29. Exhibited in London, British Institution, 181 5; British Gallery, 1824; Burlington House, 1889, 1899. Collection of the Earl of Ilchester, Melbury Park, Eng* land. Lent by Mr. Henry C. Frick, New York. 343 REMBRANDT CONTINUED 103 HENDRICKJE STOFFELS HALF-LENGTH FIGURE. Turned to the left and bending forward. V/ith her right hand she holds together a loose dark brown morning wrap trimmed with reddish fur. Her hair is covered with a gold*embroidered greenish=brown cap ornamented with a gold chain and precious stones. Reddisb-jbrown background. Signed on the right, above the shoulder : Rembrandt f. 1660. Canvas: H. 29% inches; W. 26% inches. Bode R., No. 438; Klass. d. K., p. 411. Collection of the Marquise de la Cenia, Spain. Collection of Rodolphe Kann, Paris. Lent by Mrs. Collis P. Huntington, New York. 344 T CONTl 103 : FELS Hleft and ight hand she holds ^ with vith a gold*ci ith a g r f. by Mrs. Coll; :on, New York. 344 REMBRANDT CONTINUED 104 THE ACCOUNTANT HALF?Ll H . Standing figure, bent slightly for* ward anc: ->.g against a table ; the left band on an open book before him; the right, holding a pen, re on the table. He wears a bright red cap and a redd brown gown with white at the neck and sleeves. Canvas: H. 40V2 inches; W. 31 V2 inches. Painted about 1663. Smith, No. 275, Suppl., No. 9; Michel, pp. 247, 561; Bode R., No. 526; Klass. d. K., p. 502. Exhibited at the Royal Academy, Lonci 9 . Collection of Sir Joshua Reynolds, London, 1795. Collection of Thomas Hardman, Manchester, 1838. Collection of Mrs. Owen Roe, London. Collection of as Green, London, 1874. Collection of Mrs. P. C. Handford, Chicago. Lent by Mr. Charles M. Schwab, New York. 14Q REMBRANDT CONTINUED 104 THE ACCOUNTANT HALE=LENGTH. Standing figure, bent slightly for* ward and leaning against a table; the left band on an open book before Kim; the right, holding a pen, rests on the table. He wears a bright red cap and a reddish* brown gown with white at the neck and sleeves. Canvas: H. 401/2 inches; "W. 311/2 inches. Painted about 1663. Smith, No. 275, Suppl., No. 9; Michel, pp. 247, 561; Bode R., No. 526; Klass. d. K., p. 502. Exhibited at the Royal Academy, London, 1889. Collection of Sir Joshua Reynolds, London, 1795. Collection of Thomas Hardman, Manchester, 1838. Collection of Mrs. Owen Roe, London. Collection of Thomas Green, London, 1874. Collection of Mrs. P. C. Handford, Chicago. Lent by Mr. Charles M. Schwab, New York. 349 REMBRANDT CONTINUED 104 THE ACCOUNTANT HALF-LENGTH. Standing figure, bent slightly for* ward and leaning against a table ; tbe left band on an open book before him; the right, holding a pen, rests on the table. He wears a bright red cap and a reddish* brown gown with white at the neck and sleeves. Canvas: H. 40 1 /2 inches; W. 31V2 inches. Painted about 1663. Smith, No. 275, Suppl., No. 9; Michel, pp. 247, 561; Bode R., No. 526; Klass. d. K., p. 502. Exhibited at the Royal Academy, London, 1889. Collection of Sir Joshua Reynolds, London, 1795. Collection of Thomas Hardman, Manchester, 1838. Collection of Mrs. Owen Roe, London. Collection of Thomas Green, London, 1874. Collection of Mrs. P. C. Handford, Chicago. Lent by Mr. Charles M. Schwab, New York. 349 REMBRANDT CONTINUED 104 A PORTRAIT OF A YOUNG MAN Called "Thomas Jacobsz. Hating" HALF-LENGTH. Standing, turned to the right. He has a thin, pale face, dark eyes and a small mous= tache, and wears a broad cap with a skulkcap under it over his long, dark hair. He is dressed in a brown doublet with white at the neck and sleeves, and holds in his hands some folio sheets. On the right, in a deep shadow, is the bust of a man. Signed on the back of the folios: Rembrandt f. 1658. Canvas: H. 42 5 /s inches ; W. 33I/2 inches. The identity of this portrait as the auctioneer Thomas Jacobsz Haring is probably an error ; as has already been pointed out by Bode, the etching of 1055 shows a much older man, and the identification of the etching with Har* ing is merely traditional. The painting is more likely a portrait of Rembrandt's son Titus, as the features resem? ble those of his portraits of this period. Vosmaer, pp. 356, 559; Dutuit, p. 53, No. 215; Bode R., No. 458; Klass, d. K., p. 417. Exhibited at the Royal Academy, The Hague, 1892. Collection of the Marchese dlvrea, Genoa. Von Lissingen Collection, Vienna, sold in Paris, 1876. Collection of John Waterloo Wilson, Paris, 1881. Wilbrenninck Collection, The Hague. Collection of Maurice Kann, Paris. Lent by Mr. B. Altman, New York. 35° NG MAN obsz Haring" g, turned to the right. He ■nail m kulkcap under it a a brown doublet ■ ds in his hands hado w, is the T LENC X I. has a th 1658. BodeR., \cademy. The Hague, 181 a, Genoa, ma, sold in Paris, 1876. ohnVv o Wilson, Paris, 1881. ie. rk. REMBRANDT CONTINUED 105 LUCRETIA STABBING HERSELF MORE than Kali -length . The figure, with h i lined tc eft, faces the spectator. W \e points a dagger at her breast, wh ft hand is ied toward the spectatc ch greenis, olor ed dress with wide and a laced bodic her throat a necklace of and a string with a pendant; a pearl in her t Sig3 her left: Rembrandt b. 1664. Canvas: H. 47V2 inches; "W. 39% inches. Smith, No. 192; Dutuit, p. 58, No. 114; Michel, pt 563 ; Bode R., N. cvlass. d. K., p. 46 Lapeyriere ColJ Paris, 1825. Anonymous ion, London, 1826. :.!ection of M. Zachary, London, 1828. Collection of J. H Munro, Novar. Collection of Prince Demidoff, San Donate. Anonymous ion, Lone Lent by Mr. M. C. D. Borde v York. 355 REMBRANDT CONTINUED 105 LUCRETIA STABBING HERSELF MORE than half length. The figure, with head slightly inclined to the left, faces the spectator. "With her right hand she points a dagger at her breast, while the uplifted left hand is extended toward the spectator. She wears a rich greenish*gold colored dress with wide sleeves and a laced bodice ; around her throat a necklace of pearls and a string with a pendant; a pearl in her ear. Signed on her left: Rembrandt b. 1664. Canvas: H. 47V2 inches; "W. 39% inches. Smith, No. 192; Dutuit, p. 58, No. 114; Michel, pp. 489, 563 ; Bode R., No. 595; Klass. d. K., p. 467. Lapeyriere Collection, Paris, 1825. Anonymous Collection, London, 1826. Collection of M. Zachary, London, 1828. Collection of J. H. Munro, Novar. Collection of Prince Demidoff, San Donato, 1880. Anonymous Collection, London, 1889. Lent by Mr. M. C. D. Borden, New York. 355 REMBRANDT CONTINUED 106 PORTRAIT OF A MAN BUST. A man with long dark hair and a dark beard; he wears a lowscrowned, broad=brimmed hat, that throws a shadow over the upper part of his face. Signed on the left: Rembrandt f. 1665. Canvas: H. 28 inches; W. 25 inches. Michel, p. 561; Bode R., No. 496; Klass. d. K., p. 506. Collection of Sir William "W. Knighton, London. Collection of H. G. Marquand, New York. Property of The Metropolitan Museum of Art, New York. 35<> NTDT M/ air and a dark beard; id-brimmed hat, tnat art of kis (a • o of Art, REMBRANDT CONTINUED 107 PORTRAIT OF A MAN BST, facing the spectator. The left Hand in the black vhich envelops the figure. He wears a flat white and his long dark hair is partially covered by a broad*brimmed black bat witb a bigb crown. Canvas : H. 2 ; ^V. 25 inches. Painted about Dutuit, p. 46; Bode R., No. 495: Klass. d. K., p. 507. Collection of irquis of Lansdowne, London, 1883. Collection of H. G. Marquand, New York. Property of The Metropolitan Museum of Art, New York. 361 REMBRANDT CONTINUED 107 PORTRAIT OF A MAN BUST, facing the spectator. The left hand in the black coat which envelops the figure. He wears a flat white collar, and his long dark hair is partially covered by a broadsbrimmed black hat with a high crown. Canvas: H. 23 14 inches; "W. 25 inches. Painted about 1665. Dutuit, p. 46; Bode R., No. 495; Klass. d. K., p. 507. Collection of the Marquis of Lansdowne, London, 1883. Collection of H. G. Marquand, New York. Property of The Metropolitan Museum of Art, New York. 361 REMBRANDT CONTINUED 107A TITUS, THE SON OF REMBRANDT "The Man with a Magnifying=Glass" HALF-LENGTH. Seated, facing the spectator, his body turned slightly to the right. In his right hand, ■which seems to rest on the table before him, he holds a magnifyingsglass. He is bareheaded, and his thick, curl* ing brown hair falls about his shoulders. He is dressed in red, with a narrow collar, and wears small steel arm* lets on the upper part of his slashed sleeves. A dark cloak falls over his right arm. Dark background. Canvas: H. 3&/q inches; "W. 28% inches. Companion picture to No. 107B. Painted about 1668. The model for this portrait is the same as that of the man in the so-called "Jewish Bride" at Amsterdam, which was recently identified as Rembrandt's son Titus. The present portrait was probably painted in the year of his marriage to Magdalena van Loo (February, 1668). Titus died in the following autumn, and his wife survived him but one year. Exhibited in Brussels, 1882. Dutuit, p. 50, No. 347; Michel, p. 501, No. 563 ; Klass. d. K., p. 482. Lent by Mr. B. Altman, New York. 362 H REMBR REMBRANDT ifying^Glass" ig the spectator, his In his right hand, him, he holds a i his thick, curl? He is dressed in r all s^eel arms let' jloak tali? >und. Ca< Tl. in 1 i as Re ltus. The \bly painted in the year of his m. " February, 1668). Titus died in th g autumn, and his wife survived him Dutuit, p . -j-7 ; Michel, p. $01, No. 563 ; Klass. d.* Lent by Mr. B. w York. 36; - 99E| ^ h '~ ^HP^^bi^H ■HHH^^L-^^H ^^^^K^JH / -' 1 '"'^"'' > ''"''HHr ■'°">»B t wT l^ft r^Mfifl J§ Mk I 1 1 ^V^^Dk. \BB v^*' ' ' - - ■ - ■ ■ v ■ . • REMBRANDT ■NTINUED 107B MAGDALENA VAN LOO, WIFE OF REMBRANDT'S SON TIT' "The Lady with a Pink" HALF*LENGTH. Seated, turned to the left, the head inclined toward the spectator. In her right hand she hoi d carnation. Her (air hair is combed back from ito a small gold cap and bound with a string of peo ie wears large pendent pearls in her ears and a gold chain about her neck. Her rich red gown with full sleeves is cut square over the bust, showing a dainty chemisette. In the background a dark curtained picture in a gold frame. Canvas: H. 3b 5 /s inches ;W. 30% inches. Companion picture to No. 107A. Painted about 1668. Exhibited in Brussels, 1882. Dutuit, p. 50, No. 348 ; Michel, p. 501, No. 563 ; Bode R., No. 536; Klass. d. K., p. 46 Collection of Comte E. d'Ouitremont, Brussels, sold in Paris, 1889. Collection of Maurice Kann, Par Lent by Mr. B. Altman, New York. 367 REMBRANDT CONTINUED 107B MAGDALENA VAN LOO, WIFE OF REMBRANDT'S SON TITUS "The Lady with a Pink" HALF=LENGTH. Seated, turned to the left, the head inclined toward the spectator. In her right hand she holds a red carnation. Her fair hair is combed back from her face into a small gold cap and bound with a string of pearls. She wears large pendent pearls in her ears and a gold chain about her neck. Her rich red gown with full sleeves is cut square over the bust, showing a dainty chemisette. In the background a dark curtained picture in a gold frame. Canvas: H. 36 5 /s inches ; "W. 30% inches. Companion picture to No. 107A. Painted about 1668. Exhibited in Brussels, 1882. Dutuit, p. 50, No. 348 ; Michel, p. 501, No. 563 ; Bode R., No. 536; Klass. d. K., p. 483. Collection of Comte E. d'Oultremont, Brussels, sold in Paris, 1889. Collection of Maurice Kann, Paris. Lent by Mr. B. Altaian, New York. 367 JACOB VAN RUISDAEL BORN at Haarlem, 1 628*29 . Died there in 1 682. Prob* ably a pupil of Cornelius Vroom and of his uncle Salomon Ruysdael. Worked at Haarlem and at Am* sterdam (1657*1681). Landscape painter. 108 COTTAGE UNDER TREES On the right a thatched cottage backed by masses of oak trees, in front of which is a field surrounded by a hedge of flowering elders growing on a rugged bank ; at the side an old cartwheel. In the door of the cottage stands a wo* man, and just outside are two peasants. In the distance, on the right, a second cottage with trees. Light clouds in a blue sky. Signed at the right with the monogram J v R. Canvas : H. 22 Vs inches; "W. 25 5 /e inches. Painted 1650*60. Smith, No. 213; Waagen, Vol. IV, p. 194. Exhibited at Manchester, 1857. Collection of William Wells, Redleaf, 1835. Collection of George Field, London, 1893. Collection of Rodolphe Kann, Paris. Lent by Mr. J. Pierpont Morgan, New York. 368 RUISDAEL Big ! ok and of his u. Worked at Haarlem and at Am? Landscape painter. -8 TREES by masses of oak :d by a hedge ^ugged bank ; at the side ■ s a wo= ace, J sin Vol. r 94. >ter, 18 n Wells, Redleaf, 1835. ion, 1893. !olpheKann, Pa. J. Pierpont Morgan, New York. JACOB VAN RUISDA ■NTINUED THE SLUICE AGRASS.GROW Heads over a to a wood beyond. On the left a rugg a sluice or water*gate. On the right a small meadow with a shepherd and a small floe Clouded sky. Panel H. 16% inchr s inches. Painted 1650-' Sale E. Secret 1889. Lent by Mrs. johnW. Simpson, K JACOB VAN RUISDAEL CONTINUED 109 THE SLUICE AGRASS^GROWN road leads over a stone bridge to a wood Beyond. On the left a rugged tree and a sluice or water*gate. On the right a small stream and meadow with a shepherd and a small flock of sheep. Clouded sky. Panel H. 16% inches ; W\ 22 Vs inches. Painted 1650*60. Sale E. Secretan, Paris, 1889. Lent by Mrs. John "W. Simpson, New York. 373 JACOB VAN RUISDAEL CONTINUED no DUNES NEAR HAARLEM A VIEW of dunes and flat country extends to the far horizon. The hollo ws of the foreground and middle distance are wooded. The sunlight falls in patches on the scene, lighting up a field and a number of gray and redsroofed houses in the foreground. A village church with a high steeple stands farther back in the shade. In the rear another sunlit field and behind it the Haarlem Sea. Lofty sky with gray gathering clouds. Canvas: H. 13V2 inches; "W. 16% inches. Painted about 1660. Lent by Mr. W. A. Slater, Washington. 374 A JACO! AN RUISDAI CONTINUED 110 NfES NEAR dunes and n. Tne hc 6 mi'.i voode . itfal om htingupa ses in tne the e h ; inch* 4 inch W jrcr,Vv JACOB VAN RUISDAEL CONTi ; 111 WINTER LANDSCAPE ON the al turns to the left and leads to r a road follows the canal ae bri; t. On the bridge a woman wearing a white md a red skirt. On the left in the middle distance vindmills i cottage, and on the opposite side -anal a village . In the foreground v-ooden fram. t which a man with two bundles of ru nm g. Standing near him is a man with a boat'' e ground is snowscovered and a frosty atmosphe es the scene. Dark clouded win? ter sky. Signed at th< . Rutsdal Canvas : H. z. Smith, No Sydervelt c 1766. Lapeyrierec 1825. Collection of Sir Robert Peel, Lond<: Lent by Mr. John G. Johnson, 1 a. JACOB VAN RUISDAEL CONTINUED 111 WINTER LANDSCAPE ON the right a frozen canal turns to the left and leads to the distance. From the left a road follows the canal over a stone bridge at the right. On the bridge a woman wearing a white hood and a red skirt. On the left in the middle distance, two windmills near a cottage, and on the opposite side of the canal a village. In the foreground a wooden framework against which a man with two bundles of rushes is leaning. Standing near him is a man with a boat-hook. The ground is snow^covered and a frosty atmosphere pervades the scene. Dark clouded wins ter sky. Signed at the right: J. v. Ruysdael. Canvas : H. 20 inches ;"W. 25 inches. Smith, No. 210. Sydervelt collection, 1766. Lapeyriere collection, 1825. Collection of Sir Robert Peel, London. Lent by Mr. John G. Johnson, Philadelphia. 379 JACOB VAN RUISDAEL CONTINUED 112 STORMY SEA A PIER with a beacon light at the end extends into the sea toward the left ; near the end of the pier are two men, one with a pole in his hand; beyond a sailings boat, and in the distance at the right and left other craft ; near the horizon a large sailing*vessel. At the left a rift in the dark clouds throws a strong light on the water. Canvas: H. 36 inches; "W. 491/2 inches. Lent by Mr. James Ross, Montreal. 380 RUISDAEL SEA A tne end extends into Ke end of thej two near tin- yond a saj ■ i stro 's as : H w. Jarr itreal. RUISDAEL 112 { SEA he end extends into jL ""V ir the end ofthe p d; beyond as ndlef ft; \t the s, Mor JACOB VAN RUISDAEL NTINUED 1I2A WHEATFIELDS "Un Coup de Soleil" A ROAD, ir g sunlight, leads from the rigKt to a group of distant cottages in a wood, between fields of ripened corn. On the road a man walking toward the horizon and a woman and small boy approachi i foreground. At the rigbt are two trees and a hedge; at the left, along the horizon, the aea. with sails, and on t shore a beaconsltght. Clouded sky. Signed at the right: I V Ruisdael. Canvas : H. 4 ches ; "W". 51 V2 inches. Collection of M Kann, Paris. Lent by Mr. B. Altman, New Yor? 385 JACOB VAN RUISDAEL CONTINUED 112A WHEATFIELDS "Un Coup de Soleil" A ROAD, in strong sunlight, leads from the right to a group of distant cottages in a wood, between fields of ripened corn. On the road a man walking toward the horizon and a woman and small boy approaching the foreground. At the right are two trees and a hedge; at the left, along the horizon, the sea with sails, and on the shore a beacon*light. Clouded sky. Signed at the right : I V Ruisdael. Canvas: H. 40!^ inches; "W. 51 1/2 inches. Collection of Maurice Kann, Paris. Lent by Mr. B. Altman, New York. 385 JACOB VAN RUISDAEL CONTINUED 113 WOODS A PATH winds from right to left over a wooden bridge into the depths of the wood, toward which a man and boy are advancing. The "wood slopes from the left of the canvas toward the right, bounded in the fore* ground by a small sheet of water into which a -white birchstree has fallen. Dark and cloudy sky. In the right foreground the monogram J. v. R. Painted about 1650*60. Canvas : H. 25% inches ; W. 28 inches. Von Preyer Collection, Vienna. Lent by Senator W. A. Clark, New York. 386 r AN RUISDAEL !NUED 113 WOODS over a wooden oward which he wood slopes from the bounded in the t nto which a white rk and cloudy sky. id the monogram J. v. R. nches. Vienr Senator W. A. Clark, New York: JACOB VAN Rl 114 THE FOREST STREAM A FOREST stream, with waterfall in the fc rrounded by rocky banks ; on the r slope with rugged oak tree. In the middle ground two figures driving sheep. Signed at the right : J v Canvas : H . 38 V2 inches ; W. ches. Property of The Metre : useur/ New York. 391 JACOB VAN RUISDAEL CONTINUED 114 THE FOREST STREAM A FOREST stream, with waterfall in the foreground, surrounded by rocky banks ; on the right, a wooded slope with rugged oak tree. In the middle of the back* ground two figures driving sheep. Signed at the right: J v Ruisdael. Canvas: H. 38V2 inches; W. 50I/2 inches. Property of The Metropolitan Museum of Art, New York. 39] VAN RUISDAEL 115 sRLED OAK and. On the hoak. Open ntre of th as, in a oak tree. On the left, a >d path. A chain of* ads are gathering. S. :r of Enfield. V. de Forest, New York. 392 A 1 ■ ofti ground. To tke r ofdistanthilJ: Signed on the Canvas: H. 3 Gallery Sale Pereire. Sale Prince D Ler JACOB VAN RUISDAEL CONTINUED 116 THE CASCADE A LITTLE lake extends from the left of the canvas toward the right, where it forms a cascade spanned by a wooden bridge. A man wearing a red jacket, carry* ing a sack on his back and followed by a dog, is -walking over the bridge. Three men are fishing from the left shore of the lake ; on its further shore three houses stand on hilly ground. To the right an oak ■wood, and beyond a chain of distant hills. Dark gray clouds in a pale blue sky. Signed on the lower left : Ruisdael. Canvas : H. 30 inches ; "W. 37V2 inches. Gallery of the Duke of Mecklenburg, 1854. Sale Pereire, Paris, 1872. Sale Prince Demidoff, San Donato, 1880. Lent by Mr. M. C. D. Borden, New York 397 JACOB VAN RUISDAEL CONTINUED 117 A WATERFALL ABOVE a rocky wooded kill at the right is seen the spire of a church. A rushing mountain stream emerges from the right and turns to the left in the fore? ground, where it forms a cascade. A shepherd leads his flock across a rustic bridge -which spans the stream. At the left some fallen tree=trunks. Blue hills along the dis* tant horizon. Dark clouds gather in the blue sky. Signed on a rock in the centre : J v Ruisdael. Canvas: H. 39% inches; W. 34 inches. Smith, No. 222. Collection of Baron Lockhorst, 1826. Collection of the Earl of Onslow, England. Lent by Mr. Henry C. Frick, New York. 398 JACOB VAN RUISDAEL 117 A A s seen am - the h ^re* tepherd leads his tie dis? [ Coll Cci .vy C. Frick, New *Y JACOB VAN R CONTlNTU> 118 tfTAIN TORRElv Cant 'with a small fl ;ng a rust i bridge over a tain torrent. On th ;ite bank a £ witb a peasant's co before wnicK sons, at the back ntain peak witb and at the extrers one! cottage. 1 1 at the left, av Canvas : H. 20} s ; W. 16% in Painted 1660570. Lent by Mrs. Collis P. Hunt. JACOB VAN RUISDAEL CONTINUED 118 THE MOUNTAIN TORRENT ON the right, a peasant 'with a small flock of sheep crossing a rustic footbridge over a rushing moun* tain torrent. On the opposite bank a field in sunshine with a peasant's cottage, before which stand two per* sons, at the back a mountain peak with wooded slopes, and at the extreme left a second cottage. In the foreground at the left, a -waterfall. Canvas: H. 20 3 /s inches; W. 16% inches. Painted 1660*70. Lent by Mrs. Collis P. Huntington, New York. 403 SALOMON VAN RUYSDAEL BORN at Haarlem about 1600. Died there in 1670. Educated under the influence of Esaias van de Velde and Jan van Goyen. ^Vorked at Haarlem. Landscape painter. 119 CANAL SCENE From the foreground a canal with several sailboats leads toward the right horizon. A road on a high bank on the left follows the water. Behind the road a group of trees and in the centre a cottage and a distant church spire. On the road a vehicle, a horseman in red, and other figs ures. In the shadowed foreground a man mounts a ladder placed against the bank, near which is a boat with a man in it, and beyond this a second boat carrying six persons. Signed on the boat: S v Ruysdael 1640. Canvas: H. 42^ inches; "W. 52% inches. Lent by Mrs. Morris K. Jesup, New York. 404 SALOMON VAN RUYSDAEL BORJS arlem about 1600. Died there in 1670. Educated under the influence of Esaias van de Velde \ Jan van Goyen. Worked at Haarlem. Landscape - 11 CANAL SCENE From the foreground a canal with several sail-boats leads toward tke right he A road on a high bank on the left folio ws the water. Behind the road a grovi and in the c> ad a di spire. On the re hide, a horseman in red, and other fig* ures . In the shadowed foreground a a I adder pL t the bank, near which in it, and beyond this a second boat c Signed on the' S v Ru 1640. Canvas : H niches ; "W. 52% inches. Lei :rris K. Jesup, New York. 404 SALOMON VAN RUYSDAEL rsmmTED 120 A COUNTRY ROAD ON the left a group of trees surrounding a farmshouse ; before this a road, leading over a bridge, divide tht -ound to the right and left. Approaching the foreground on the right ore two herdsmen with cat l on the left, going in the opposite direction, two ho; men, and on the bridge two vehicles. At the extreme right is a small canal and beyond it a meadow with cows and a distant church. Clouded sky. Signed on the lower left: S v Ruysdael 1648. Canvas : H . 37% inches ; W. 51 Yi inches. Property of The Metropolitan Museum of Art, New York. 400, SALOMON VAN RUYSDAEL CONTINUED 120 A COUNTRY ROAD ON the left a group of trees surrounding a farmshouse; before this a road, leading over a bridge, divides in tbe foreground to tbe right and left. Approaching the foreground on the right are two herdsmen with cattle; on the left, going in the opposite direction, two horse* men, and on the bridge two vehicles. At the extreme right is a small canal and beyond it a meadow with cows and a distant church. Clouded sky. Signed on the lower left: S v Ruysdael 1648. Canvas: H. 37% inches; W\ 51V2 inches. Property of The Metropolitan Museum of Art, New York. 409 SALOMON VAN RUYSDAEL CONTINUED 121 WINTER SCENE A ROAD leading to the distance along the edge of a frozen canal, with sleighs in the foreground. On the right is seen a group of village houses with peasants in holiday attire and some couples on horseback. Cold blue winter sky with stratus clouds. Signed in the centre of the canvas: S v R 165 — . Canvas : H. 29 inches ; W. 41 ] A inches. Property of The Metropolitan Museum of Art, New York. 410 X SALOMON VAN RUYSDAEL CONTTnxt: 122 WINTER NEAR HAARLEM A FROZEN canal fills the foreground. In the d \ce rises the city ot Haarlem and the spire of its cathedral. On the left i • turrets; on r ice in the foreground is a two^horse sleigh before a red tent. At the right, two horsemen approach by a road on the other side of which is a second canal. In the middle foreground a group of children h he ice and beyond t! mother cl id a dog. Signed on the left : S van Rutsdael 165 Canvas: H. 30% inches ;W. 44 '/a incht Le^ Ir. P. A. B. Widener, Philadelphia. SALOMON VAN RUYSDAEL CONTINUED 122 WINTER NEAR HAARLEM A FROZEN canal fills the foreground. In the dis* tance rises the city of Haarlem and tne spire of its cathedral. On the left the city gate with turrets; on the ice in the foreground is a twoshorse sleigh before a red tent. At the right, two horsemen approach by a road on the other side of which is a second canal. In the middle foreground a group of children have fallen on the ice and beyond them is another child with a sled and a dog. Signed on the left: S van Ruysdael 1656. Canvas: H. 30% inches ; "W. 44!^ inches. Lent by Mr. P. A. B. Widener, Philadelphia. 4*5 JAN STEEN BORN at Ley den about 1626. Died there in 1679. Studied at the University. Pupil of Nicolaes Knup* fer. Worked at Leyden, The Hague and at Haarlem. Painter of genre, religious and mythological subjects and portraits. 123 KERMESSE Near the entrance to an old tavern, above the door of which hangs the sign of the elephant, a young fiddler, standing upon a tub, plays for some dancers. In the fore* ground a family group, a man, woman and child, with a basket of food and a dog. The tavern stands near a stream. A boatload of people push off from the shore; a man on the bank raises his cap with his right hand and holds out a tankard in his left as a parting salute. In the background, at the right of the tavern, are a group of trees and a bridge over the stream. Signed on the side of the boat: J. Steen. Hofstede de Groot, Nos. 641, 641a, 642. Sale at The Hague, 1770. Sale G. Copius, The Hague, 1786. Sale A. Meynts, Amsterdam, 1823. Sale J. A. van Dam, Dordrecht, 1829. Collection of H. G. Marquand, New York. Property of The Metropolitan Museum of Art, New York. 416 Died there in 1679. /. Pupil of Nicolaes Kmips The Hague and at Haarlem. as and mythological subj<. 123 MESSE above tke door of a young fiddler, In the fore* hold, with near a ihe right o of md a bridge over ■ i on the e boat: J. Stei 641, 641a, 642. Co :, 1786. im, 1823. ., Dordrecht, 1829. .tiori 4arquand. New York. Museum of Art, JAN STEEN CONTINUED 124 GRACE BEFORE MEAT A I LY seated under an arbor before a bou vbicb serves as a table, stands a large ba.^ tbe rigbt, tbe fatber, bolding bis bat be* fore b: posite bim sits tbe motber witb a cbild on ber laj eft a boy witb bat in band and bead devoutly raised oB ers grace; in tbe foreground a dog licks an overturned p< Signed on a .stone at tbe left of tbe foreground: J. Steen. Canvas: I incbes;W\ 3oincbes. Copies Lr. ! tza Collection, Hamburg, in tbe gallery at Lui: a and in tbe sale at Amsterdam, Dec. 9, 1902. Hofstc Dot, No. 377. Exbibi £be Royal Academy, London, 1885. Collec W. A. Hankey, Beaulieu in Hastings. Lt Mr. Jobn G. Jobnson, Pbiladelpbia. JAN STEEN CONTINUED 124 GRACE BEFORE MEAT A FAMILY seated under an arbor before a bouse; on a barrel, wbicb serves as a table, stands a large basin of food; at tbe rigbt, tbe fatber, bolding bis bat be* fore bis face; opposite bim sits tbe motber witb a cbild on ber lap ; at ber left a boy witb bat in band and bead devoutly raised offers grace ; in tbe foreground a dog licks an overturned pot. Signed on a stone at tbe left of tbe foreground: J. Steen. Canvas: H.23V2 incbes; "W. 3oincbes. Copies in tbe Giltza Collection, Hamburg, in tbe gallery at Liitzscbena and in tbe sale at Amsterdam, Dec. 9, 1902. Hofstede de Groot, No. 377. Exbibited at tbe Royal Academy, London, 1885. Collection of W. A. Hankey, Beaulieu in Hastings. Lent by Mr. Jobn G. Jobnson, Pbiladelpbia. 421 JAN STEEN CONTINUED 125 THE DRAINED CASK A GROUP of figures in a tavern. In the centre the stooping figure of a woman in a red dress with a bluejacket, who holds a bowl, while on the right a man in a gr aysblue cloak tilts a cask to drain its contents ; at the end of the cask an old woman strikes it -with her shoe. Seated at the table at the left is a man with a red hat, holding a stein in his hand, and behind him two men in green clothes eagerly watching the wine as it flows slowly from the cask. At the left a third man lights his pipe at the table. In the background an open door through which is visible the evening sky. On a wooden partition at the left of the background is the inscription: "Tis drouigh voor de maets Aef is doot den tap lopt op s(e)n ent de verbruyde krouf is vaets." Signed on the cask: J. Steen. Canvas: H. 34 inches; W. 40 inches. Smith Suppl., No. 70; Westrheene, No. 95; Hofstede de Groot, No. 603. Collection of M. P. Caauw, Leyden, 1768. Collection of E. Higginson, Salmarsh Castle, Kent, 1842. Collection of the Marquis de La Rochebousseau, Paris, 1873. Collection of M. E. Martinet, Paris, 1896. Lent by Mr. Charles M. Schwab, New York. 422 JAN STE CI 125 THE DRAINED CASK A GROUP ot figures in a tavern. In the centre the )ing figure of a woman in a red dress with a bli i vho holds a bowl, while on the right a man ^ysblue cloak to drain its contents; at the end of the cask an old rikes it with her shoe. 1 at the table at the 1 man with a red hat, s hand, and I u iim two men in .ing the wi flows slowly liird man is pipe at open door tl^ ch denpo lef r ! oot den tap ;nt de e krouf isvaets." :d on the cask : J. Steen. H. 34 inches; W\ 40 inches. Suppl., No. 70; Westrheene, No. 95; Hofstede 01 No. 60 of M lauw, Leyden, 1768. i oi -.on, Salmarsh Cattle, Kent, 1842. 1 . ' o ;uis de La Rochebousseau, Paris, ^ofN' irtinet, Paris, 1896. t by Mr. ( .M.S. , New York. 422 JAN STEEN CC ED 126 THE DANCING LE U)ER aii arbor in front oi man are (lancing; seated, a old couple , a young man and w spectator «". an in a yellov hild dressed in yello seated c • t in the forep ■waistcoat with purple sleeves a woman in bl -ide them a be above t! cwo musicia: lin. In t ound, two child: bird-cages a fence, and beyond hi and a woman and the booths of a village 1 a spire is seen between the trees. Signed in the lower left come Canvas: H. finches; W. 59 in Described by Sir Joshua Re p. 1 18 ; Smith No. 150 ; \ de Groot, Nc Exhibited at the Royal Ac<; Kensington, London, i8< Collection of I. Bisschop, Rotten the Hopes, 1771. Collection of Philip Henry He Collection of Lore dene. S 1898. Lent by Mr. P. A. B. V JAN STEEN CONTINUED 126 THE DANCING COUPLE UNDER an arbor in front of a tavern a man and wo* man are dancing; seated at a table at the left are an old couple, a young man and woman, and nearest to the spectator a woman in a yellow jacket and blue apron, holding a child dressed in yellow who plays with a toy; seated on the right in the foreground, a man in a brown waistcoat with purple sleeves and scarlet stockings, and a woman in blue ; beside them a boy with soap bubbles ; above this group two musicians -with a flute and a vio* lin. In the background, two children and a man "with a bird*cage stand by a fence, and beyond him are two men and a woman and the booths of a village fair. A church spire is seen between the trees. Signed in the lower left corner: J. Steen 1663. Canvas: H. 42 inches ;"W. 59 inches. Described by Sir Joshua Reynolds; Nagler; WaagenJI, p. 118; Smith, No. 150; Westrheene, 1898*99; Hofstede de Groot, No. 655. Exhibited at the Royal Academy, London, 1881 ; South Kensington, London, 1891. Collection of I. Bisschop, Rotterdam, 1752; purchased by the Hopes, 1771. Collection of Philip Henry Hope, London, 1833. Collection of Lord Francis Pelham Clinton Hope, Deep* dene. Sold in 1898. Lent by Mr. P. A. B. Widener, Philadelphia. 427 JAN STEEN CONTINUED 127 THE MERRYMAKERS A GROUP of diners seated about a table beneatb a vine*covered trellis. In the centre of the foreground, facing the spectator, a woman in a brown dress with a blue jacket holds an empty glass in her outstretched right hand. At her right, seated on a stone balustrade, a man is playing a cithern; on the left a jovial old man, with a jug in his hand, smiles upon the spectator ; behind him a clown embraces a maid who is serving the company ; at her left a man playing a flute, and a smiling old man who raises a wine*glass towards a child held in the arms of an old woman; beyond them at the right, other rol; licking guests. In the left of the foreground a small boy has harnessed a dog to his toy horse, and on the right is an overturned wine*jug. Signed on the right: J. Steen. Canvas : H. 57 inches : "W. 53 inches. Described by Immerzeel; Smith, No. 109; V/estrheene, No. 296; Hofstede de Groot, No. 443. Exhibited at the Royal Academy, London, 1888. SaleG. Schimmelpenninck, Amsterdam, 1819. Sale David Seller of London, Paris, 1889. Lent by Mr. P. A. B. Widener, Philadelphia. 428 JAN STEEN CC D THE MERRYMAKERS A GROUP of diners seated about a table be- vi: trellis, .entre of the foreground, ing th, woman in a brown dress with a pty glass in her outstretched right \d. At he I on a . llu&rade, a man playing ~(t a jovial old man, with a jug in hi- he spe behind him lown e servii i pany ; of an old I them at the right, other i He n the left o( the fore 11 boy ha J a dog to his toy horse, ar. overturnedv g. aed on the right: J. Ste; V. 53 inches. ith. No. 109; Westrheene, ot, No. 443. ■ he Royal Academy, London, 1888. ck, Amsterdam, 181 9. ndon, Paris, 1889. ner, Philadelphia. GERARD TEt BORN at Zv pil of his fath Hals, Rembrandt and Velasquez. T Italy, Spain, England and Fran De venter. Genre and portrait pa 128 THE GUARD.ROOM A group of three cavaliers seated about a ca es as a table; one, seated at the right, we costume with a steel cuirass and a r i large wine his plumed hat r< left, a second, wear sits with his back tc from which h third ; he we? talks with a girl v on tbe floor. Signed on the cask with the monc Canvas : H. 38% in Exhibited at the Ro} Collect Onley Sa Lent by Mr. John G GERARD TERBORCH BORN atZwolle, 1617. DiedatDeventerin 1681. Pus pil of his father and P. Molyn; influenced by Frans Hals, Rembrandt and Velasquez. Traveled in Germany, Italy, Spain, England and France. "Worked mostly at Deventer. Genre and portrait painter. 128 THE GUARD*ROOM A group of three cavaliers seated about a cask which serves as a table; one, seated at the right, wearing a yel* low costume with a steel cuirass and a red sash, drains a large wine-glass; his plumed hat rests on his knee. On the left, a second, wearing a blue, silver*embroidered coat, sits with his back to the spectator, blowing a trumpet from which hangs a banner. Behind the cask stands a third; he wears a fur cap, has a pipe in his left hand and talks with a girl who looks over his shoulder. A dog lies on the floor. Signed on the cask with the monogram G. T. 1658. Canvas: H. 38% inches; 'W. 31I/2 inches. Exhibited at the Royal Academy, London 1878. Collection of Onley SavilUOnley, London. Lent by Mr. John G. Johnson, Philadelphia. 433 GERARD TERBORCH CONTINUED 129 LADY POURING WINE THREE half4ength figures. On the left a young woman in a red jacket and a gray skirt pours wine from a pewter flagon for a man sitting on the right, who looks back toward her, as the old mother standing behind her daughter offers him a plate of food. He wears a dark suit and a large black hat. Panel: H. 13% inches; "W. 10% inches. Smith Suppl., No. 22. Van Loon Collection, Amsterdam, 1842. Lent by Mr. M. C. D. Borden, New York. 434 TERBORCH iNE X in -oung woman .y skin from a pev >n the ^>ks bac' >er standir dau b plate of food. He wears a dark an ... hat. iches; W Suppl., N n Loon Collection, Amsterdam, 1842. Lent by D. Borden, New York. 434 GERAR1 PC F we.- Lr. Or Utrech backgr Canvas: h ipanion pi« Exhibited at the F Col 1 dc Lent by I GERARD TERBORCH CONTINUED 130 PORTRAIT OF A YOUNG MAN FULL-LENGTH. Figure of a young man standing in a room. He is dressed in Hack with a long cape and wears a white lace*trimmed shirt with a deep cambric collar. On a table at the right, covered with dulLred Utrecht velvet, rests his hat; at his left a chair. Gray background. Canvas : H. 32I/8 inches ; ^/. 25 inches. Companion piece in the same collection. Exhibited at the Royal Academy, London, 1884. Collection of Hon. W. F. B. Massey Main waring, Lon= don. Lent by Senator W. A. Clark, New York. 439 GERARD TERBORCH CONTINUED 131 PORTRAIT OF A LADY ALMOST full4ength. Facing the spectator. The right hand is held across her person, the left hangs at her side. At her left is a table with a blue cover. She wears a black silk dress, opening in front over a white satin skirt trimmed with gold lace. Pearls in her ears. Her hair is drawn tightly back and arranged in ringlets. Canvas: H. 21 % inches; "W. 16 inches. About 1660*65. Collection of A. Thiem, San Remo. Lent by Mr. Henry C. Frick, New York. 440 GERARD TERBORCH •- " I ED 131 PORTRAIT OF A LADY ALMOST fulUlength. Faci nor. The :ht hai cross her p< left hangs i ble with $ "he ling in front ovt ;th gold lace. Pearls in her ea r hair is drawn tightly back and arty aglets. Canvas: H. ;• About i66o*C Collection of A. Thiem, San Remo. Lent by Mr. Henry C. Frick, New York. 440 DRIAEN \ DE See a! B I at An ofhis and J a etch dscape painted figures i Philips Koninck. ' nG : ^regrounc shore is a brin* - a blue d ■ ■ herdsir a she stan of she; i ace a c ains u. Signed at tr. j-p/^1 1 ] Canvas: H. 2 Smith, No. Collectior Colled:! - • dene. S ADRIAEN VAN DE VELDE See also Jan van der Heyden, No. 45, and Meindert Hobbema, No. 51 BORN at Amsterdam, 1635=36; died tbere in 1672. Pupil of bis fatber, Willem van de Velde tbe elder, and JanWynants. Worked at Amsterdam. Painter and etcber of landscapes and animals; be also frequently painted figures in landscapes by Hobbema, Wynants, Pbilips Koninck, Jan Hackaert and otbers. 132 LANDSCAPE WITH CATTLE At tbe left, in tbe sbadow of a bill, tbree cows and a sbeep stand in a pool near a trougb ; a brown and wbite cow in tbe foreground is turned to tbe rigbt ; bebind tbem on tbe sbore is a brindled cow, and near by a borsewoman, in a blue dress witb yellow sleeves and cap, speaks witb a berdsman. In tbe foreground on tbe rigbt, two cows and a sbeep be on tbe bank of tbe pooL In tbe distance a group of sbepberds and a small flock of sbeep. In tbe middle distance a castle on a bill and blue mountains along tbe borizon. Signed at tbe left on tbe trougb: A. v. Velde f. 1666 Canvas: H. 21 V2 incbes; "W. 24 incbes. Smitb, No. 137. Collection of PbiKp Henry Hope, London, 1834. Collection of Lord Francis Pelbam Clinton Hope, Deep* dene. Sold in 1898. Lent by Mr. Jobn G. Jobnson, Pbiladelpbia. 445 WILLEM VAN DE VELDE BORN at Leyden, 1633. Died at Greenwich, 1677. Pupil of his father, Willem van de Velde the elder, and of Simon de Vlieger. Worked at Amsterdam and from 1673 at London. Marine painter. 133 CALM SEA A narrow tongue of land juts forward on the left, form* ing an inlet, in which are two sailboats, with partly* reefed brown and gray sails, and one small boat. Two men are at -work in one of the boats. A man in a dark* bluejacket and a red cap, carrying a basket on his back, is advancing toward the boats from the left. On the right in the background two more sailboats. A misty sky with warm afternoon light. In the left foreground, on a piece of wood, the letters : W\ V. V. Panel: H. 10 inches; "W. 12 inches. Lent by Mr. William T. Blodgett, New York. 446 WILLEM VAN DE VELDE BLeydcn, 1633. Died at Greenwich, 1677. ais father, Willem van de Velde the elder, { of Simon de Vlieger. Worked at Amsterdam and from 1673 at London. Marine painter. 133 CALM SEA A narrov s forward on the left, form* ing an inlet, boats, with partly* reefed brow and one small boat men are at work in one of the b nk* bluejacket and a red cap, carryin is advancing toward the boats from t in the background two more sailboats. A misry sky with warm afternoon light. In the left foreground, on a piece of wood, the letters : W. V. V. Panel : H . 1 o inches ; W : ches . Lent by Mr. Wi : . Blodgett, New York. 446 WILLEM VAN DE VELDE CONTINUED 134 CALM SEA A BOAT with large cream^colored sails lies in a bay extending toward the left of the canvas. A smaller boat is anchored beside it. At the left of tbe foreground /ke fortified with piles are two men. A boat with three fishermen at work in it lies nearby. A fourth man advances along the shore from theright, carrying abasket on his back. Just beyond, two men are bathing off a little promontory where a saiUboat has been beached. Several frigates are anchored at the mouth of the bay. Afternoon light. Warm yellowish clouds in a blue sky. Signed on a piece of -wood in the foreground fW. V. V. 1661. Canvas: H. 15 inches; "W\ igVi inches. Lent by Mr. M. C. D. Borden, New York. 45 1 WILLEM VAN DE VELDE CONTINUED 134 CALM SEA ABO AT with large creamscolored sails lies in a bay- extending toward the left o£ the canvas. A smaller boat is anchored beside it. At the left of the foreground on a dyke fortified with piles are two men. A boat -with three fishermen at work in it lies nearby. A fourth man advances along the shore from the right, carrying abasket on his back. Just beyond, two men are bathing off a little promontory where a sail*boat has been beached. Several frigates are anchored at the mouth of the bay. Afternoon light. Warm yellowish clouds in a blue sky. Signed on a piece of wood in the foreground :W. V. V. 1661. Canvas: H. 15 inches; "W. 19V2 inches. Lent by Mr. M. C. D. Borden, New York. 45 1 JOHANNES VERMEER VAN DELFT BORN in Delft in 1632. Died about 1675. Pupil of Karel Fabritius. His early works snow the influence of Rembrandt's school. Later bis coloring became cooler, yellow and blue predominating. There are at the present time thirty=six authenticated paintings by him, of which seven are in America. Painter of genre pictures, gener* ally with one or two figures, occasionally of landscapes, and religious and mythological scenes. 135 LADY WITH LUTE A young woman wearing a yellow jacket trimmed with ermine is seated behind a table. She holds a lute and looks toward a window on the left, through which a strong light falls into the room. On the table before her, which has a bluesstriped cover, are two music books. In front of it a chair with carved lions' heads has a deep blue dra* pery thrown across it. On the right, against the wall, is a chair upholstered in leather, and above it hangs a map of Europe. A blue curtain at the window. Signed on the wall beneath the table : Meer. Canvas: H. 20 5 /s inches; "W. 18V& inches. From an English collection. Lent by Mrs. Collis P. Huntington, New York. 45 2 US IEERVAN DELFT 75. Pupil of Karel >w the infiue coloring became 1 g . There are at the r oaintings by him, of which Painte \re pictures, gener? o figures, occasionally of landscapes, ythologic es. . dwidi ■ i rough wl alls into the room. On the table b which -. a blue*striped c ovei ; of a chair with carved lions' heads has a d- pe^ wn across it. On the right, against the wall, is a ■n leather, and above it hangs a map urope. A blue curtain at the -window. on the wall beneath the table: M \s: H. 20% inches; "W. iS'/s inch* q an English collection. by Mrs. Collis P. Hunti 1 New York. 45* JOHAb A LADY i. trimrr ■ The c A large darl: greenisk-grcv the] SaleDr, Lucb; (probably) J Sale H. Reydon a Sale Comte F. de Lent by Mr JOHANNES VERMEER VAN DELFT CONTINUED 136 LADY WRITING A LADY in morning toilet, wearing a yellow jacket trimmed witk ermine, sits writing at a bluescovered table on wnick are writing materials, a casket, and a string of pearls. Leaning forward she turns to look at tke spectator. Ske wears pearl earrings and kas bows in ker kair. Tke ckair*back is ornamented witk gilded Kons' keads. A large dark map, only partly visible, kangs on tke greenisksgray wall. Tke Hgkt falls on tke canvas from tke left, strongly illumining tke kead and bust of tke lady. Canvas: H. iS 1 /^ inckes; "W. 14V2 inckes. Burger, No. 40; Havard, No. 43; Hofstede de Groot, No. 36. Sale (probably) at Amsterdam, 1696. Sale Dr. Lucktmans, Rotterdam, 1816. Sale (probably) J. Kamermans, Rotterdam, 1825. Sale H. Reydon and otkers, Amsterdam, 1872. Sale Comte F. de Robiano, Brussels, 1837. Lent by Mr. J. Pierpont Morgan, New York. 457 JOHANNES VERMEER VAN DELFT CONTINUED 137 GIRL WITH WATER,JUG ALMOST £ull4ength. A young woman stands in the corner of a room behind a table, holding with the left hand a water=jug placed in a basin, her right hand resting on the frame of an open window. She wears a light yellow bodice, dark blue skirt, a white collar and a folded kerchief on her head. An open trinket^box lies on the table, which is covered with an Oriental carpet. A chair in the background has a blue drapery thrown over it. A map hangs on the wall above the chair. Canvas: H. 17V2 inches; W. 15V2 inches. Havard, No. 5b; Hofstede de Groot, No. 56. Collection of Lord Powerscourt, 1887. Collection of Henry G. Marquand. Property of The Metropolitan Museum of Art, New York. 45 8 NNES VERMEER VAN DELFT ' TNUED 137 GIRL WITH WATER*JUG ALMOST fulMength. A young woman stands in the corner of a room behind a table, Holding with the left hand g placed in a basin, her right hand resting on the t: w. She wears a light yellow bo. : ir and a folded kerchie i on the table, d with A chair in tl d has a blue draj : it. A map h \ the wall abo nvas: H. ljVz inches; W. 1^/2 inches. ard, No. 56; Hofstede de Groot, No. 56. 'lection of Lord Pow irt, 1887. •lection of He irquand. Property of The Metropolitan Museur 37 97 103 118 i35 Jesup, Mrs. Morris K. . 27 82 83 Portrait of a Young Man .... Portrait o£ Himself AWaterfall . . Portrait of a Lady . The Music Lesson . Portrait of a Man . MilkingsTime . Road in the Woods Study of an Old Man The StandardsBearer The Gilder, Herman Doomer Portrait of an Old Woman . The Visit Sunset .... Cattle in Pasture Portrait o£ a Man . Piping Shepherds . Portrait of a Man . Dorothea Berck Balthasar Coymans The Savant . Hendrickje Stoffels The Mountain Tor* rent .... Lady with Lute Portrait of a Man . Portrait of a Young Man .... Portrait of a Young Woman . 485 Rembrandt Rembrandt Jacob van Ruisdael Gerard Terborch Johannes Vermeer Jan Cornelisz. Vers spronck Aelbert Cuyp Meindert Hobbema Rembrandt Rembrandt Rembrandt Rembrandt Pieter de Hooch Aertvan der Neer Paulus Potter Rembrandt Aelbert Cuyp Frans Hals Frans Hals Frans Hals Rembrandt Rembrandt Jacob van Ruisdael Johannes Vermeer Frans Hals Rembrandt Rembrandt New York — Continued Jesup, Mrs. Morris K. .119 Canal Scene The Metropolitan Mu* seumo fArt Morgan, J. Pierpont 17 View of Rhenen . 2 2 The Smoker 40 Portrait of a Lady . 41 Portrait of a Man . 42 Portrait of a Man . 63 A Music Party. . 6 7 The Farrier . 68 The Old Fiddler . 106 Portrait of a Man . 107 Portrait of a Man . 1 14 The Forest Stream . 120 A Country Road . 121 Winter Scene . 123 Kermesse 137 Girl -with Watersjug 141 Calm Sea . 12 Landscape with Fig* ures and Cattle 20 Children Playing Cards .... 2 1 Girls with a Cat 30 MichieldeWael(?) 3 1 Portrait of a Lady . 3 3 Heer Bodolphe . 34 Vrouw Bodolphe . 5 1 Trevor Landscape . 48 Holford Landscape 53 a Woman at the 'Washtub 486 Salomon van Ruys* dael JanvanGoyen Frans Hals Frans Hals Frans Hals Bartholomeus van der Heist Gabriel Metsu Aert van der Neer Adriaen van Ostade Rembrandt Rembrandt Jacob van Ruisdael Salomon van Ruys= dael Salomon van Ruys* dael Jan Steen Johannes Vermeer Simon de Vlieger Aelbert Cuyp Dirk Hals Dirk Hals Frans Hals Frans Hals Frans Hals Frans Hals Meindert Hobbema Meindert Hobbema Pieter de Hooch New York — Continued Morgan, J. Pierpont . 64 A Visit to the Nurs* ery Gabriel Metsu 74 Portrait of Himself Rembrandt 7 7 Nicolaes Ruts . . Rembrandt 93 A Young Painter (Jan van de Ca? pelle?) .... Rembrandt 108 Cottage under Trees Jacob van Ruisdael 136 LadyV/riting . . Jokannes Vermeer Mortimer, Ricbard . 85 Marquis dAndelot Rembrandt Scbwab, Cbarles M. . 39 Portrait of a Man . Frans Hals 104 Tbe Accountant . Rembrandt 125 Tbe Drained Cask . Jan Steen Simpson, Mrs. JobnW. 13 Landscape witb Bridge .... Aelbert Cuyp 109 Tbe Sluice . . . Jacob van Ruisdael Smitb, Cbarles Stewart 2 3 Singing Boys . . Frans Hals 80 Saint Jobn tbe Bap* tisx Rembrandt Terrell, Herbert S. . 90 Portrait of Himself Rembrandt Vanderbilt, "W. K. -79 Tbe Noble Slav . Rembrandt Philadelphia Elkins, Mrs.^VilliamL. 2 Still Life . . . Abrabam van Beys eren 50 V/ooded Road . . Meindert Hobbema 72 Barnyard Scene . Paulus Potter Jobnson, Jobn G. . . 5 Marine .... Jan van de Capelle 1 5 Cock and Hens . Aelbert Cuyp 16 Peacbes .... Aelbert Cuyp 58 Still Life . . . WillemKalf 60 Tbe Gay Cavaliers Juditb Leyster 62 Old Woman . . Nicolaes Maes 86 Tbe Findingof Moses Rembrandt 87 Slaughtered Ox . Rembrandt 487 Widener, P. A. B. Philadelphia — Continued Johnson, John G. . . 1 1 1 Winter Landscape 124 Grace before Meat . 128 The Guardroom . 132 Landscape with Cattle .... 139 Lady with Guitar . 4 Winter Scene . 32 Portrait of a Man . 3 8 Isabella Coymans . 54 Woman and Child in Courtyard . 5 5 The Bedroom . 69 The Cottage Door* yard .... 7 o The Halt 81 Saskia . 94 Portrait o£ Himself 96 The Philosopher 122 Winter near Haar* lem Toledo Libbey, E. D. Washington Hobson, Mrs. E. C. Slater, W. A. . . 126 The Dancing Couple 127 The Merrymakers . 2 4 Boy Playing a Flute 7 5 Portrait of Himself 143 The Horse Fair 100 Portrait o f an Old Man .... no Dunes near Haarlem Jacob van Ruisdael Jan Steen Gerard Terborch Adriaen van de Velde Johannes Vermeer Jan van de Capelle Frans Hals Frans Hals Pieter de Hooch Pieter de Hooch Adriaen van Ostade Isack van Ostade Rembrandt Rembrandt Rembrandt Salomon van Ruys? dael Jan Steen Jan Steen Frans Hals Rembrandt Philips Wouwerman Rembrandt Jacob van Ruisdael 488 THE PRINTING, ILLUSTRATIONS AND BINDING OF THIS CATALOGUE WERE EXECUTED UNDER THE DIRECTION OF FREDERIC FAIRCHILD SHERMAN FOR THE METROPOLITAN MUSEUM OF ART MCMX