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YALE UNIVERSITY
LIBRARY

Gift of
CHAUNCEY BREWSTER TINKER
YALE 1899

CATALOGUE OF PAINTINGS
AND DRAWINGS

WORCESTER ART MUSEUM
CATALOGUE OF PAINTINGS
AND DRAWINGS

FIRST EDITION

WORCESTER, MASSACHUSETTS, U. S. A.
1922

COPYRIGHT, 1922, BY
THE WORCESTER ART MUSEUM

J^ 31
192.2.

IV

CONTENTS Page
Introduction vii
Descriptions and Illustrations i
Catalogue . . 159
Artists Arranged under Schools . 213
Index . 219
Plan of the Museum 231

INTRODUCTION
The Worcester Art Museum exists through the generosity of
the late Stephen Salisbury, a prominent citizen of Worcester.
Far beyond the importance and generosity of the benefaction,
which speaks for itself, was the farsightedness of the donor in
not restricting the gift by any condition.
The Worcester Art Museum was organized on February
25, 1896, when Stephen Salisbury invited a number of citizens —
both men and women — interested in art to subscribe to an agree
ment to form a Corporation composed of fifty members. The
immediate management was placed in the hands of twelve
Directors chosen from the members of the Corporation accord
ing to the by-laws. A charter was issued by the Secretary
of the Commonwealth of Massachusetts in April, 1896. Mr.
Salisbury gave the newly formed Corporation $100,000 in addi
tion to a gift of land. On this land the building of the Worcester
Art Museum was begun early in 1897, and on June 24 the corner
stone was laid. In the beginning of 1898 the building was
complete and turned over by the Directors to the Corporation.
It was opened on May 10. Mr. Salisbury died in 1905 leaving the
Worcester Museum residuary legatee and bequeathing it the
larger part of his estate.
An addition to the Museum was opened on February 19, 192 1.
CATALOGUE OF PAINTINGS AND DRAWINGS
Our aim has been to issue a catalogue reproducing many of
the principal pictures and giving, as far as possible, a brief and
simple description of the art character of each. For those who
are engaged in research and are unable to study the originals,
information as to colour and other details is given, more particu-

larly of those paintings belonging to early epochs. Concerning
the more modern pictures no attempt has been made to discuss
the question of originality and contemporary significance. Such
criticism is hardly the province of a catalogue. Other publica
tions will be issued later devoted respectively to sculpture,
Japanese prints, and the minor arts in the Museum collection.
Raymond Henniker-Heaton, Director.

DESCRIPTIONS AND ILLUSTRATIONS

MADONNA AND CHILD
GUIDO DA SIENA

GUIDO DA SIENA
Sienese, Thirteenth Century
MADONNA AND CHILD
Little is known of Guido and we use the name as much to
designate a painting belonging to a certain group as to assign it
to the brush of one man. Though we leave unsettled the ques
tion of the relative positions of Cimabue and Guido da Siena, or
even accept the Florentine claim to priority, it must be admitted
that Guido has importance in the transition from Byzantine
traditions and that he foreshadows the trend of later Sienese art.
The Madonna and Child is richly decorative in colour. The
Virgin's mantle, part of which forms the headdress, is a dark
blue. The material that encompasses the face is edged with
gold. The Infant's hair is reddish, and He wears a light grey
garment ornamented with green lines. In the background,
partly surrounding the halo of the Madonna, is drapery of orange-
red. This red appears also in the lining of the Madonna's robe
and in the portion which envelops her head. It is repeated again
in the halo of the Child. The angels in each spandrel are very
close in type and manner of treatment to those in the pediment
of the Madonna Enthroned in the Palazzo Pubblico in Siena.
In view of the anti-materialistic aspirations of "ultra-modern"
art, it is interesting to note how figures and subject in this
thirteenth century painting are subordinated to design in line,
colour, and composition and how the physical and literary are
subservient to the aesthetic.
Tempera on panel, 27^ inches by 20 J^ inches

MADONNA AND CHILD WITH SAINT AND DONOR
FRENCH, EARLY FIFTEENTH CENTURY

FRENCH, EARLY FIFTEENTH CENTURY
MADONNA AND CHILD WITH SAINT AND DONOR
This panel is a dramatic composition in red and black. The
Virgin, wearing a black mantle, is seated on a throne draped with
a soft red fabric covered with a delicate tracery of black. The
saint's robe is of the same red, relieved by a vestment of white.
The donor, in a black garment, with trimmings and stockings of
the prevailing red, is kneeling before the Virgin. The picture
shows pure Sienese influence in the Madonna and Child. The
tendency towards naturalism, much in evidence in the art of
mediseval miniature painters, is observable in the figure of the
saint, suggesting, in the bold sculptural treatment of the robes,
Flemish influence through Claes Sluyter. There is an ascetic
spirit of unusual intensity in this figure.
The red in the picture suggests the Catalan school, and it is
possible that the panel comes from the region of Avignon and
Toulouse, and was therefore subject to influences from the
Catalan painters. It may have come from Barcelona, but
until there is a consensus of authoritative opinion supporting
this we assign it to the French school.
The Madonna and Child is a passage of pure aesthetics, its
delicacy emphasized by contrast with the bolder handling of
the saint's mantle. The swaying folds of the drapery over the
back and arms of the throne, the black of the Virgin's robe,
the repetition of the red in the under-garment of the Virgin,
are rhythmically arranged.
Tempera on panel, 2l}4 inches by i6}4 inches

THE CRUCIFIXION
LUCA SPINELLI (SPINELLO ARETINo)
6

LUCA SPINELLI (SPINELLO ARETINO)
Florentine, active 1361-1410
THE CRUCIFIXION
This Crucifixion is not unusual in character among the works
of the Giottesque group. Certain qualities in colour, type of
figure, and execution suggest Spinello. The painter, like others
of his cycle, combined Florentine strength with Sienese refine
ment and is usually described as the last great painter of the
Giottesque before the tradition was reduced entirely to a me
chanical process. His colour is brilliant. The drawing is at
times hastily done; the figures are spirited and energetic, and
accuracy appears to have been often sacrificed for action.
The Magdalene, kneeling at the foot of the cross, is clad
in a mantle of rose-red, delicate and luminous and enriched
by bright yellow where the light falls upon the green sleeve of
her gown. At her feet lies a skull, signifying penance. The
Magdalene and the Christ on the cross are fine in quality but
the figures on either side are not so interesting. In drawing
and in type they lack refinement. The Madonna at the left
is robed in a blue mantle with underdress of red. No doubt
the blue was at one time lighter in tone and balanced more
satisfactorily the violet garment which partly covers the green
cloak of St. John, who stands at the right. The edges of all
the robes are brocaded with gold, and the halos have incised
decoration. Above the head of Christ are the letters I N R I,
inscribed on a red tablet, and over this is a pelican with her
young.
Tempera on panel, 27}^ inches by 1,5 inches

THE ADORATION OF THE MAGI
OTTAVIANO NELLI

OTTAVIANO NELLI
Umbrian, active ca. 1400-1444
THE ADORATION OF THE MAGI
Ottaviano NelH is the first important Umbrian painter and
expresses with a naivete of spirit and traditional technique the
general liveliness in colour and incident of Gubbian art. The
subject of this panel is presented with action and technique
mediaeval in spirit. It is probably an altarpiece, no doubt a
part of a larger composition. The adoration of the Magi and
the announcement of the birth of Christ to the shepherds in the
mountains are expressed with a combination of serious intention
and playfulness characteristic of work of this cycle.
In the foreground are two shepherds in blue garments. An
gels draped in blue and pink are floating in the air above the
shed, which is painted a brilliant yellow; and under this, in the
foreground, is seated the Virgin with Joseph at her side. The
yellow of the shed is repeated in the mantle of Joseph, which
covers a blue tunic. The blue has an echo in the long outer
garment worn by the Virgin, which partly conceals a gown of
rose-pink, of the same tone as that introduced in the mantle of
the kneeling king. His coat is a vivid vermilion-red and this
vermilion appears again in the coat of the man leading a camel,
and in the pack on the camel's back, as well as on the trappings
of the horses — one black, one white, and one brown. The other
two kings are dressed in rich robes of red brocaded in gold.
Tempera on panel, 32^^ inches by 16 inches

MADONNA AND CHILD
FLORENTINE, EARLY FIFTEENTH CENTURY

IO

FLORENTINE, EARLY FIFTEENTH CENTURY
MADONNA AND CHILD
The later Gothic painters have at times transitional qualities
but they are frequently reactionary and not of vital consequence
in the evolution of painting. Their art invariably possesses a
charm, as in this Madonna and Child, that is attributable to a
general softening of contours while still retaining an archaic
spirit. It has none of the robust quality that marks the main
trend of Italian art of the period. Masolino may have had some
influence on our artist's work, in its spirit of tenderness, but
there is little real advance in the direction of Masolino's graceful
naturalism or of Masaccio's virile objectivity.
The Madonna wears a black mantle lined with green and
a cream-coloured tunic, showing a design in gold. The gentle
ness of her inclined head is emphasized by the superficial sturdi-
ness of the Infant who looks straight out of the picture and
stolidly gives a benediction. A pale blue kerchief nearly covers
the Aladonna's hair and drapes the shoulders. A fabric of
the same blue is wrapped about the Child, who is seated on a
rose-coloured scarf which shades into a lighter tone of pink as it
falls over the Madonna's arm. The black mantle, and indeed
all the drapery, is decorated with double lines of gold along the
edges. The gold of the nimbi has an attractive pattern and is
strongly incised. A triptych attributed to Ambrogio di Baldese,
in the Jarves collection at Yale University, appears to be by
the same hand as our picture.
Tempera on panel, 23^ inches by nyi inches

II

MADONNA OF THE ROSE GARDEN
STEFANO DA ZEVIO THE YOUNGER

12

STEFANO DA ZEVIO THE YOUNC^ER
Veronese, ca. 1 393-1450
MADONNA OF THE ROSE GARDEN
It was in the first quarter of the fifteenth century that Italy,
rousing herself from the somewhat sleepy repetition of religious
themes with remote and symbolic backgrounds into which she
had fallen in the late trecento, turned with renewed eagerness
to the world about her, its plant and animal life, men and women
in their gay modern garb, landscape, or so much of it as lies
within the compass of a townsman's afternoon stroll. But in
this alertness to nature the Italian artists were preceded by
the French and German illuminators of missals and books of
hours, who had for some score of years been introducing into
their work the flat country with its distant castles, the doings
of peasants, or the gayeties of the court, whenever the text
under their hand offered an excuse. And so in the first three
or four decades of the century, the new art that wells up all
through Tuscany, Umbria, and the valley of the Po is coloured
in varying degrees by a repeated inflow of northern ideas.
This composition by Stefano da Zevio is lyrical and mystical
in conception. The Madonna and Child sit in a garden of
flowers, figures, and birds. The flowers, mere conventional
patterning in earlier work, have become exquisitely precise
little portraits of lupin and star grass and garden roses. The
angels, instead of darting hither and yonder at will, are arranged
in balanced groups over their music, and even those who fling
down roses from the sky do it with the rhythmic motion of a
dance. The picture is significant not only as a charming piece of
pattern in soft translucent colour, and a sincere homage to the
Madonna, but for its origin at a meeting point .of the art of the
North and South. There is a distinct affinity in this picture to
the work of Stephen Lochner.
Tempera on panel, 24 inches by 17 inches 13

SAINT BARTHOLOMEW
SPANISH, FIFTEENTH CENTURY

H

SPANISH, FIFTEENTH CENTURY
SAINT BARTHOLOMEW
The most glowing colour in a Spanish picture seems to be
subdued by an atmosphere, as though it were seen through a
veil. This is true of the St. Bartholomew.
The painting presents a coordination of many influences syn
thetically expressed. Every detail has its purpose in the general
scheme. This is particularly noticeable in the sweep of St.
Bartholomew's cloak from the right hand down to the feet, and
in the chain of gold attached to a wing of the demon which lies
under the foot of the saint at the bottom of the picture. The
wings and legs of the demon join the lines of rocks and landscape
and bring together successfully all objects in the composition.
In addition to strength and graciousness a spirit of restraint
pervades the panel. The colour, drawing, and pose of the figure
have majesty. A mantle richly brocaded with a design of pome
granates is worn by the saint; its folds are dexterously indicated
by simple flowing lines. An under-garment of dark brown appears
almost black. The halo is decorated with an incised floral
design. Light reddish brown predominates in the rocks and
foreground. The demon, which is painted with force and dex
terity, is bluish green in colour, and the book held by St. Bar
tholomew is red. The saint has fair skin with reddish hair and
beard, with a suggestion of Sienese influence in the face. The
drapery shows unmistakable Gothic and Sienese treatment; but
there is something in the picture which is not consistent with
either of these influences; it may have a German origin.
Tempera on panel, 68 inches by 31^ inches

IS

MADONNA AND CHILD
MASOLINO DA PANICALE

i6

MASOLINO DA PANICALE
Florentine, 1383-1440
MADONNA AND CHILD
This picture possesses in considerable measure attributes
of fifteenth century Florentine art. Characteristics of Maso
lino in the painting of eyes, nose, and general features are
present in the panel, although not so sharply accentuated as
in the more fully established examples of this master. It is
likely that continued repainting and restoration have modified
these characteristics to some extent and have given the paint
ing — particularly the Madonna — a delicacy somewhat foreign
to the period and school. In any case it is far from satisfactory
to call this significant panel a school picture, and there appears
to be no artist to whom it could be more appropriately attributed
than to Masolino, owing to subtle distinctions of personality.
The importance of the picture lies in the combination of
strength, grace, and colour, — strength particularly obvious in
the Christ Child, grace in the delicate modelling and line of
the Madonna. The removal of various coats of paint which
have hidden the robe for centuries has revealed beautiful
colours of soft green-blue and light green. The colour and
drawing both in the drapery and flesh are harmonious. The
strength and intense realism of the Infant — directly influenced
by Masaccio — are powerfully in evidence in spite of the damaged
condition of this part of the painting. But in line, modelling,
and in the graceful spirit of the Madonna it closely approaches
Masolino. It is possible, however, that further research may
take the picture out of Florentine territory and establish it as
by Antonio Vivarini, the Venetian.
Tempera on panel, 22 inches by 14^ inches

17

SCENES FROM THE CORONATION OF EMPEROR FREDERICK III (dETAIl)
SCHOOL OF BENOZZO GOZZOLI

l8

SCHOOL OF BENOZZO GOZZOLI
Florentine, Fifteenth Century
SCENES FROM THE CORON.\TION OF EA-IPEROR FREDERICK III
These paintings, the front and end panels from a cassone,
represent typical scenes in one of the most striking and pictur
esque happenings in the annals of Italy during the middle of the
fifteenth century: the coronation of the Emperor Frederick III
and Leonora of Portugal, his betrothed, in 1452, the last im
perial coronation which took place in Rome.
The principal panel unites in one scenic narrative three
episodes of the actual coronation ceremonies, viz. (i) the crown
ing of Frederick and Leonora by Pope Nicholas V. at St. Peter's;
(2) the journey of Pope and Emperor to the Lateran; (3) the
knighting of adherents by Frederick on the Bridge of St.
Angelo. One end-panel depicts Frederick's reception by the
nobility of Florence while he was on his way to Rome. The
subject of the other is less easy to designate with precision,
though it probably represents Leonora's arrival at Leghorn,
Pisa, or Siena, after her long and perilous sea voyage. As in
some of Benozzo Gozzoli's frescoes at Monte Falco, the colour
ing, although without Fra Angelico's poetic freshness and beauty
of suggestion, has, nevertheless, a similar festal interplay of
well-distributed masses of blue, crimson, pearly white, and
gold, broken here and there by the sparing use of dark and
neutral tone.
These panels embody the initial change from mediaevalism
to modernity then taking place in Italian art, when a religious
idealism, almost symbolic in character, was being replaced by a
creative and poetic naturalism. They mingle happily older and
newer pictorial elements, with a decided preference for the
joyously mundane.
Tempera on panels, I5>^ inches by S9>^ inches, 15K inches by lOj^ inches, isK inches by
loK inches

19

MADONNA AND CHILD
BARTOLOMMEO MONTAGNA

20

BARTOLOMMEO MONTAGNA
\'enetian, ca. 1450-1523
MADONNA AND CHILD
Recent study of the works of Bartolommeo Montagna, the
chief painter of Vicenza, has revealed great variety in his train
ing, as well as the strongly individual trend of his mind. A
stately simplicity always controls the complex influences exerted
upon him by the age and the inland region in which he lived,
and by his great contemporaries. Like most of the men from
whom he borrowed, Montagna was less affected by details or
mannerisms than by the general ideas and spirit of his work
and the more serious elements of style. It is the grand aus
terity, akin in some respects to that of Mantegna, which gives
to the realism always present in his personages a dignity at
once human and sternly or graciously religious. Montagna went
directly to the life about him for his types and inspiration.
In our picture a spirit of restraint distinguishes the tender
relationship between the two figures and a primitive strength
and fine harmony of masses and lines are obtained through the
sophisticated archaism of the drawing. The painting has calm
joyousness, with hints of the pathos which intensifies deep
happiness.
Tempera on panel, 2634 inches by 22 inches

21

THE ADORATION
ANTONIO DA VITERBO

22

ANTONIO DA VITERBO
Umbrian, active 1478- ca. 15 16
THE ADOR.'-VTION
This panel was painted about 1500. The artist has been
happy in the selection of types and incidents of composition
characteristic of the Umbrian school. The dainty flowers of
the foreground, the homely fence, and rustic shelter are in
perfect keeping with the secluded landscape and the mystic
scene. The angel seen full front is beautiful whether in the
lovely contour of the face or the unaffected, upright attitude,
with its superb pivotal result upon the whole composition.
No disturbing material elements trouble the repose. There
is charming distribution and variety of colour. The angel in
the foreground has a blue mantle and red robe. This red is
repeated on the edge of the garments of the other two angels
and in the pillow upon which the Infant lies. The second angel
wears a garment of yellow and this colour reappears in the
open shutter on the right. The remaining angel is in grey and
blue. Suave drawing, mellow colouring, serene effects of land
scape and of golden light and distance, and the brooding spirit
of the Umbrian land itself, are all brought into the perfect
service of mystic calm, devotional sweetness, and living grace.
The rock on the left strengthens the design and the exquisite
detail of the landscape and the blue sky make a composition
of charm — a charm for which Antonio da Viterbo in particular
and the Umbrian school in general were distinguished.
Tempera on panel, 30^^^ inches by 18 inches

PORTRAIT OF DONOR AND BISHOP
FLEMISH, FIFTEENTH CENTURY

24

FLEMISH, FIFTEENTH CENTURY
PORTRAIT OF DONOR AND BISHOP
The companion piece to this picture is in the Rhode Island
School of Design at Providence. These panels have been called
French fifteenth century, painted between 1460 and 1480, pre
sumably by one of the artists whose works are grouped together
under the name of Maitre de Moulins. That there is a strong
Flemish note in spirit and composition cannot be questioned and
we are inclined to agree with the Providence Museum's assign
ment of it to that school. But Flemish ideas entered into Bur-
gundian art through visiting artists and the existence of certain
Flemish elements of style in our picture does not entirely pre
clude the possibility of its having been painted in Burgundian
territory. The cope and mitre of the Bishop are richly ornamented. The
floral figures and architectural incidents are painted in brilliant
tones of red, brown, and blue. The donor wears a brown garment
trimmed with black fur, with a tunic of red. Owing to repainting
some of the colour is questionable. There is careful detail
throughout and considerable mastery in portraiture. In spite
of the detail there is a massiveness and a grandeur more Flemish
than French in spirit.
Oil on panel, 41 inches by 303^ inches

25

PORTRAIT OF A MAN
JAN MOSTAERT

26

JAN MOSTAERT
Flemish, ca. 1475-1555
PORTRAIT OF A MAN
Jan Mostaert of Haarlem is now identified as the so-called
Maitre d'Oultremont. Many pictures by him and many not b}'
him were included under this name, some to his credit and others
to his discredit. Italian influence is strongly shown in many of
Mostaert's paintings, others assigned to him are influenced by
Holbein, and others again carry on a true Flemish tradition of
Van Eyck, Memling, and Van der Weyden. Mostaert is more
important for his Flemish characteristics than alien ones.
Indeed, he may be described as the last painter to carry on the
tradition of \"an der Weyden. He was successful as a painter of
historical subjects as well as portraits. The latter are very rare
as many were destroyed by fire at Haarlem in 1571.
The faces in Mostaert's portraits have usually a touch of
melancholy, or at least a very serious expression. Our panel is
no exception. It is a study in brown and has that self-composed
character conspicuous in early portraits of the fifteenth and six
teenth centuries. The purple-brown velvet sleeves of the under
garment and the black surcoat with a collar of light grey-brown
mottled fur are all rich in colour and texture. The hair is brown
and the hat black. The painting of face and hands is characteris
tically Flemish in treatment. Mostaert excelled in landscape,
and the passages of blue hills, rich greens and browns of the
grass and trees, and charming incidents show his ability in this
respect. The figure is three-quarters life-size; against the land
scape it makes a most satisfactory design in colour and
composition.
Oil on panel, i8 inches by 12^ inches

27

MADONNA AND CHILD WITH ANGEL
ALBERT BOUTS

28

ALBERT BOUTS
Flemish, ca. 1460-1549
MADONNA AND CHILD WITH ANGEL
Like the paintings attributed to Albert Bouts in the Brussels
gallery and the Musee d'Anvers, our example reveals him as a
close follower of a greater than he, his father, Dirk Bouts, one of
the geniuses of the early Netherlandish school. Indeed, our
Madonna and Child come near to having as prototypes Dirk's
Madonna and Child in the Musee d'Anvers. The resemblance is
marked even in details.
The facial types chosen by the younger Bouts are, as one
would expect from a school which made realism its first study,
prosaic and mature. Three beings who should be inspired with
joy and youth and divine tenderness, appear before us as simple,
homely mortals. Yet there is something extremely touching in
their very human quality.
Dirk Bouts as a colourist was one of the marvels of his school;
his son did not equal him in this respect. In this picture the
clear red, green-blue, and pale creamy tints are harmonious.
The effect is of light without much atmosphere. Interesting
though the background is, with its blue distances, winding
roads, and moated castle, the garden in which the Madonna
stands has a greater charm. Realism is here carried so far as
to lead to the fantastic and unreal.
Oil on panel, isVi inches by 11 inches

29

PORTRAIT OF A MAN
JOOST VAN CLEVE

3°

JOOST VAN CLEVE
Flemish, late fifteenth centur\'-i540
PORTRAIT OF A i\L\N
Between Italian and Flemish art in the fifteenth and six
teenth centuries there was an unmistakable interchange. Italian
idealism which influenced Europe for a hundred years left its
imperishable mark upon the art of Flanders; at the same time
Italian art was affected by Flemish realism. The painting of
Joost van Cleve, both in portraits and religious subjects, shows
varying degrees of Italian influence. In the later and best
period of his work we find the foreign elements better fused
than in his earlier painting. Our picture belongs to the later
period.' The tones of the face, the reddish hair, and black hat
are rich and harmonious, as are the black of the surcoat, the
red doublet, and the patterned grey sleeve. The design both
in colour and line is well sustained and the result, though ex
tremely sensitive, has a pervading richness.
Oil on panel, 17 inches by 113,4 inches

31

PORTRAIT OF AN ECCLESIASTIC
RIDOLFO GHIRLANDAIO

32

RIDOLFO GHIRLANDAIO
Florentine, 1483-1561
PORTRAIT OF AN ECCLESIASTIC
This painting of an aged ecclesiastic is a profound and inti
mate revelation of a benignant character, expressed with means
as quiet and simple as though by Raphael himself. The painting
bears a close resemblance to various portraits by Perugino and
to certain portrait-like figures in the early works of Perugino's
great pupil, Raphael. We know, moreover, that Raphael
thought highly of Ridolfo, caused him to share in the execution
of some of his own paintings, and tried to induce him to go to
Rome as his fellow-worker.
In spite of the strength of our picture, the colour and the
modelling of the face are very sensitive. The black hat and
ecclesiastical robes against the light blue-green background are
effective. This is a portrait of power in its delineation of charac
ter, in colour, and in technique.
Oil on panel, 16 inches by 12 inches

33

MADONNA AND CHILD
BERNARDINO DEI CONTI

34

BERNARDINO DEI CONTI
Milanese, active 1496-1522
MADONNA AND CHILD
Bernardino dei Conti was a painter with a marked affinity
to Leonardo da Vinci, yet obviously subjected to other influences.
Ambrogio de Predis, as well as Leonardo, appears to have made
an impression on this comparatively little known artist. It is
believed that dei Conti received his first training from Vincenza
Foppa. Without doubt the brownish red flesh tints and the
arrangement of draping in certain works point to the school of
Foppa. An angularity in the position of the figures is a charac
teristic of many examples of this cycle. Speaking generally and
comparatively dei Conti was a mechanical painter. There is a
naivete that suggests an artist imbued with the sentiment of the
subject, without excessive technical ability. The deep red robe
of the Madonna against a melancholy blue-green landscape con
tributes to the solemn effect of the picture.
Oil on panel, 31^ inches by 23 inches

35

PORTRAIT OF FRANCESCO DEGLI ALBIZZI
IL SALVIATI (FRANCESCO DEI ROSSi)
36

IL SALMATI (FRANCESCO DEI ROSSI)
Florentine, 1510-1563
PORTRAIT OF FRANCESCO DEGLI ALBIZZI
This portrait has attributes which suggest greater strength
than the picture actually possesses. It is Michaelangelesque in
spirit, but in a superficial sense only. Yet the picture has
massiveness and dignity and is a good example of this phase of
manneristic painting. The ponderous elements of the composi
tion are well arranged and controlled by a coppery tonal quality
throughout. The robe is a reddish brown with flowered design,
edged with brown fur, and underneath is a black figured tunic.
The green curtain at the back has a brown fringe. The black
beard and the imposing robes convey the impression of a person
autocratic in character.
Oil on panel, 50 inches by 37 inches

37

PORTRAIT OF A WOMAN
LORENZO LOTTO

38

LORENZO LOTTO
\'enetian, ca. 1480-1556
PORTRAIT OF A WOMAN
At first one is repelled by the forbidding character of the
face in this picture. With further acquaintance one realizes the
forceful way in which it is expressed, its powerful organization,
its unity, and structural vibrancy.
This portrait was executed before Lotto came under the
influence of the more truly Venetian painters. Early sixteenth
century Venetian portraits have attributes of a more distinctive
character than those done later in the century. This is true of
Lotto's early as compared with his later works. There is the
uncompromising interest in character abstractly rendered in
spite of a very definite objectivity. Lorenzo Lotto more than
any other Venetian painter was interested in the intellectual side
of his sitter. Even later, when for a time he came under the
spell of Titian and Giorgione and was preoccupied with their
richer and deeper colour, he was never indifferent to the psy
chology of his subject. In this portrait there is no preoccupation
with indirect methods to obtain texture and colour so much
employed by later Venetians. The light golden hair and the face
with its fair complexion are painted in a high key with very
pure colour. This clarity is a distinctive attribute of the
entire painting; yet in spite of brilliancy a grey warm tone pre
vails. The necklace with its hardly perceptible shadows on the
neck is exquisitely painted. The black of the bodice and the
white sleeves have similar qualities. It is this combined delicacy
in painting and power of construction that give force to the
personality and to the form.
Oil on panel, 13 inches by II inches

39

virgin AND CHILD WITH SAINTS MARY MAGDALENE, PETER, AND PAUL
GIOVANNI BUONCONSIGLIO

40

GIOVANNI BUONCONSIGLIO
Venetian, active 1495-1535
VIRGIN AND CHILD WITH SAINTS MARY MAGDALENE, PETER, AND PAUL
Although Buonconsiglio has not to his credit a large number
of important works he was a painter of considerable talent.
A Vicentine by birth, he was much affected by Montagna
under whose influence he produced his best work. A great
part of his life was spent in Venice where he came under the
spell of her painters and strove to keep in step with them. He
was influenced considerably by Bellini and Giorgione.
This picture of the Virgin and Child is rich in colour and
has passages of fine painting, more particularly on the right
side which is the best preserved part. The Virgin has something
of the spirit of both Montagna and Bellini, and the figure at the
right of Mary is interesting and suggestive of Giorgione.
The Virgin wears a deep red tunic, a blue mantle, and a
white hood embroidered in yellow; Saint Mary Magdalene a
red slashed gown ; Saint Peter a greenish tunic and yellow mantle;
Saint Paul a deep red mantle.
The panel is signed "loanet Buoncosilii Alareschalch."
Oil on panel, 50 inches by 34 inches. Signed
Gift of Raymond Wyer.

41

PORTRAIT OF A VENETIAN
PAOLO FARINATO

42

PAOLO FARINATO
\'cronese, 1524-1606
PORTRAIT OF A VENETLVN
The works of Paolo Farinato are often mistaken for those of
Veronese but, in spite of a certain stylistic resemblance to that
master as well as to other painters of the period, he had not
Veronese's strength or colour. He painted many pictures of a
religious character nearly all of which are at Verona. The
colouring of our picture lends itself admirably to its conception.
It has a deep and sombre warmth, darks laid against darks in the
velvet robes and shadowy background. There is no note of strik
ing colour, but the depths of black and bluish black are overlaid
with a silvery shimmer. There is a glow and warmth in the flesh.
The finely shaped hands are rendered with sureness and power.
The hair is painted with precision and has a thick and soft ap
pearance. The velvet of the loose robes, with its crushed folds
and rich shadows, is painted with a considerable freedom.
Oil on canvas, 41 J4 inches by 35 inches

43

THE BERGAMASK CAPTAIN
GIOVANNI BATTISTA MORONI

44

GIOVANNI BATTISTA MORONI
Brescian, ca. 1520-1578
THE BERGAMASK CAPTAIN
Naturalism and a preference for northern tones are to be seen
in the portraits of two Italian painters, Moretto da Brescia
and his disciple the Bergamask, Moroni. In them power of
characterization reaches a strictly realistic directness.
Moroni had not his master's poetic warmth of imagination,
nor the ability to stress the more spiritual and intellectual
qualities of his sitters. Nor does his painting possess the grave
sumptuousness, or subdued richness, which gives some of Moret-
to's works a Venetian impressiveness. Moroni in his finest
portraits easily surpasses his master in downright naturalness
of presentation and in a kind of instantaneous and dramatic
summary of the outward signs of the lives of the personages he
portrays. He is the one Italian of the later Renaissance who
rivals some of the great Netherlandish and German painters
on their own ground, while yet retaining certain purely Italian
qualities — -feeling for true design and the power to sum up vividly
and simply.
Oil on canvas, 34 inches by 24 inches

45

PORTRAIT OF ELEANOR OF PORTUGAL (.?)
FLEMISH, SIXTEENTH CENTURY

46

FLEMISH, SIXTEENTH CENTURY
PORTRAIT OF ELEANOR OF PORTUGAL (?)
The portrait of Eleanor of Portugal {t) has been attributed to
the "Master of the Female Half-Lengths. " However, its rela
tion to other pictures attributed to this master is one of subject
rather than of style. It seems possessed of the homelier Flemish
virtues of strength, truth, and clarity, and lacks the refined
elegance of Lady Jane Grey, belonging to Lord Spencer and the
Portrait of a Toung Woman in Vienna.
In our picture the figure is robed in velvet of rich, almost
luminous red, and about the shoulders is fur of soft texture.
Warm orange tones enter into the various parts of the instru
ment. Close by is a table covered over with yellow-green. All
the tones have that rich colour in shadow which was, perhaps,
better attained by the use of the clear, hard, varnish-like medium
of the Flemish painters than in any other way. The red-browns
and the greens are arranged against a background of grey, and
the result is an agreeable balance of warm and cool tones.
Eleanor of Portugal lived from 143 7-1467. Both the manner
of painting and the costume preclude the possibility of the
picture having been painted at that time. Eleanor of Austria,
however, who became the Queen of Emmanuel of Portugal, and
later of Francis I of France, was born in 1498 and would have
been in her teens in the early sixteenth century, when this pic
ture was probably painted.
Oifon panel, 26^^ inches by 21^ inches

47

PORTRAIT OF A LADY
FRANZ POURBUS THE YOUNGER

48

FRANZ POURBUS THE YOUNGER
Flemish, ca. 1 570-1622
PORTRAIT OF A L.\DY
The art of Franz Pourbus the Younger at its best represents
the happy merging of two great traditions in painting: first,
the Netherlandish, with its love of direct portraiture, solidly
and even minutely painted and full of psychological character;
second, the Franco-Italian tradition with its grace and ease and
distinct sympathy towards the well-bred. These qualities were
so animated by the individual genius of the painter that the
finest of his few surviving portraits, especially those of women,
have an originality and attractiveness which distinguish them.
"The Portrait of a Lady is that of a princess, perhaps of the
family of the Gonzaga, the Medici, or of Henry IV of France,
and exemplifies admirably the characteristics mentioned. It
has a joy in detail, astonishingly rendered, and a delightful
suggestion of quiet but instantaneous life that carries us back
to Clouet and the French primitives.
The imposing costume of the period, the red brocade with
a huge triple ruff of lace, jewels in the hair and ears, the great
pendant and chain of pearls have all been painted faithfully.
The little dog looks out at us with lively curiosity and the
assured impudence of a court favorite. The painting of the
flesh tones is very delicately managed to give proper model-
hng with the least possible effect of shadow, and the rosy tone
is far from the florid hues which Pourbus's contemporaries
would have imparted.
Oil on canvas, 26 inches by 22^4 inches

49

MADONNA AND CHILD WITH ANGELS
MASTER OF FRANKFORT

5°

MASTER OF FRANKFORT
German, Sixteenth Century
MADONNA AND CHILD WITH ANGELS
A number of pictures of a certain type in Frankfort have been
assigned to the Master of Frankfort, for lack of a more definite
attribution. Who this artist was has been a much debated
question. Some identify him with Konrad Fyol, a citizen of
Frankfort, but others claim this as chronologically impossible
and prefer to regard him as Konrad's son, Hans Fyol. This
is not an impossibility, but the figures seem too awkwardly
placed in the landscape, and hardly flexible enough to be identi
fied with Flemish art. This picture has attributes of the art
of the Middle Rhine and the characteristics associated with the
works attributed to the Master of Frankfort.
Among its best qualities are the colour and detail. The
red robe of the Madonna is rich and not so heavy or manneristic
as in many German pictures of a similar character. In the fore
ground is a profusion of foliage and trees, rendered with the
care and finish typical of the time, and so much in favour with
the Flemish painters. The cool light greens and blues in the
hilly background contrast strongly with the deep red in the
Madonna's robe, and add to the charm of the picture. The
landscape in the background with its human incidents is care
fully depicted, the fanciful building painted in a sober olive-
green. Oil on panel, 33^ inches by 26 inclies

SI

PORTRAIT OF A YOUNG NOBLEWOMAN
BARTOLOME GONZALEZ Y SERRANO

52

BARTOLOME GONZALEZ Y SERRANO
Spanish, 1564-1627
PORTRAIT OF A YOUNG NOBLl'AVO.M.VN
In his capacity as painter to King Philip III, Bartolome
Gonzales executed some important portraits for the court.
He marks the beginning of the decadence of Spanish art before
Velasquez. T'he Toung Noblewoman is an unusually good
example of his work. The red dress is treated simply. The
pattern of the whole appears studied and stiff, due to the costume
of the period as well as the technique. The gravity and self-
composed character of the face is in keeping with the rigidity
of the figure. Although the picture has a strong Spanish feeling
there is also a spirit A'enetian in character.
Oil on canvas. 80 inches by 45^-2 inches

S3

CHRIST IN THE HOUSE OF MARY AND MARTHA
EL GRECO (dOMENICO THEOTOCOPULi)

54

EL GRECO (DOMENICO THEOTOCOPULI)
Spanish, ca. 1548-1614
CHRIST IN THE HOUSE OF .MARY AND MARTHA
There is no stranger personality in the history of art than
El Greco. His unique character is noticeable not alone in the
individuality of his work, but also in the way he absorbed
Venetian ideas while living in Venice, and yet later, after settling
in Spain, became the most Spanish of Spanish painters, despite
the fact that he was neither a Venetian nor a Spaniard.
Christ in the House of Mary and Martha was probably painted
about 1571-1576 and is of El Greco's transitional period from
Venetian to Spanish. The blue of the mantle of Christ, and the
pinks of the under-garment are brilliant. The rich golden-brown
overdress worn by Mary, with other browns in varying tones
distributed throughout the picture, give a warm accent to a
colour scheme in which silver is the prevailing note.
In spite of its small size the picture has power and breadth.
The subject is taken from the Gospel of St. Luke x, 38-42, and
is one which affords a good opportunity for the spirit of motion
and commotion dearly loved by El Greco. Indeed, it is upon the
motion and the nervous force of the figures that the feeling of life
depends, rather than on strict adherence to the natural appear
ance of surface or forrn.
Oil on panel, 13^ inches by 15^4 inches

55

THE MAGDALENE
EL GRECO (dOMENICO THEOTOCOPULi)

S6

EL GRECO (DOMENICO THEOTOCOPULI)
Spanish, ca. 1548-1614
THE M.\GDALENE
TChe Magdalene was painted a few years later than the
Christ in the House of Mary and Martha, also in the Worcester
Museum. It is a composition expressing human sorrow and
exaltation with a degree of power rarely approached by any
painter. We see not merely the emotion of one woman but a
symbol of all human emotion. In colour and spirit the picture
is typically Greco and Spanish. Although forceful it is painted
with much sensitiveness. In the figure — the long fair hair, the
drapery, particularly the neckerchief — we see brushwork both
direct and exquisite in feeling. The same may be said of such
details as the skull and the ivy. The sky is in harmony with
the figure and adds to the remarkable unity^and dramatic signifi
cance of the subject. The prevailing tone is blue, and has cold
classic severity characteristic of Greco's work, indeed of much
Spanish art of the time. But it is not really cold for it has a
restrained exuberance of life intensely overpowering.
Our picture was painted between 1584 and 1594 and was
until recently in the Colegio de Ingleses in Valladolid. It
bears Greco's Greek signature X'fP aouhnikv, "Hand of Domenico."
Oil on canvas, 42 inches by 40 inches. Signed

57

PORTRAIT OF CORNELIA BRUINZEELS
PAULUS MOREELSE

58

PAULUS MOREELSE
Dutch, 1571-1638
PORTRAIT OF CORNELIA BRUINZEELS
In subject and simplicity of treatment this picture is a typical
seventeenth century Dutch portrait. It is well composed, and
individual character beloved by the Dutch is expressed in the
face and hands. It is refined in drawing and the modelling and
arrangement are good. The dress is of that luminous black so
typical of Dutch art. The figure is painted with freedom in
spite of much careful detail in collar and cap and other incidents.
With the exception of the rich colour in the chain, the hands,
and the touch of red in the chair the picture is rather cool in tone.
Moreelse was known as a portrait painter, though after a
visit to Rome he executed a number of historical pictures; he
was also an engraver of distinction and an architect.
Oil on panel, 43 inches by 30 inches
Gift of Mrs. Daniel Merriman.

59

PORTRAIT OF A LADY
PIETER DUBORDIEU

60

PIETER DUBORDIEU
Dutch, ca. 1609-after 1678
PORTRAIT OF A LADY
In this portrait there is little idealism, no apparent effort
to render any distinction alien to the subject. It is a vivid
representation of a typical well-bred Dutch woman. Except for
a less sure technique and brushwork, this portrait is not dissimilar
in colour and conception to certain examples by Frans Hals.
The black dress is painted with breadth and simplicity. It has
depth of colour, and an effective play of light and shade. The
face, hands, and broad lace-trimmed collar and cuffs are equally
animated by a clever distribution of light. Little is known about
this very good painter. There are two portraits by him in the
Hague Museum.
Oil on canvas, 43 inches by 3 1 inches

61

THE MERRYMAKERS
HENDRIK MAERTENSZ SORGH

62

HENDRIK MAERTENSZ SORGH
Dutch, ca. 1611-1670
THE MERRYMAKERS
Sorgh's Merrymakers is typical of the Dutch seventeenth
century. The still life, though perfectly subordinated to its
ambient, takes on, as in Brouwer, the Ostades, and the English
Hogarth, an individuality of its own. The grotesque figures
and commonplace objects are given distinction by the pervading
colour and tonal values. The table, bench, and the floor itself,
have that intimacy which such things assume when, through
long and familiar use, they become an indispensable part of the
environment they help to create. In the interiors by Dutch
painters objects seem to take their places in an airy medium.
Although that medium cannot be seen, it is, as it were, inevitably
felt by the eye because of the enriching softness given everywhere
to the light which pervades colours and outlines.
Oil on panel, 22 inches by 30 inches. Signed

63

¦,i-,--.:i»Si^aj,

^---r -'

'"%
9'|
9^.'^.> -C-MlA
THE TAILOR SHOP
QUIRINGH GERRITSZ VAN BREKELENKAM
64
QUIRINGH GERRITSZ VAN BREKELENKAM
Dutch, 1620-1668
THE TAILOR SHOP
Among the lesser Dutch painters Van Brekelenkam has a
place of importance. In contrast with Dou, Terborch, Mieris,
and Metsu, who painted the leisurely burgher class, and with
Steen and Teniers, who depicted the coarse or joyous roistering
of boors, Brekelenkam was particularly the painter of the true
work-a-day life of the humbler professions. "The "Tailor Shop
resembles Brekelenkam's picture, The Tailor's Workroom, in
the Rijks Museum at Amsterdam.
Brekelenkam's colouring is less delicate and luminous than
that of the greatest little masters, but it is bold, strong, and
individual. A somewhat modern and yet primitive quality
appears in his calculated looseness of touch and its frank trust
to the fusing power of a moderate distance. In one respect he is
partially an innovator. Certain greys of Hals, the cool lemons
and pearls of Terborch, and many decided passages in Brouwer,
had been preparing men's minds for the lighter key which is
found in Brekelenkam's painting.
Oil on panel, 23^ inches b\- 33^ inches

65

PORTRAIT OF A MAN
JAN DE BRAY

66

JAN DE BRAY
Dutch, 1627-1697
PORTRAIT OF A MAN
Jan de Bray was a painter of considerable importance in
Holland in the seventeenth century, and there are authorities
who place him second to Frans Hals among Haarlem painters.
This Portrait of a Man is a typical example of his work and shows
to a high degree the two outstanding characteristics of Dutch
art, namely representation and penetration into character — ^an
innate character expressed more by subtleties of surface than
abstractly. The head is well modelled in rich colour and the
tone is modified by the grey of the background and the delicately
painted lace collar. Although Jan de Bray was influenced by
Frans Hals there are many suggestions of Rembrandt in this
portrait. He painted historical pictures but his portraits were
his best achievements.
Oil on canvas, 25,^2 inches by 21 inches

67

PORTRAIT OF AN OLD LADY
NICOLAUS MAES

68

NICOLAUS MAES
Dutch, 1632-1693
PORTRAIT OF AN OLD LADY
Maes's activit}' as a portrait painter should be divided into
three periods. In the first and greatest his work so closely
resembled Rembrandt's, that, in spite of the marked individuality
which gave it life and precluded any charge of direct imitation,
much of it has passed as that master's own. During his second
period he was swayed more strongly by other men, particularly
by Van Dyck and the Flemings, with a sacrifice of depth of
characterization in favour of a fashionable and decorative style.
Finally he merged with his later style the peculiar affectations
of a taste borrowed from the court painting of the French.
Our portrait belongs to his earliest period. An old lady of
seventy or more in the simplest of dresses rests in an arm-chair,
her figure set in relief against a curtain. Seriousness, dignity,
and an austere and patient benevolence have cast the strongly
marked features into an impressive mould. The unobtrusive
colours of the gown, the curious cap, and the broad white collar
and cuffs, form a natural pattern of darks and lights in keeping
with the kindly gravity of the woman herself.
Oil on canvas, 34 inches by 27 inches

69

VIEW IN A DUTCH VILLAGE
JAN VAN DER HEYDEN
Figures by Eglon Hendrik van der Neer

70

JAN VAN DER HEYDEN
Dutch, 1637-1712
Figures by Eglon Hendrik van der Neer, Dutch, ca. idjj-iyoj
VIEW IN A DUTCH VILLAGE
\^an der Heyden was one of the seventeenth century Dutch
painters who rejoiced in detail. He represented each individual
brick and stone in the houses and churches of the picturesque
towns of Amsterdam, Brussels, and Cologne. He manifested
the same minute interest in all objects in his compositions.
Yet in spite of the careful detail, Van der Heyden's pictures are
never trivial in character. They have breadth of spirit and
charming intimacy. Buildings and trees are enveloped in a soft
and luminous atmosphere and have sympathetic relationship
to a sky full of light and variety.
In Van der Heyden's works the figures are usually done by
another hand, some by Van der Neer and others by Adriaen van
der Velde. Those in our panel are attributed to Van der Neer.
In spite of their small size these figures so charmingly distrib
uted in the scene have breadth. Touches of brilliant colour
give animation to the prevailing silver tone.
Oil on panel, 17 inches by 20^ inches

71

A SELF PORTRAIT
FRA VITTORE GHISLANDI

72

FRA VITTORE GHISLANDI
Italian, 1655-1743
A SELF PORTRAIT
Ghislandi was one of the few good eighteenth century painters
Italy produced. His attitude, like Rembrandt's, was that of a
naturalist. He worked with a full brush and saw the objects he
painted in broad masses of light and shadow. His colour is
sumptuous and sympathetic in quality as well as in application,
particularly in the treatment of face and hands. His chiaroscuro
is subtle and not so defined as to exclude light in the shadows.
Indeed, he had an unusual ability to paint shadows and at the
same time preserve form and local colour.
Oil on canvas, 33/^ inches by 25^ inches
Purchased from the bequest of Jerome Wheelock.

73

THE HOLY FAMILY
GIOVANNI BATTISTA TIEPOLO

74

GIOVANNI BATTISTA TIEPOLO
Venetian, 1696-1770
THE HOLY FAMILY
Tiepolo is the culmination of the art of the Venetian Renais
sance. In his painting and drawing we see how much he benefited
by the influence of the earlier Venetians. He did not possess
greater qualities than they but a technical dexterity which re
sulted in an elegance and suggestiveness of line expressed with
a confidence almost precocious.
In the startling abandon of Tiepolo's drawings we recognize
the genius of the man. The handling of the medium, linked as it
is with unusual composition, suggests motion; energy becomes a
spontaneous outburst, its characteristic elements revolving
upon an axis clearly felt. With a sure knowledge of the ultimate
result, he composes areas full of interest cleverly juxtaposing
untouched forms and shaded portions. Tiepolo was a power,
and exerted great influence on seventeenth century decoration.
Sepia on paper, l6j^ inches by 12 inches
Gift of Paul J. Sachs.

75

THE TOPER
JEAN ALEXIS GRIMOU

76

JEAN ALEXIS GRIMOU
French, 1680-1740
THE TOPER
Alexis Grimou was a Swiss but painted much in the style
of his French contemporary, Fragonard. In colouring and
vivacity his work is similar to that of Fragonard, but it has not
the subtlety or refinement of execution. This picture, however,
is painted with power and conveys considerable spirit and ac
tion. The still life is an excellent piece of realism, and has a
necessary relationship to the figure. The variety of reddish
brown tones is characteristic of much French art of the period.
The composition is particularly happy. One hand holding the
goblet, and the other grasping the jug have natural ease and
spontaneity. Oil on canvas, 40 inches by 32 inches

n

PORTRAIT OF FREDERICK GEORGE SCHMIDT, THE ENGRAVER
ANTOINE PESNE

78

ANTOINE PESNE
French, 1683-1757
PORTRAIT OF FREDERICK GEORGE SCHMIDT, THE ENGRAVER
Antoine Pesne had a talent for depicting character. This
Is illustrated in our portrait, for the painter has gone beneath the
baby-like exterior of the face, rounded and unlined, and we have
a man of interesting type. The face is subtly painted; it has
texture and a resilient and sensuous quality of flesh. In this
respect it is not inferior to a Raeburn. The dark olive-coloured
coat, with gold buttons and braid, is as carefully worked up as the
head. The suggestion of pink in the back of the chair cleverly
balances the warmth of colour in the hand holding the pipe.
This hand and white cuff, together with the small gold box and
glass, are well painted. The background is atmospheric; the
greenish tone with a lighter note at the side of the head gives
a dramatic effect. The touch of light green in the fur-trimmed
hat adds vivacity, and accentuates the somewhat jaunty charac
ter of the man. In spirit the painting has a resemblance to a
Hogarth, and without doubt both Pesne and Hogarth derived
this spirit from a common source, Watteau.
It has been suggested that our picture is a self portrait,
but in comparing it with known portraits of Pesne we find that
this cannot be true. We see, however, a distinct resemblance to
Frederick George Schmidt, the celebrated engraver, who repro
duced some of Pesne's works. To add colour to this surmise,
there is what appears to be a graving tool resting against the
small gold tobacco box.
Oil on canvas, 3I>^ inches by 29 inches

79

PORTRAIT OF MRS. WILLIAM JAMES
WILLIAM HOGARTH

80

WILLIAM HOGARTH
English, 1697-1764
PORTRAIT OF MRS. WILLIAM JAMES
The Portrait of Mrs. William James is an admirable piece of
painting in brushwork, colour, and construction. But there is
more than technical achievement; there is spontaneity and unity
of action. The poise of the hand is in harmony with the slight
lifting of the head, and the whole portrait has grace affected
and real. Hogarth expresses a happy and vivacious character
with as much insight into personality as in the Portrait of William
James. The painting of the face is admirable in technique. The
bodice of a shimmering pale yellow material trimmed with white
lace is also effective in treatment. The red of the flower in the
brown hair is a small echo of the dull rose-coloured drapery.
It is difficult to say how much Hogarth was influenced and
by whom. There was no one in England. It is necessary to
cross the channel and study the work of Watteau. There we find
not a little which might have had effect on the English painter,
but only in a superficial sense, for Hogarth was a most original
artist. Oil on canvas, 29J2 inches by 24^2 inches. Signed and dated 1744

81

PORTRAIT OF WILLIAM JAMES
WILLIAM HOGARTH

WILLIAM HOGARTH
English, 1697-1764
PORTRAIT OF WILLIAM J.YMES
The two portraits of Mr. and Mrs. William James are signed
and dated 1744, the year before Hogarth gave the world the
series of six paintings of Marriage a la Mode. Like the latter
works, this picture transports us into the midst of the eighteenth
century, a world depicted as vividly by Hogarth in pictorial
narrative as by Richardson, Fielding, and Smollett in their
novels. The figure of Mr. James is built up and made both solid
and vital. A succession of sure touches shapes vigorously his
features and hair, his blue coat, and its elaborate gold brocade.
The squire is a self-satisfied personage; his consort is charming,
and her portrait is as fine in quality as in characterization.
Each of these portraits sums up and concentrates within
itself an individual and a type, and exemplifies well Hogarth's
own ideal of his art. "I have endeavoured," he says, "to treat
my subject as a dramatic writer; my picture is my stage, and
men and women my players, who, by means of certain actions
and gestures, are to exhibit a dumb show." Mr. and Mrs.
James especially are living actors in a living drama. They speak
not only of themselves, but of their social rank, their habitual
ambient, and the country and century in which they lived.
Oil on canvas, 29^^ inches by 24^^ inches. Signed and dated 1744

83

PORTRAIT OF SELINA, COUNTESS OF HUNTINGTON
ENGLISH, EIGHTEENTH CENTURY

84

ENGLISH, EIGHTEENTH CENTURY
PORTRAIT OF SELINA, COUNTESS OF HUNTINGTON
This portrait is painted much in the manner of Hogarth
and has been described as being by that master. Superficially,
it has many attributes both in spirit and surface painting to
encourage this attribution. In construction it has not the
power of the portraits of Mr. and Mrs. James in the Worcester
collection; neither has it the feeling of spontaneity in brushwork.
Because of the maturity of the technique in the Portrait of
Selina, Countess of Huntington the difference between this
portrait and the other two can hardly be due to the limitations
of an earlier period in the artist's development. It may eventually
prove to be by Hudson — who often painted a very good portrait
— or even by Highmore. If it is by either of these men, it is
one of the best examples of his work.
The portrait is decorative and imposing. The glistening
grey silk dress with black lacing over the fichu finds an echo in
the ribbon of the white cap tied in a bow under the chin. The
Countess holds a book with a red cover. In the background
is a red curtain partly in shadow and similar in tone to the book.
Oil on canvas, 50 inches by 40 inches

85

MOTHER AND CHILD
SIR JOSHUA REYNOLDS, P. R. A.

SIR JOSHUA REYNOLDS, P. R. A.
English, 1723-1792
MOTHER AND CHILD
The art of Sir Joshua Reynolds can neither be called sugges
tive nor subjective. This is not due to any lack of imagination.
It is due chiefly to the fact that his practical nature gave little
opportunity for any temperamental adventures, without which
the subtle and unique in art do not happen. An intellect richly
imbued with the principles of Italian and Dutch art, is soiiiewhat
of an obstacle to free expression. Furthermore, sublety is oftener
the result of a close study of nature than of an extensive research
into methods of painting.
The idea of this picture is conveyed in a suggestive way.
Although it is evidently an unfinished sketch, it has a sense
of completeness. The grouping is graceful and enhanced by
subtlety of line. Very little pigment has been used, and with
the exception of the heads and the folds of drapery, the canvas
has been painted, or rather tinted, with oil slightly coloured with
sienna. A touch of vermilion in the faces is the only other
positive tone. The coarse canvas is left almost bare, giving an
appropriate texture, particularly to the infant's body. The forms
depend entirely on line drawing of a very shght character,
but the construction is felt.
Oil on canvas, 30^^ inches by 25^^ inches

87

the artist S DAUGHTERS
THOMAS GAINSBOROUGH

THOMAS GAINSBOROUGH
English, 1727-1788
THE ARTIST'S DAUGHTERS
Few painters have shown more discernment than Gains
borough in expressing the subtle characteristics of their sitters.
Although he usually represents the privileged class of the day^
attired as befitted their rank — one is never conscious that
trappings have been employed to create dignity or suggest
importance. Intuitive perception marks all of Gainsborough's
work. His men and women can always be transplanted into his
landscapes, his feeling for animate and inanimate matter breath
ing ever the same rare quality.
In The Artisfs Daughters as well as in the portraits in the
South Kensington Museum, painted when the girls were younger,
the figures are treated more objectively than in many of his
works of equal importance. The daughters of Gainsborough,
Margaret and Mary, are assumed to have been born about
1750, and the painting has been ascribed to 1770. Margaret
is the seated figure in white and Mary, the younger sister in
blue-green stands behind her. A pink ribbon introduces a
cheerful note of colour. The portfolio repeats the brown in the
background. Oil on canvas, 50 inches by 40 inches.

89

A GRAND LANDSCAPE
THOMAS GAINSBOROUGH

90

THOMAS GAINSBOROUGH
English, 1727-1788
A GRAND LANDSCAPE
Gainsborough's A Grand Landscape is an imposing com
position. It has, in spite of its formal character and distin
guished unreality, very intimate passages and a spirit of roman
ticism. The foreground is strongly painted, yet with charac
teristic reserve. The foliage of the trees on the hill and at the
left, and on the branches below, is broad and masterful in execu
tion. The treatment of this part of the picture is typical of
Gainsborough's best phase — when his trees and leaves give the
impression of being blown and rustled by wind coming in all
directions. Gainsborough understood English scenery and interpreted
it with intimacy, thus unfolding the sentiment of century-wide
tradition of English country life. His art and consequent
attitude towards nature were not calculated. He regarded sitter
and landscape in the same manner. Although Constable is
properly considered the father of modern landscape painting,
it must be remembered that Gainsborough, who was born
forty-nine years earlier, deserves credit for many innovations
in landscape. In Constable's early work there is an absence
of that modern spirit for which Gainsborough's latest landscapes
are conspicuous.
Oil on canvas, 57 inches by 62 inches

91

PORTRAIT OF DON FRAY MIGUEL FERNANDEZ
FRANCISCO JOSE DE GOYA Y LUCIENTES

92

FRANCISCO JOS£ DE GOYA Y LUCIENTES
Spanish, 1746-1828
PORTRAIT OF DON FRAY MIGUEL FERNANDEZ
There is a similarity in the faces and figures of the early
English portraits which is almost a family likeness. With the
Spanish artist, Goya, this is not the case. Every man and
woman he painted is a distinct personality, and yet he conveys
to each canvas that individuality which marks it at once a Goya.
The faces and figures of his sitters are imbued with the intensity
of his own temperament, but never to the extent of destroying
their individual character. His colour is deep and rich in tone.
In addition to the power of penetrating below exteriors with
somewhat feverish intensity, he foreshadows the Frenchmen
of a hundred years later in his treatment of inasses and emphasis
on essentials. The figure of Don Fray Miguel Fernandez is happily placed
on the canvas. There is intense pulsating life in the face and
hands, which are remarkable for their structural strength.
The choleric colour of the face is modified by the blue in the
ecclesiastical robe and touches of brilliant scarlet in the lining.
Oil on canvas, 38 inches by 33 inches. Signed and dated 1815

93

PORTRAIT OF COLONEL THEODORE ATKINSON
JOSEPH BLACKBURN

94

JOSEPH BLACKBURN
American, active 1750-1765
PORTRiVIT OF COLONEL THEODORE ATKINSON
Blackburn was born in Great Britain and his training was
acquired and fully developed in the English School. Unlike
Smibert he did not identify himself in any way with America, nor
as far as can be judged was his work influenced in the slightest
degree by his residence here. That he had a most salutary effect
upon his contemporaries, particularly Copley — then in his for
mative period — is undeniable, and the suggestion has been made
that the increasing excellence of Copley's work was the cause of
Blackburn's leaving the country.
In the Portrait of Colonel Theodore Atkinson the Colonel is
dressed in a suit of brown broadcloth; the coat, waistcoat,
cuffs and pocket-lapels are trimmed with wide gold lace. Be
neath the hand holding the quill are two folded documents, one
of which is endorsed "Expences of Government," and the other
"Enlistm^s returnd for 1760." From the lower paper the seal
of the province hangs over the edge of the table. Nearby is a
folded letter addressed, to Colonel Atkinson.
Oil on canvas, 50 inches by 40 inches

95

PORTRAIT OF JOHN BOURS
JOHN SINGLETON COPLEY

96

JOHN SINGLETON COPLEY
American, 1737-1815
PORTRAIT OF JOHN BOURS
This portrait by John Singleton Copley is interesting for
its tonal quality, texture^- and design. The harsh colouring,
with high lights of chalky white and a strange raw blue which
detract from many of his paintings, is less observable in this
picture, and gives place to a rich and sombre colour scheme
of warm browns and deep blacks admirably suited to the gentle
and somewhat melancholy expression of the young New England
clergyman. There is a woodenness of effect in the position
of the figure and in the arrangement of the folds in the velvet
coat, but this slight stiffness seems actually to add to the dis
tinction of the portrait, lending it a dignity which accords with
the formality of manner, even of thought, characteristic of the
period. Oil on canvas, 50 inches by 40 inches
Purchased from the bequest of Mrs. Hester Newton Wetherell.

97

PORTRAIT OF COLONEL CHARLES PETTIT
CHARLES WILLSON PEALE

98

CHARLES WILLSON PEALE
American, 1741-1827
PORTRAIT OF COLONEL CHARLES PETTIT
Charles Willson Peale was a painter with a definite, obvious
conception of his sitter and a technical method equally convinc
ing. The portrait of Colonel Pettit is a conscientious represen
tation of the subject. In spite of hardness of line and surface, the
technique is adequate — this is due more to painstaking care
than to facility with the brush. The drawing is careful, the
composition good, the colour restrained. The prevailing tone
is grey. The coat and waistcoat are a pale olive green and the
curtain is plum colour against a grey background.
Oil on canvas, 35,'-2 inches by 26^4 inches. Signed and dated 1792

99

PORTRAIT OF WILLIAM CARPENTER
RALPH EARL

lOO

RALPH EARL
American, 1751-1801
PORTRAIT OF WILLIAM CARPENTER
Ralph Earl was a painter of considerable ability. He worked
both in this country and in England. There is naivete in his
early work, but later, when he became more sophisticated under
the influence of the English painters, he lost much of the sim
plicity observable in such pictures as Master Carpenter. There
is in the composition a very sincere and primitive note, not a
primitive note suggestive of an elemental age but rather an
expression of a restricted condition of life simply construed.
The colour is effective — particularly the pure red. The book,
hat, and table, indeed all the details, are painted with ingenuous
ness and directness.
Oil on canvas, 4732 inches by 35 inches. Signed and dated 1779

lOI

PORTRAIT OF MRS. PEREZ MORTON
GILBERT STUART

I02

GILBERT STUART
American, 1755-1828
PORTRAIT OF MRS. PEREZ MORTON
This Portrait of Mrs. Perez Morton by Gilbert Stuart was
left at the artist's death an unfinished picture. It is a harmony
of transparent, pearly, shimmering strokes dexterously applied.
The suggestive treatment gives it a modern note. Completed,
it would have been a spontaneous painting of a beautiful
woman; unfinished, it is both in colouring and expression a
masterly suggestion of life itself, radiant and vivacious. Stuart
had a rare faculty of putting his sitters into a happy and gracious
state of mind, so that there is a pleasant sense of affable well-
being about them. He rarely mixed colours or worked over
them, but laid on each tone separately, and finished rapidly.
It is the transparency of colour thus achieved which makes his
portraits look as though they were painted only yesterday.
Oil on canvas, 28^ inches by 24^^ inches
Gift of the grandchildren of Joseph 'Tuckerman.

103

portrait of MRS. RENNY STRACHAN
SIR HENRY RAEBURN

104

SIR HENRY RAEBURN
Scotch, 1756-1823
PORTRAIT OF MRS. RENNY STRACH.\N
Although Raeburn's work was uneven, he at times rose to
greater heights than any of the eighteenth century English por
trait painters except Gainsborough. The work of both these
men had more a subconscious than a conscious impulse — one
which rose superior to technique and art formulas. Raeburn's
earlier brushwork was decisive. Gradually he developed a
more sensitive technique in his paintings of both men and women.
The Worcester portrait of Mrs. Strachan is sympathetic in
treatment. At the same time it is painted with decision and
animation. The white of the dress is but a lighter and cooler
tone of the flesh and the fair hair, all of which have delicacy and
purity of colour.
Oil on canvas, 30 inches by 25 inches
Purchased from the bequest of Mrs. Hester Newton Wetherell.

105

SEVEN ANGELS POURING VIALS OF THE WRATH OF GOD UPON THE EARTH
WILLIAM BLAKE

1 06

WILLIAM BLAKE
English, 1757-1827
SE\ EN ANGELS POURING M.\LS OF THE WRATH OF GOD UPON THE EARTH
William Blake is an artist who stands alone in his time as
an imaginative genius. Indeed, so fertile was his imagination,
so mystic, that the art value of his work is likely to be obscured
in the same way that Hogarth's satire diverted the minds of
generations from his originality as an artist. With Blake's pen
chant for mythical and scriptural subjects was imaginative
power, strong technical ability, and genius for design.
Blake was in no sense a colourist but placed great emphasis
on line and form. He was first of all a draughtsman, and even
in his paintings colour is applied to the drawing, not a part
of it. Yet his colour is expressive and oftentimes very beautiful.
It is so in the Seven Angels, in which the figures- are robed in
tones of delicate tinted ivory modelled into cool shadows, the
alternating blue-winged and brown-winged angels producing a
delightful rhythm of tones. The "sea of glass" and the earth
are of cool blue-grey, the glimpse of the throne of God in opales
cent tones, and to the left of the central angel with outstretched
wings is a rainbow-illumined sky of great depth and brilliancy.
Touches of red-orange in the dragon and in the wings relieve
the otherwise cool tonality.
Alany of Blake's subjects are taken from the Bible; that of
the Seven Angels is from Revelation, Chapters XV and XVI.
Tempera on canvas. 21 inches by 27}4 inches

107

PORTRAIT OF ELIZABETH TUCKERMAN SALISBURY
CHESTER HARDING

I08

CHESTER HARDING
American, 1792-1866
PORTRAIT OF ELIZABETH TUCKERMAN SALISBURY
Chester Harding was a good painter with traditional quali
ties. Though not possessing original or strong characteristics,
he developed to a refined point — often at the sacrifice of strength
— the qualities of Gilbert Stuart and other eighteenth century
painters here and in England. This portrait demonstrates his
ability to suggest character. He was a refined colourist, a
discriminating and sensitive painter. The picture is rich in
tone and well composed. The red shawl is effectively intro
duced to cover partially the black bodice, and all the drapery,
particularly the lace cap, is painted with much delicacy.
Oil on canvas, 2534 inches by 30^ inches
Bequest of Stephen Salisbury III .

109

PORTRAIT OF MISS MARGARET SIDDONS
THOMAS SULLY

110

THOMAS SULLY
American, 1783-1872
PORTRAIT OF .MISS MARGARET SIDDONS
Thomas Sully was born in Horncastle, England, but when
only nine years of age he came to America. The Portrait of Miss
Margaret Siddons shows a spirited young woman with curls of
golden brown. The colour of the hair finds an echo in the rich
gold of the chair upon which the left arm rests. There is a
slightly arrogant tilt to the head and considerable animation
in the face. On the left of the picture is a column, partly hidden
by a curtain, and the suggestion of a brilliant sunset. The
colour is highly keyed for this period and phase of portraiture.
The figure in white against the background of varying tones
of red makes an effective design. The picture follows with
success the conventional ideas of the eighteenth century portrait
painters in technique, colour, and composition.
Oil on canvas, 36 inches by 29 inches

III

4
112

ENGLISH AND AMERICAN PORTRAIT MINIATURES
Eighteenth and Nineteenth Centuries
It is believed that the first real portrait miniatures originated
in the beginning of the fourteenth century, and since then there
has always been considerable activity in this branch of art, some
periods being more distinguished than others. Miniature paint
ing flourished in both the seventeenth and eighteenth centuries
in England. In the latter period Richard Cosway stands out
conspicuously, but there are many other artists of importance,
both men and women. Ainerica also had its number of painters in
the eighteenth century, and the art has been more or less con
tinued since then.
The Worcester collection is composed of examples of the
eighteenth and nineteenth centuries, English and American,
including Richard Cosway, Malbone, Savage, Hone, Plimer,
Fulton and others.
I. FULTON, ROBERT, American 1765-1815
PORTRAIT OF SAMUEL BEACH
Miniature on ivory, i J^ inches by i?^ inches
2. MALBONE, EDWARD GREENE, American, 1777-1807
PORTRAIT OF EBEN FARLEY
Miniature on ivory, 2^ inches by 2 inches
3. HONE, HORACE, English, 1755-1825
PORTRAIT OF THE MARCHIONESS OF DONEG.XL IN MILITARY DRESS
Miniature on ivory, 2^ inches by 2^4 inches. Signed and dated 1799
4. PLIMER, ANDREW, English, 1763-1837.
PORTRAIT OF FRANCES ELIZABETH HENRY
Miniature on ivory, 2j^ inches by 2 3/^ inches

113

WINIFRED DYSART
GEORGE FULLER

114

GEORGE FULLER
American, 1822-1884
WINIFRED DYSART
Fuller conceived his pictures according to traditional ideals.
His intense interest in the suggestiveness of his subject-matter
resulted in laboured execution. His work is subdued in colour,
dominated by a feeling for delicate gradations of tone, and in
all his best paintings — even those of full sunlight — there is a
haziness pervading and softly illuminating forms, masses,
and tones. This atmosphere nearly always generalized the
poetic aspects of a season and hour and day. Winifred Dysart
is a picture which makes a very general appeal because of the
suggestiveness of the composition. In the dusk of the evening
the child seems to us very real yet strangely ethereal.
Oil on canvas, 50^2 inches by 40^ inches. Signed

115

UNE MERE
ALFRED STEVENS

Il6

ALFRED STE\ENS
Belgian, 1828-1906
UNE M£RE
Alfred Stevens had many of the qualities of a great artist.
His conventional attitude toward form and subject-matter pre
vented him from occupying an important place in the evolution
of European painting. He was a colourist in the highest sense,
a fine sensitive craftsman, and a painter of exquisite feeling.
These qualities are evident in Une Mere. The picture is not
sentimental, yet it has much sentiment, — a sentiment suggested
more by sympathetic brushwork than by character of compo
sition. The variety of cool tones, the subtle values, the arrange
ment and delicate drawing express a tenderness and rare art
quality which only Whistler could have equalled.
Oil on panel, 25 inches by 17 inches. Signed

117

THE ANXIOUS FAMILY
JOSEF ISRAELS

ii8

JOSEF ISRAELS
Dutch, 1824-1911
THE ANXIOUS FAMILY
Josef Israels felt the depth, mood, and mystery in the cot
tagers he painted, and the sentiment in the solitary monotonous
routine of their day. Always an admirer of Rembrandt, whose
influence is clearly perceptible in his middle and later periods,
Israels forsook entirely the path of classical painting and de
veloped that particular art which characterizes him. The
Anxious Family was painted before he acquired his most sug
gestive technique. Yet each figure is conceived with breadth
and with due consideration of the relative value of the various
incidents to the presentation of the subject as a whole.
Oil on canvas, 22 inches by 27 inches. Signed and dated 1885

119

IN THE STILL FOREST
ALEXANDER HELWIG WYANT

120

ALEXANDER HELWIG WYANT
American, 1836-1892
IN THE STILL FOREST
The general effect of this picture is one of massiveness and
severity; it is sombre even. In the wide stretch of the fore
ground, in the masses of foliage seen against the sky, and in
the spirit of the scene depicted, there is a bigness of natural
arrangement and mood. The habitual solitude of the place is
conveyed by the strange light in the foreground. Its tepid
water deadens the hues of the sky reflected there, and accords
with the heavy air of an afternoon in late summer when every
thing is attuned for rain.
Oil on canvas, 56 inches by 55 inches. Signed and dated 1888

121

A POOL IN THE WOODS
GEORGE INNESS, SR.

122

GEORGE INNESS, SR.
American, 1825-1894
A POOL IN THE WOODS
This painting by Inness is tender in sentiment and sugges
tive in treatment. The facts of nature have not been unduly
emphasized. The picture is misty and elusive in its atmosphere,
with incidents in pure browns, greens, blues, and grey, sugges
tively painted. A tree, bolder in form and more deflnite in
detail in the foreground, unifies the picture and strengthens it.
By the side of the tree an intense light breaks through, giving a
mysterious feeling of luminosity, vibration, and reflection on
the pool and throughout the scene.
Oil on canvas, 22 inches by 27 inches. Signed and dated 1892

123

THE BATHERS
WILLIAM MORRIS HUNT

124

WILLIAM MORRIS HUNT
American, 1824-1879
THE BATHERS
William Morris Hunt's Bathers is generally known by this
title to distinguish it from a larger replica, the Fairchild Hunt.
The sketchy character of parts of the work leads us to accept as
substantially true the story that Hunt while out driving came
unexpectedly upon the scene represented, and his imagination
was so stirred that he at once turned homeward and executed
the painting virtually at a sitting.
Health seems to glow from within the form, and there is
rhythm of line from the rigid set of the heels to the easy play
of the shoulders and swaying arms. The well-balanced figure,
with its rich and transparent colour, in an environment of dark
but luminous green foliage reflected in clear water, makes a
picture of compelling qualities.
Oil on canvas, 24 inches by 16 inches. Signed and dated 1887

125

PEGASUS
ALBERT PINKHAM RYDER

126

ALBERT PINKHAM RYDER
American, 1847-19 17
PEGASUS
In considering the imaginative spirit of Ryder's art we must
not think of it as having any particular connection with the
subject-matter. He is not preoccupied with the individual char
acter of the objects he paints, but rather creates a work
in which each incident is an essential part of the whole — often
achieving a distinguished sense of design and quality of line.
Ryder's paintings have unity of tone and a common spirit
wherein some strange power appears to have swept through
space with hurricane force, transforming all objects with a
spirit of mysticism.
The subject of this painting is that often used theme, Pegasus,
one in which Ryder found inspiration on several occasions.
It is poetic in spirit with refined intensity of feeling and a sugges
tiveness of line that has grace and delicacy. The drawing is
not notable for accuracy, but only those who are unable to feel
the imaginative appeal of the picture will be perturbed by this
deficiency. A more pertinent criticism would be that the artist
used obsolete technique. Often the preeminently imaginative
artists do not excel technically and depend upon traditional
methods. This was the case with Albert P. Ryder.
Oil on panel, 12 inches by lli^4 inches

127

THE GALE
WINSLOW HOMER

128

WINSLOW HOMER
American, 1836-1910
THE GALE
The Gale is signed and dated, "Winslow Homer, 1893."
The picture belongs to that decade from 1 886-1 896 in which
were produced such works as Eight Bells (1886), The West Wind
(1891), The Fox Hunt (1893), and The Maine Coast (1896).
The colour is sombre, rich, rather than harsh. The heavy
lowering grey of the sky overhead and the shale beneath shut
in the white and green-blue of the sea in a way that might too
much suggest parallel bands were it not for the dark silhouette
of the figures of woman and child and the deep black of the
rocks. The green-blue colour of the water in the foreground
is clear and the tossing spray delicate and suggestive, but toward
the horizon the tone becomes neutralized and dull. A thread
of scarlet running through the woman's shawl lends a warm
note. Homer painted more than the superficial aspects of the sea ;
he felt its depth, volume, and vastness.
Oil on canvas, 29^^ inches by 48 inches. Signed and dated 1893

129

SAGUENAY RIVER, LOWER RAPIDS
WINSLOW HOMER

130

WINSLOW HOMER
American, 1836-1910
SAGUEN.-W RIVER, LOWER RAPIDS
Winslow Homer is a painter of life in the open air, more
specifically of the sea in its grander natural aspects, — the sea
in its ancient warfare with the land and its effect on human
character. Every good painting by Homer has the mystery of dramatic
truth: his genius was in the best sense of the word dramatic.
Indeed, his work is suggestive of that which is characteristic or
permanent through the instantaneous and transitory. Although
apparently a born realist, he is an impressionistic painter. His
scenes are outwardly more true than a photograph in their
topography. But they are surcharged with that elemental
meaning which he alone could render clearly. His vision seems
to be a combination of direct perception and imaginative in
tuition, aided by that typifying faculty which goes with all
visual memory.
Among our group of Winslow Homer water colours the
Saguenay River expresses more than any other the elemental
power and volume of his art. There is depth and motion
profound in quality. The flowing and swelling blue water,
the dark toned rocks, the simple background of darkening
greens give a dramatic spirit to the picture. It is on these
qualities that Homer's distinction rests rather than on any
departure in attitude toward form.
Water colour on paper, 13^^ inches by 2054" inches. Signed and dated 1897

131

THE COSTERMONGER
SIR WILLIAM ORPEN

132

SIR WILLIAM ORPEN
English, 1878-
THE COSTERMONGER
The Costermonger is a character study of strength executed
with a freedom in conception and brushwork attainable when
an artist is independent of the opinion of his sitter. A painter
who is dependent upon portrait commissions cannot afford to
ignore self-estimates. In this portrait by Sir William Orpen
there was no such difficulty and we have, in consequence, a
naturalistic idea of a type and its character somewhat humor
ously portrayed with a broadly suggestive and facile brush.
The face is deeply furrowed and the skin sags; it is that of a man
who has worked hard in a modest sphere and has developed a
pertinent but restricted philosophy. The consistency of his
working life in a limited area — an area with tradition — ^has given
character to the face, but it is a weak and obstinate face with
a touch of cynicism and droll humour. Although Sir William
adheres closely to the naturalistic trend, he generalizes sufficiently
in such work to warrant one in saying that he portrays type.
The prevailing tone of grey, in which there are discreet elements
of brown and blue, is simply expressed and the planes and
values are arrived at skillfully and without apparent effort.
Oil on canvas, 2454 inches by 20^ inches. Signed and dated 1905

133

PORTRAIT OF MY DAUGHTERS
FRANK WESTON BENSON

134

FRANK WESTON BENSON
American, 1862-
PORTRAIT OF MY DAUGHTERS
This painting is an example of portraiture which possesses
in addition the qualities of a picture. This is not solely due to
elements of design but also to a treatment suggestive enough
to render the objective facts not too insistent. Indeed, the local
characteristics remain subordinate to a spirit of happiness
expressed in delicate tones of light and shade, which play on
the white of the girls' dresses and on the cool blue, yellow, and
green of the landscape. The tone of the fresh faces bathed in
reflected light, the brown hair, and a bowl of red and yellow
flowers give warmth to the picture.
Oil on canvas, 26 inches by 36 inches. Signed and dated 1907

13s

PORTRAIT OF LADY WARWICK AND HER SON
JOHN SINGER SARGENT

136

JOHN SINGER SARGENT
American, 1856-
PORTRAIT OF LADY WARWICK AND HER SON
This Portrait of Lady Jf'arwick and Her Son shows Mr.
Sargent's unusual dexterity. It is, perhaps, on brilliant tech
nique that his reputation rests rather than on any original
conception of subject. His attitude is one of a naturalistic
painter with an eloquent brush. The composition and design of
this group is as conservative as the attitude towards its com
ponent parts, and it is in the brushwork that we find the excep
tional note.
Oil on canvas, 106 inches by 60 inches. Signed and dated 1905

137

MUDDY ALLIGATORS
JOHN SINGER SARGENT

138

JOHN SINGER SARGENT
.\nierican, 1856-
MUDDY .\LLIG.\TORS
Our group of water colours offers excellent opportunity for
the study of Sargent's technique, his apparent effortless tech
nical perfection. Here, as always, he is a superb draughtsman.
It is not lines which interest him but planes — planes often put
in with a single brush stroke. Indeed, so great is his accuracy —
some call it freedom — that his brush strokes are the things he
represents. This accuracy of brushwork is the result of a life
long habit of precision and of untiring energy.
The greatest draughtsmen are seldom the greatest colourists.
Sargent's colour has the freshness and assurance of youth;
there is charm in it, just as there is in all pure, fresh, sparkling
things. But colour is not the chief charm. There is always
delight in beholding a work which appears to have been done
easily, just as there is dull discouragement in a thing which is
laboured. Muddy Alligators is a good example of Sargent's dexterous
brushwork. It is gay and scintillating; and has, in addition to
its spontaneity, a feeling for objective essentials and correct
tonal values.
Water colour on paper, 13^^ inches by 20^ inches. Signed and dated 1917

139

/ *

AT SUNSET
CHARLES HAROLD DAVIS

140

CHARLES HAROLD DAVIS
American, 1856-
-\T SUNSET
Davis's range of subject-matter is not wide, but within that
range he expresses himself well. In his cloudy skies and rolling
country he conveys, with a quiet restraint and subtle manner,
movement and reflection, as well as colour and the more physical
facts of nature. The weather is always uncertain in his pictures;
the sun may shine or rain may fall. At Sunset is a typical ex
ample. The temperament of the landscape and its varying mood
are expressed, the physical quality of earth is felt, and the clouds
cast shadows which move across the landscape.
Oil on canvas, 30 inches by 37 inches. Signed

141

THE FUR JACKET
J,-VMES ABBOTT McNEILL WHISTLER

142

JAMES ABBOTT McNEILL WHISTLER
.'\merican, 1834-1903
THE FUR JACKET
W^histler's work, whether painting or etching, is as purely
artistic as pictorial art can be. The Fur Jacket has sensitive
brushwork and restrained colour. The full-length figure of a
woman in profile, the brown hat and boa, black jacket trimmed
with brown fur, and brown skirt all suggestively indicate an
interesting arrangement in black and brown. A keen sensibility
is required in order to derive pleasure from Whistler's art. He
is not naturalistic, literary, sentimental, or psychological in his
outlook on nature, and those who approach his work from any
but the purely aesthetic standpoint may be disappointed. In
The Fur Jacket we see an interpretation suggested by the most
sensitive brush. To make a portrait was not the primary object.
The figure is the motive of the design. Its natural grace and
personality are used more in an abstract than objective way.
Oil on canvas, 76 inches by 36}^ inches. Signed

143

THE WIDOW
JAMES ABBOTT McNEILL WHISTLER

144

JAMES ABBOTT McNEILL WHISTLER
American, 1834-1903
THE WIDOW
What has been said of The Fur Jacket is equally true of
The JJ'idow. The chief merit is in the quality of the painting.
There is no psychological penetration in the artist's attitude, no
message of great volume. The very title may imply a sen
timental attitude on the part of the painter. But, if there is any
such attitude, it is subconscious, and the figure is but an object
for the use of a sensitive brush. Any sentiment the subject
may have inspired expresses itself more in the quality of brush-
work than in any intentional infusion of literary interest.
Oil on canvas, 32 inches by 18 inches. Signed

145

THE BREAKFAST ROOM
CHILDE HASSAM

146

CHILDE HASSAM
American, 1859-
THE BREAKFAST ROOM
To be discreet in the use of colour in a painting that depends
almost entireh' upon tone and atmosphere for its values is not
easy. It is difficult to be so and }-et attain form. The Breakfast
Room, has strength and subtle qualities as well. All things in the
picture are defined merely as luminous spots of coloured light
and coloured air, varying from broad and quiet passages in low
bluish keys to sharper and bolder notes.
Oil on canvas, 24' 2 inches by 30 inches. Signed and dated 19 11

147

THE WATERFALL
JOHN HENRY TWACHTMAN

148

JOHN HENRY TWACHTMAN
.American, 1853-1902
THE WATERFALL
Speaking broadly, Twachtman was a suggestive realist
approaching true impressionism in some of his later work. His
ability to paint objects so as to express their essential meaning
was unusual. His landscapes have motion and structure. The
brilliancy and purity of his colour constitutes also a characteris
tic in common with modern ideas. In The Waterfall the technique
is simple, the painting thin, the colours pure, the construction
strong. It suggests no place in particular; its appeal is universal.
Oil on canvas, 30 inches by 30 inches. Signed

149

SPRING
ODILON REDON

ISO

ODILON REDON
French, 1840-1916
SPRING
To appreciate Redon one's estimate of art must not rest
too much on rigid ideas of the past, for his painting does not
suggest any conventionally conceived sense of beauty in spirit,
colour, or design.
A feeling for colour being an elemental instinct, many will
concede the fine tone of this picture, but only after they have
recovered from the shock of the unconventional arrangement.
The colour is fine, assertively and subtly so, both intense and
palpitating. This is the result of design — design of colour. The
figure at the left of the canvas is vaguely suggested in a
monotone of pale brown almost golden in quality. It has not
the realistic character of the flowers. These are brilliantly
painted in red, yellow, and white. The background suggests
a sky of delicate greens and turquoise blues informally distribu
ted. A large break of dark blue occupies space into which
one or more crimson flowers of rich colour appear to float and
gradually lose themselves.
The picture is painted with a direct brush and possesses
a feeling of improvisation. It is by the juxtaposition and ar
rangement of colour alone that the various incidents of the
improvisation are brought together.
Oil on canvas, 21 inches by 29 inches. Signed

151

WATERLOO BRIDGE
CLAUDE MONET

152

CLAUDE MONET
French, 1840-
WATERLOO BRIDGE
Since the seventeenth century there has been a steady decline
in the importance of objectivity of form in landscape painting.
Previously, the Dutch artists paid much attention to the bal
anced arrangement of objects and to the individual characteris
tics of trees, streams, figures, and buildings. Constable in the
eighteenth century made an important step in subordinating
individual characteristics to the mood of the heath, an idea which
was followed with considerable variation by the men of the
Barbizon and Glasgow schools. The so-called French Impres
sionists of the nineteenth century made an advance in another
direction. Most of these men avoided as much as possible
academic representation of objects, and those physical facts
which they did emphasize were a means to an end, used for the
light and the vibration of light that encircled and pervaded the
forms. But there is more in the Waterloo Bridge than play of light;
there is the mystery of a large city, a suggestion of tradition, of
movement and achievement.
Oil on canvas, 25X inches by 36 inches. Signed and dated 1903

153

LA FEMME ACCROX.'PIE
PAUL GAUGUIN

154

PAUL GAUGUIN
French, 1848-1903
LA FEMME ACCROUPIE
A joyous light and spirited emotion fill this canvas. There
is pagan-like character of execution and ruthless handling of
facts. In his Tahitian pictures Gauguin attains great pene
tration, power in construction, intensity, with only a little
modification of the conventional attitude towards form. These
qualities are expressed in a manner so simple that they do not
distract attention by external pleasantries or any superficial
attributes. No concessions have been made either in type of
figure or decoration. The simplification and dramatic spirit
of the seated figure recall Giotto. It has both sculptural and
architectural strength. The members are like mighty girders,
powerfully organized and balanced. Though the figure is
presented in simple planes and plastic fashion, line drawing
is in evidence and is important in indicating the form. In La
Femme Accroupie his contribution to art in structural achieve
ment, design, and intensity is apparent.
The brown figure with white drapery on a floor of dull salmon
pink is a striking colour arrangement. In the background are
intense blues, violets, yellows, and greens; the man on horseback
and other details are amusing and interesting in their detach
ment and possible connection with the main figure. The
red note in the hatband and other warm tones all show an
unusual ability to keep colour uninvolved and yet coordinate
and harmonious.
Oil on canvas, 36 inches by 27 inches. Signed and dated 1891

155

NUDE FIGURE
AUGUSTE RODIN

156

AUGUSTE RODIN
French, 1840-1917
NUDE FIGURE
Rodin's drawings are strong and powerful sketches. Slightly
coloured washes are used to emphasize the ideas which he wishes
to convey, rather than to give any natural colour to the figures.
The development of his drawing, as of his sculpture, shows a
gradual simplification of the means of expression and the growing
importance of the idea. These drawings have much of the
spirit and character of his sculpture, wherein we feel that move
ment is not the dominant note. Yet there is an inner movement,
a broadening, germinating force, one that potentially expresses
action. Pencil and -water colour on paper, 10}^ inches by 14^,^ inches. Signed

157

CATALOGUE

CATALOGUE
The arrangemeni is alphabetical according to artists. Paintings
by unknown artists are alphabetized under country and period.
AHL, HENRY HAMMOND AMERICAN 1869-
SUNSETOil on panel, 8 inches by 10 inches
SignedGift of the artist
ALKEN, SAMUEL ENGLISH Activc 1 780-1 800
FOX AND HOUNDS
Oil on canvas, 8 inches by lo inches
Signed
ALLEN, CHARLES CURTIS AMERICAN I886-
BLACK MOUNTAIN
Oil on canvas, 26 inches by 30 inches
Signed and dated 1914
ALLSTON, WASHINGTON AMERICAN I779-1843
CHRIST HEALING THE SICK
Oil on panel, 28^ inches by 40^^ inches
AMERICAN EIGHTEENTH CENTURY
PORTRAIT OF ELIZABETH TUCKERMAN (SALISBURY)
Oil on canvas, 36 inches by 29 inches
Gift of Stephen Salisbury III
AMERICAN EIGHTEENTH CENTURY
PORTRAIT OF MRS. NORTON QUINCY
Oil on canvas, 36 inches by 28^ inches
Gift of Stephen Salisbury III 161

AMERICAN EIGHTEENTH CENTURY
PORTRAIT OF MRS. ROBERT WEIR
Oil on canvas, 36 inches by 28 inches
Gift of Stephen Salisbury III
AMERICAN NINETEENTH CENTURY
PORTRAIT OF COLONEL ISRAEL KEITH
Miniature on ivory, 2)/^ inches by 2 inches
AMERICAN NINETEENTH CENTURY
PORTRAIT OF EDWIN BOOTH
Oil on canvas, 24 inches by 20 inches
Bequest of Mrs. Caroline Nelson Russell
AMERICAN NINETEENTH CENTURY
PORTRAIT OF GEORGE W. TUCKERMAN
Miniature on paper, 3^ inches by 2j^ inches
Gift of Stephen Salisbury III
AMERICAN NINETEENTH CENTURY
PORTRAIT OF STEPHEN SALISBURY II
Miniature on ivory, 2^ inches by 2 inches
Gift of Stephen Salisbury III
AMERICAN NINETEENTH CENTURY
PORTRAIT OF A WOMAN
Miniature on ivory, 33^3 inches by 2^3 inches
Gift of Stephen Salisbury III
AMERICAN NINETEENTH CENTURY
PORTRAIT OF A WOMAN
Miniature on ivory, 22^4 inches by 2^ inches
Gift of Stephen Salisbury III 162

antigna, alexandre french 1817-i878
portrait head
Oil on canvas, 20 inches by 15 inches
Signed
Gift of Mrs. Joseph A. Ropes
ANTONIAZZO ROMANO umbrian Active 1460-1508
VIRGIN AND CHILD WITH SAINT JOHN
Oil on panel, 22^2 inches by 14 inches
ANTONIO DA VITERBO umbrian Active 1478-ca. 1516
THE ADORATION
Tempera on panel, 303^ inches by 18 inches
Illustrated on page 22
BADGER, JOSEPH American 1708-1765
PORTRAIT OF CAPTAIN JOHN LARRABEE
Oil on canvas, 83 >^ inches by 51 inches
BADGER, JOSEPH American 1708-1765
PORTRAIT OF CORNELIUS WALDO
Oil on canvas, 50 inches by 40 inches
Dated 1750
Estate of Mrs. Hester Newton Wetherell
BADGER, JOSEPH American 1708-1765
PORTRAIT OF MRS. CORNELIUS WALDO
Oil on canvas, 50 inches by 40 inches
Estate of Mrs. Hester Newton Wetherell
BASSANO, GIACOMO (jacopo da ponte), manner of Venetian
1510-1592 head of a man
Red chalk on paper, 4 inches by 4^ inches
163

BELLINI, GIOVANNI, school of Venetian fifteenth century
MADONNA AND CHILD
Oil on panel, 24 inches by 17^ inches
BEMIS,  AMERICAN ca. 1850
VIEW IN WORCESTER OR VICINITY
Oil on canvas, 20 inches by 24 inches
Gift of Jeanie Lea Soiithwick
BENOZZO GOZZOLI, school of Florentine fifteenth century
SCENES FROM THE CORONATION OF EMPEROR FREDERIC III
(cASSONE panels)
Tempera on panels, I5>^ inches by 59^ inches, ISK^ inches by 10^
inches, 15^ inches by 10^ inches
Illustrated on page 18
BENSON, FRANK WESTON .AMERICAN 1862-
EIDER DUCKS FLYING
Water colour on paper, I9>2 inches by 27 inches
Signed
BENSON, FRANK WESTON' AMERICAN 1862-
EIDER DUCKS IN WINTER
Water colour on paper, 19^^ inches by 27 inches
Signed
BENSON, FRANK WESTON AMERICAN 1862-
GIRL PLAYING SOLITAIRE
Oil on canvas, 5o>2 inches by 40^2 inches
Signed and dated 1909
BENSON, FRANK WESTON AMERICAN 1 862-
PORTRAIT OF MY DAUGHTERS
Oil on canvas, 26 inches by 36 inches
Signed and dated 1907
Illustrated on page ij^ 164

BILLINGS, E. T. AMERICAN 1824-1893
PORTRAIT OF DR. JOHN GREEN
Oil on canvas, 30 inches by 25 inches
Gift of Stephen Salisbury III
BILLINGS, E. T. AMERICAN 1824-1893
PORTRAIT OF STEPHEN SALISBURY II
Oil on canvas, 42 inches by 34 inches
Signed and dated 1885
Bequest of Stephen Salisbury III
BLACKBL'RN, joseph American Active 1 750-1 765
PORTRAIT OF colonel THEODORE ATKINSON
Oil on canvas, 50 inches by 40 inches
Illustrated on page g^
BLAKE, WILLIAM ENGLISH I757-1827
SEVEN ANGELS POURING VIALS OF THE WRATH OF GOD UPON THE EARTH
Tempera on canvas, 21 inches by 273^ inches
Illustrated on page 106
BLAKELOCK, ralph albert American 1847-1919
THE GOLDEN HOUR
Oil on canvas, 18 inches by 25 inches
BLAKELOCK, ralph albert American 1847-1919
INDIAN HORSEMEN AFTER DAWN
Oil on canvas, 5^ inches by 93^ inches
Signed
BLAKELOCK, ralph albert American 1847-1919
LANDSCAPE
Oil on canvas, jy^ inches by 5 inches
Signed 16s

BLAKELOCK, r.4lph albert American 1847-1919
MOON MYSTERY
Oil on canvas, 12 inches by 20 inches
Signed
BLAKELOCK, ralph albert American 1847-1919
NEAR MANHATTAN BEACH
Oil on canvas, 5^^ inches by 9^ inches
Signed
BLAKELOCK, ralph albert American 1847-1919
WOOD NYMPH
Oil on panel, S}4 inches by 12 inches
BOLOGNINI,  ITALIAN SEVENTEENTH CENTURY
WOMAN AND CHILD
Red chalk on paper, 53^ inches by 6^g inches
-, ¦ Signed
jj- J30NINGT0N, richard parkes English 1801-1828
/.r'-'^ (^ . ji \J^ Oil on panel, io>^ inches bv 8 inches V . j—
r ^ ' " -BOTH, JAN, manner of dutch ca. 1610-1652
(y \^ \} ^ LANDSCAPE WITH PEASANTS
•iyj f ^ Brown ink on paper, 10 inches by 7 inches
c f '' ( y.i BOLDIN, eugene french 1824-1898
if ,r ^* ^y^ PORT OF TROUVILLE
IV' n,'^'^' y' *~^'^ '^^ canvas, 14 inches by 23 inches
^ ^t^ Signed and dated 1890
Purchased from the bequest of Mary N. Perley

BOUTS, ALBERT FLEMISH Ca. I460-I549
MADONNA AND CHILD WITH ANGEL
Oil on panel, 153^ inches by 11 inches
Illustrated on page 28 166

BRAY, JAN DE DUTCH 1627-1697
PORTRAIT OF A MAN
Oil on canvas, 255^ inches by 21 inches
Illustrated on page 66
BREANSKI, ALFRED DE ENGLISH
TWICKENHAM TO RICHMOND
Oil on canvas, 20 inches by 30 inches
Signed
Bequest of Benjamin I". Hammond
BREKELENKA^M, quiringh gerritsz van dutch i 620-1 668
THE tailor shop
Oil on panel, 233^ inches by 3 3 3^ inches
Illustrated on page 64
breton, jules french i827-i906
landscape with figures
Oil on canvas, i8 inches by 27 inches
Signed
Gift of Mrs. Joseph A. Ropes
BRONZINO, AGNOLO, manner of Florentine 1503-1572
portrait of donna chevara and her son
Oil on panel, 403^ inches by 323^ inches
BRUSH, GEORGE DE FOREST AMERICAN 185S-
MOTHER AND CHILD
Oil on canvas, 45 inches by 35 inches
Signed and dated 1892
BRUSH, GEORGE DE FOREST AMERICAN 1855-
THE YOUNG VIOLINIST
Oil on panel, 20 inches by 17 inches
Signed and dated 1916 167

BUONCONSIGLIO, giovanni Venetian Active I495-IS35
VIRGIN AND CHILD WITH SAINTS MARY MAGDALENE, PETER, AND PAUL
Oil on panel, 50 inches by 34 inches
Signed
Gift of Raymond Wyer
Illustrated on page 40
BUONTALENTI, bernardo, manner of Florentine 1536-1608
ARCHITECTURAL SKETCH
Ink on paper, 16 inches by 133^ inches
CANO, ALONSO SPANISH 160I-1667
CHRIST BEARING THE CROSS
Oil on canvas, 633^ inches by 393^ inches
Signed
CANTARINI, SIMONE (simone da pesaro), manner of Italian
1612-1648 ADORATION Sepia on paper, 63^ inches by 8^ inches
CARLSEN, EMIL AMERICAN 1853-
STILL LIFE
Oil on canvas, 143^ inches by 173^ inches
Signed
CARMONA, MANUEL SALVADOR SPANISH I73O-1807
CHILD ASLEEP IN A CHAIR
Red chalk on paper, i6 inches by 113^ inches
Dated 1764
Gift of Abby and Emily Williams
CARMONA, MANUEL SALVADOR SPANISH I73O-1807
HEAD Red chalk on paper, 143^ inches by 934' inches
Dated 1764
Gift of Abby and Emily Williams 168

CARRACCI, ANNIBALE ITALIAN I560-1609
THE ROMAN DAUGHTER
Oil on canvas, 463^ inches by 59 inches
Estate of Emma E. P. Holland
CARRACCI, ANNIBALE, manner of Italian 1560-1609
STUDY OF TWO HEADS
Chalk on paper, 53^ inches by 33<4 inches
CARRIERA, ROSALBA Venetian 1675-1757
HEAD OF a WOMAN
Pastel on paper, 17 inches by 13 inches
CASSATT, MARY AMERICAN 1855-
MOTHER AND CHILD
Oil on canvas, 27 inches by 243^ inches
Signed and dated 1903
CASSATT, MARY AMERICAN 1855-
PORTRAIT OF A YOUNG GIRL
Oil on canvas, 213^ inches by 183^ inches
Signed
Anonymous gift
CLARK, ALVAN AMERICAN 18O4-1887
PORTRAIT OF BARNABAS CLARK
Miniature on ivory, 3 inches by 23^ inches
CLARK, WALTER APPLETON AMERICAN I876-I906
ILLUSTRATION FOR "tHE AWAKENING OF HELENA RITCHIE '
Oil on canvas, i8 inches by 12 inches
Signed and dated 1906
Gift of Mrs. W. A. Clark 169

CLARK, WALTER APPLETON AMERICAN 1876-I906
ILLUSTRATION FOR "tHE THREE KINGS "
Water colour on paper, 12 inches by 143^ inches
Signed
CLEVE, JOOST VAN FLEMISH LATE FIFTEENTH CENTURY-I54O
PORTRAIT OF A MAN
Oil on panel, 17 inches by 11^ inches
Illustrated on page jo
COLMAN, SAMUEL AMERICAN 1832-I92O
VIEW OF LAKE GEORGE
Oil on canvas, 26 inches by 36 inches
Signed
Bequest of Mrs. Caroline Nelson Russell
CONTI, BERNARDINO DEI MILANESE ActivC I496-I522
MADONNA AND CHILD
Oil on panel, 313^ inches by 23 inches
Illustrated on page J4
COPLEY, JOHN SINGLETON AMERICAN I737-1815
PORTRAIT OF DEBORAH SCOLLAY (mELVILLe)
Miniature on ivory, i inch by J/g inch
COPLEY, JOHN SINGLETON AMERICAN I737-1815
PORTRAIT OF JOHN BOURS
Oil on canvas, 50 inches by 40 inches
Purchased from the bequest of Mrs. Hester Newton Wetherell
Illustrated on page g6
COPLEY, JOHN SINGLETON AMERICAN I737-1815
PORTRAIT OF JOSEPH BARRELL
Pastel on paper, 22 inches by 17 inches
170

COPLEY, JOHN SINGLETON AMERICAN I737-1815
PORTR-VIT OF MRS. SAMUEL PHILLIPS SAVAGE
Oil on canvas, 50 inches by 40 inches
COSWAY, RICHARD ENGLISH 1740-1821
SELF PORTRAIT
Miniature on ivory, 4I g inches by 3 inches
COURBET, GUSTAVE french 1 8 19-1877
LOW TIDE
Oil on canvas, 243^ inches by 353^ inches
Signed
Bequest of Mrs. Caroline Nelson Russell
CRANE, FREDERICK AMERICAN 1847-I9I5
LONDON FROM THE THAMES
Oil on canvas, 25 inches by 30 inches
Signed
Gift of Mrs. Frederick Crane
DAUBIGNY, CHARLES FRANQOIS FRENCH 1817-1878
L.iNDSCAPE
Oil on panel, 9^ inches by 16 inches
Signed
Gift of Mrs. Joseph A. Ropes
DA\'IS, CH.A.RLES HAROLD AMERICAN 1856-
AT SUNSET
Oil on canvas, 30 inches by 37 inches
Signed Illustrated on page 140
DE CAMP, JOSEPH AMERICAN 1858-
PORTRAIT OF REV. DANIEL MERRIMAN
Oil on canvas, 41 inches by 34 inches
Signed and dated 1909
Gift of Mrs. Daniel Merriman 171

DE CAMP, JOSEPH AMERICAN I858-
SALLY
Oil on canvas, 263^ inches by 233^ inches
Signed
DEWING, THOMAS WILMER AMERICAN 185I-
LADY IN WHITE
Oil on canvas, 26 inches by 20 inches
Signed
DIAZ DE LA PENA, narcisso virgilio french 1808-1876
LANDSCAPE WITH FIGURES
Oil on panel, 63^ inches by 10 inches
Signed
Gift of Mrs. Joseph A. Ropes
DIAZ DE LA PENA, narcisso virgilio french 1808-1876
LANDSCAPE WITH FIGURES
Oil on panel, 83^ inches by Ii3<4 inches
Signed
Gift of Mrs. Joseph A. Ropes
DOSSI, Dosso (GIOVANNI lutera) ferrarese ca. 1479-1542
HOLY FAMILY
Oil on panel, II inches by 10 inches
DUBORDIEU, PIETER DUTCH ca. 1609-after 1678
PORTRAIT OF A LADY
Oil on canvas, 43 inches by 31 inches
Illustrated on page 60
DUMONSTIER, pierre french sixteenth century
PORTRAIT OF CHARLES, CARDINAL DU BOURBON
Oil on panel, 133^ inches by 93^ inches
172

DUNLAP, WILLIAM AMERICAN I766-I839
PORTRAIT OF GEORGE SPALDING
Oil on canvas, 30 inches by 25 inches
DUNLAP, WILLIAM AMERICAN I766-1839
PORTRAIT OF A LADY
Oil on canvas, 30 inches by 25 inches
DURANT, JOHN WALDO AMERICAN ca. 1774-1832
PORTRAIT OF JOHN WALDO
Oil on canvas, 36 inches by 29 inches
Signed
Estate of Mrs. Hester Newton Wetherell
DUTCH (.?) SEVENTEENTH CENTURY
FLOWERS
Oil on canvas, 10 inches b}'- 13 inches
Bequest of Mrs. Caroline Nelson Russell
DYCK, SIR ANTHONY VAN FLEMISH I599-164I
CORNELIUS SACHTLEEVEN
Crayon on paper, 83^ inches by 6Ji5 inches
Bequest of Mrs. Susan Chapman Dexter
DYCK, SIR ANTHONY VAN FLEMISH I599-164I
SELF PORTRAIT
Crayon on paper, loj^ inches by 53^ inches
Bequest of Mrs. Susan Chapman Dexter
EARL, JAMES AMERICAN I761-I796
PORTRAIT OF GENERAL CHARLES C. PINCKNEY
Oil on canvas, 35 inches by 29 inches 173

EARL, RALPH AMERICAN I75I-I80I
LOOKING EAST FROM LEICESTER HILLS
Oil on canvas, 46 inches by 80 inches
Signed and dated 1801
EARL, RALPH AMERICAN I75I-18OI
PORTRAIT OF MAN WITH GUN
Oil on canvas, 87 inches by 66 inches
Signed and dated 1784.
EARL, RALPH AMERICAN I75I-18OI
PORTRAIT OF MARY CARPENTER
Oil on canvas, 48 inches by 35 inches
Signed and dated 1779
EARL, RALPH AMERICAN I75I-180I
PORTRAIT OF WILLIAM CARPENTER
Oil on canvas, 47^ inches by 35 inches
Signed and dated 1779
Illustrated on page 100
EICHOLTZ, JACOB AMERICAN 1 776-1 842
PORTRAIT OF MISS THOMSON
Oil on canvas, 30 inches by 25 inches
ENGLISH EIGHTEENTH CENTURY
PORTRAIT OF JOHN ELBRIDGE
Oil on canvas, 293^ inches by 25 inches
Gift of Stephen Salisbury III
ENGLISH EIGHTEENTH CENTURY
'PORTRAIT OF SELINA, COUNTESS OF HUNTINGTON
Oil on canvas, 50 inches by 40 inches
Illustrated on page 84 174

ENGLISH EIGHTEENTH CENTURY
portrait of THOMAS ELBRIDGE
Oil on canvas, 29 inches by 25 inches
Gift of Stephen Salisbury III
ENGLISH (early) nineteenth century
PORTRAIT of MARGARET RENFREW
Miniature on ivory, 33^ inches by 2l^ inches
Gift of Mrs. A. B. Curtis
ENNEKING, john joseph American 1841-1916
LATE AUTUMN IN NEW ENGLAND
Oil on canvas, 42 inches by 63 inches
Signed
ENNEKING, john joseph American 1841-1916
SUNSETOil on panel, 7 inches by 9 inches
Signed and dated 1885
Gift of Mrs. Kingsmill Marrs
ETTY, WILLIAM ENGLISH I787-1849
THE WRESTLERS
Oil on panel, 20 inches by 21 inches
FARINATO, PAOLO Veronese 1524-1606
PORTRAIT OF A VENETIAN
Oil on canvas, 413^ inches by 35 inches
Illustrated on page 42
FERRARI, DEFENDENTE, School of PIEDMONTESE SIXTEENTH CENTURY
SAINT ANTHONY
Tempera on panel, 48 inches by 17 inches
175

FERRARI, DEFENDENTE, School of PIEDMONTESE SIXTEENTH CENTURY
SAINT JOHN
Tempera on panel, 48 inches by 17 inches
FIELD, ROBERT AMERICAN -1819
PORTRAIT OF MRS. THOMAS CHASE
Miniature on ivory, 23^ inches by 2 inches
Signed and dated 1803
FLEMISH FIFTEENTH CENTURY
PORTRAIT OF DONOR AND BISHOP
Oil on panel, 41 inches by 303^ inches
Illustrated on page 24
FLEMISH SIXTEENTH CENTURY
PORTRAIT OF ELEANOR OF PORTUGAL ( .?)
Oil on panel, 263^ inches by 21 3^^ inches
Illustrated on page 46
FOOTE, MARY HALLOCK AMERICAN I847-
SPRING WHISTLES
Pencil on paper, 6 inches by 4 inches
Gift of Mrs. Penelope Canfield
FRANCIA, FRANCESCO (FRANCESCO RAIBOLINl), SChool of BOLOGNESE
SIXTEENTH CENTURY
MADONNA AND CHILD WITH SAINT JOHN
Oil on panel, 193^ inches by 25 inches
FRASER, CHARLES AMERICAN I782-1860
PORTRAIT OF JAMES FAY
Miniature on ivory, 2^^ inches by 2 inches
176

FRASER, CHARLES AMERICAN I782-1860
PORTRAIT OF MR. HEYWOOD OF CHARLESTON
Miniature on ivory, }^4 inches by 23^ inches
Gift of Philip J. Centner
FREELAND, anna c. American 1837-1911
WILLIAM THE CONQUEROR
Oil on canvas, 37 inches by 293^ inches

Signed and dated if
Gift of H. Allan I'enny
FRENCH (early) fifteenth century
MADONNA AND CHILD WITH SAINT AND DONOR
Tempera on panel, 213^ inches by 163^ inches
Illustrated on page 4
FROTHINGHAM, james American i 786-1 864
PORTRAIT OF JONATHAN BROOKS
Oil on canvas, 26 inches by 21^ inches
Marked on the back and dated 1823
FROTHINGHAM, james American 1786-1864
PORTRAIT OF MRS. JONATHAN BROOKS
Oil on canvas, 26 inches by 21^ inches
Marked on the back and dated 1823
FULLER, GEORGE AMERICAN 1822-1884
GIRL DRIVING TURKEYS
Oil on canvas, 3i3<4 inches by 50 inches
Signed
FULLER, GEORGE AMERICAN 1 822-1 884
WINIFRED DYSART
Oil on canvas, 503^ inches by 403^ inches
Signed Illustrated on page 114 177

FULTON, ROBERT AMERICAN I765-I815
portrait of SAMUEL BEACH
Miniature on ivory, i^ inches by i^ inches
Illustrated on page 112
GABBIANI, ANTON DOMENICO, manner of Florentine 1652- 17 26
CHRIST CROWNED WITH THORNS
Sepia on paper, 9 inches by Gj/g inches
GAINSBOROUGH, thomas English i 727-1 788
THE artist's daughters
Oil on canvas, 50 inches by 40 inches
Illustrated on page 88
GAINSBOROUGH, thomas English i 727-1 788
A GRAND LANDSCAPE
Oil on canvas, 57 inches by 62 inches
Illustrated on page go
GAUGUIN, PAUL FRENCH 1848-I903
LA FEMME ACCROUPIE
Oil on canvas, 36 inches by 27 inches
Signed and dated 1891
Illustrated on page 1^4
GAUGUIN, PAUL FRENCH 1 848-1903
HEAD OF A WOMAN
Pastel on paper, 16 inches by 13 inches
Signed and dated 1884
GHIRLANDAIO, ridolfo Florentine 1483-1561
PORTRAIT OF AN ECCLESIASTIC
Oil on panel, 16 inches by 12 inches
Illustrated on page 32 178

GHISLANDI, FRA VITTORE ITALIAN 1655-I743
A SELF PORTRAIT
Oil on canvas, 333^ inches by 253^ inches
Purchased from the bequest of Jerome Wheelock
Illustrated on page 72
GIROLAMO DI BERNARDINO DA UDINE Venetian Active ca. 1490
ADORATION OF THE SHEPHERDS
Oil on panel, 16 inches by 233^ inches
GONZALEZ Y SERRANO, bartholome Spanish i 564-1 627
PORTRAIT OF A YOUNG NOBLEWOMAN
Oil on canvas, 80 inches by 453^ inches
Illustrated on page §2
GOODRIDGE, Elizabeth American i 798-1 882
PORTRAIT OF ELIZABETH LITTLE
Miniature on ivory, 33^ inches by 3 inches
Gift of Mr. and Mrs. Gurdon Fisher
GOODRIDGE, Elizabeth American i 798-1 882
PORTRAIT OF GORHAM BOND, SON OF GEORGE BOND OF BOSTON
Miniature on paper, 33^ inches by 2^ inches
Gift of Stephen Salisbury III
GOYA Y LUCIENTES, francisco jose de Spanish 1746-1828
PORTRAIT OF DON FRAY MIGUEL FERNANDEZ
Oil on canvas, 38 inches by 33 inches
Signed and dated 1815
Illustrated on page g2
EL GRECO (domenico theotocopuli) Spanish ca. 1 548-1614
CHRIST IN THE HOUSE OF MARY AND MARTHA
Oil on panel, 13^4 inches by 153^ inches
Illustrated on page j4 179

EL GRECO (domenico theotocopuli) Spanish ca. 1548-1614
THE MAGDALENE
Oil on canvas, 42 inches by 40 inches
Signed Illustrated on page j6
GREENWOOD, joseph h. American 1857-
LANDSCAPE
Oil on panel, 17 inches by 26 inches
Signed
Bequest of Mrs. Susan B. Paine
GREENWOOD, joseph h. American 1857-
LATE AUTUMN
Oil on canvas, 333^ inches by 50 inches
Signed and dated 1898
Gift of pupils of the artist
GREENWOOD, joseph h. American 1857-
MELTING SNOW
Oil on canvas, 32 inches by 42 inches
Signed and dated 1918
GRIMOU, JEAN ALEXIS FRENCH 1680-I74O
THE TOPER
Oil on canvas, 40 inches by 32 inches
Illustrated on page 76
GUERCINO (giovanni Francesco barbieri), manner of Italian
1591-1666 LANDSCAPESepia on paper, 93^^ inches by 14)^ inches
GUIDO DA SIENA sienese thirteenth century
MADONNA AND CHILD
Tempera on panel, 27^ inches by 20>2 inches
Illustrated on page 2 180

GULLAGER, christian American i 762-1 826
PORTRAIT OF MRS. NICHOLAS SALISBURY
Oil on canvas, 353>^ inches by 28 inches
Gift of Stephen Salisbury III
GULLAGER, christian American i 762-1 826
PORTRAIT OF MRS. SAMUEL SALISBURY
Oil on canvas, 353^ inches by 29 inches
Gift of Stephen Salisbury III
HARDING, CHESTER AMERICAN I792-1866
PORTRAIT OF DANIEL WALDO, JR.
Oil on canvas, 363^ inches by 283^ inches
Estate of Mrs. Hester Newton Wetherell
HARDING, CHESTER AMERICAN I792-1866
PORTRAIT OF MRS. ELIZABETH TUCKERMAN SALISBURY
Oil on canvas, 253^ inches by 303^ inches
Bequest of Stephen Salisbury III
Illustrated on page 108
HASSAM, CHILDE AMERICAN 1859-
THE BREAKFAST ROOM
Oil on canvas, 243^ inches by 30 inches
Signed and dated 191 1
Illustrated on page 146
hassam, childe american 1859-
sylph's rock, appledore
Oil on canvas, 25 inches by 30 inches
Signed and dated 1907
Gift of Mrs. E. D. Buffington
HASSAM, CHILDE AMERICAN 1859-
YONKERS FROM THE PALISADES
Water colour on paper, 14 inches by 20 inches
Signed and dated 1916 181

HAWTHORNE, charles webster American 1872-
VENETIAN GIRL
Oil on canvas, 26 inches by 18 inches
Signed
HEYDEN, JAN VAN DER DUTCH 1637-I712
view in a DUTCH VILLAGE
(Figures by Van der Neer)
Oil on panel, 17 inches by 203^ inches
Illustrated on page yo
HILL, PAMELIA AMERICAN 1803-1860
PORTRAIT OF MRS. ELIZABETH TUCKERMAN SALISBURY
Miniature on ivory, 4 inches hy j^/g inches
Gift of Stephen Salisbury III
HILL, PAMELIA AMERICAN I803-1860
PORTRAIT OF MRS. CATHERINE DEAN FLINT
Miniature on ivory, 4 inches by 3 inches
Gift of Stephen Salisbury III
HILL, PAMELIA AMERICAN 1803-1860
PORTRAIT OF MRS. PHYLA WALKER DEAN
Miniature on ivory, 4 inches by 33/3 inches
Gift of Stephen Salisbury III
HILL, PAMELIA AMERICAN 1803-1860
PORTRAIT OF MRS. REBECCA SCOTT DEAN SALISBURY
Miniature on ivory, 3^ inches by 3 inches
Gift of Stephen Salisbury III
HILL, PAMELIA AMERICAN 1803-1860
PORTRAIT OF MRS. REBECCA SCOTT DEAN SALISBURY
Miniature on ivory, 4 inches by 3 inches
Gift of Stephen Salisbury III 182

HILL, PAMELIA AMERICAN 1803-1860
PORTRAIT OF STEPHEN SALISBURY II
Miniature on ivory, 3J4 inches by 2J4 inches
Gift of Stephen Salisbury III
HILL, PAMELIA AMERICAN 1803-1860
PORTRAIT OF STEPHEN SALISBURY III AT AGE OF FIVE
Miniature on ivory, 43^ inches by 33^8 inches
Gift of Stephen Salisbury III
HILL, PAMELIA AMERICAN 1803-1860
PORTRAIT OF STEPHEN SALISBURY III AT AGE OF SIX
Miniature on ivory, 33^ inches by 2^ inches
Gift of Stephen Salisbury III
HOGARTH, WILLIAM English i 697-1 764
PORTRAIT OF MRS. WILLIAM JAMES
Oil on canvas, 293^ inches by 243^ inches
Signed and dated 1744
Illustrated on page 80
HOGARTH, WILLIAM English i 697-1 764
PORTRAIT OF WILLIAM JAMES
Oil on canvas, 293^ inches by 243^ inches
Signed and dated 1744
Illustrated on page 82
HOMER, WINSLOW AMERICAN 1836-I9IO
BERMUDA SETTLERS
Water colour on paper, 133^ inches by 203^ inches
Signed and dated 1901
HOMER, WINSLOW AMERICAN 1836-I9IO
BOYS AND KITTENS
Water colour on paper, 93^ inches by 13 inches
Signed and dated 1885 183

HOMER, WINSLOW AMERICAN 1836-I9IO
BREAKING WAVE ON SHORE LINE
Water colour on paper, 14%^ inches by 213^ inches
Signed and dated 1895
HOMER, WINSLOW AMERICAN 1836-I9IO
CORAL FORMATION
Water colour on paper, 13J-4 inches by 21 inches
Signed and dated 1901
HOMER, WINSLOW AMERICAN 1836-I9IO
FISHING BOATS
Water colour on paper, 133^ inches by 213^ inches
Signed and dated 1904
HOMER, WINSLOW AMERICAN 1836-I9IO
THE GALE
Oil on canvas, 293^ inches by 48 inches
Signed and dated 1893
Illustrated on page 128
HOMER, WINSLOW AMERICAN I836-I9IO
IN A FLORIDA JUNGLE
Water colour on paper, 133^ inches by 193^ inches
Signed and dated 1904
HOMER, WINSLOW AMERICAN I836-I9IO
LAKE ST. JOHN
Water colour on paper, 133^ inches by 213^ inches
Signed by C. S. Homer, Executor, and dated 1897
HOMER, WINSLOW AMERICAN I836-I9IO
LIGHT HOUSE
Water colour on paper, 133^ inches by 203^ inches
Signed by C. S. Homer, Executor, and dated li
184

HOMER, WINSLOW AMERICAN 1836-1910
OLD FRIEND
Water colour on paper, 21 inches by 143^ inches
Signed and dated 1894
HOMER, WINSLOW AMERICAN 1836-I9IO
PROUt's NECK, ROCKY SHORE
Water colour on paper, ii inches by 193^ inches
Signed and dated 1883
HOMER, WINSLOW AMERICAN 1836-1910
PROUT's neck, SURF AND ROCKS
Water colour on paper, 143^ inches by 21 inches
Signed and dated 1883
HOMER, WINSLOW AMERICAN 1836-I9IO
RUM CAY, BERMUDA
Water colour on paper, 143^ inches by 203^ inches
Signed and dated 1901
HOA'IER, WINSLOW AMERICAN I836-I9IO
SAGUENAY RIVER, LOWER RAPIDS
Water colour on paper, 13^ inches by 20^ inches
Signed and dated 1897
Illustrated on page ijo
HO]MER, WINSLOW AMERICAN 1836-I9IO
SUNSET, GLOUCESTER
Water colour on paper, 13^^ inches by 193^ inches
Signed and dated 1895
HOMER, WINSLOW AMERICAN 1836-I9IO
THE TURKEY BUZZARD
Water colour on paper, I3>^ inches by 19 inches
Signed and dated 1904 18S

HONDECOETER, melchior d' dutch 163 6-1695
poultry
Oil on canvas, 34^ inches by 443^ inches
Estate of Emma E. P. Holland
HONE, HORACE ENGLISH I755-1825
portrait of the MARCHIONESS OF DONEGAL IN MILITARY DRESS
Miniature on ivory, 2^ inches by 23^ inches
Signed and dated 1799
Illustrated on page 112
HUNT, WILLIAM MORRIS AMERICAN I824-1879
THE BATHERS
Oil on canvas, 24 inches by 16 inches
Signed and dated 1887
Illustrated on page 124
HUNT, WILLIAM MORRIS AMERICAN 1824-1879
AN OWL
Charcoal on paper, 17 inches by 11 inches
Gift of Mrs. Edward K. Hill
INMAN, HENRY AMERICAN I80I-1846
HEAD OF A MAN
Oil on canvas, 12 inches by 20 inches
Bequest of Mrs. Georgianna B. Wright
INMAN, HENRY AMERICAN 180I-1846
PORTRAIT OF DANIEL HUNTINGTON
Oil on canvas, 28 inches by 23 inches
Bequest of Mrs. Georgianna B. Wright
INNESS, GEORGE, SR. AMERICAN 1825-1894
THE ALBAN HILLS
Oil on canvas, 30 inches by 45 inches
Signed and dated 1873
Purchased from the Lucius J. Knowles Fund, St. Wulstan Society

INNESS, GEORGE, SR. AMERICAN 1825-1894
A POOL IN THE WOODS
Oil on canvas, 22 inches by 27 inches
Signed and dated 1892
Illustrated on page 122
ISRAELS, JOSEF DUTCH 1 824-191 1
THE ANXIOUS FAMILY
Oil on canvas, 22 inches by 27 inches
Signed and dated 1885
Illustrated on page 118
ISRAELS, JOSEF DUTCH 1824-1911
INTERIOR
Oil on canvas, 26^ inches by 32 inches
Signed
Gift of Mrs. Joseph A. Ropes
ITALIAN (.'') EIGHTEENTH CENTURY
ARCHITECTURAL DESIGN
Ink on paper, 73^ inches by 9^^ inches
ITALIAN (Venetian) eighteenth century
HEAD OF A GIRL
Pastel on paper, 93^ inches by 73^ inches
ITALIAN (Venetian) eighteenth century
head or A girl
Pastel on paper, 9^ inches by J}4 inches
ITALIAN (Venetian) eighteenth century
PORTRAIT HEAD OF A MAN
Pastel on paper, 16 inches by 123^ inches
187

ITALIAN (Venetian) eighteenth century
portrait head of a woman
Pastel on paper, 163^ inches by 123^ inches
ITALIAN (Florentine) (early) fifteenth century
MADONNA AND CHILD
Tempera on panel, 233^ inches by 143^ inches
Illustrated on page 10
ITALIAN (school of the marches) fourteenth century
madonna and child with saints
Tempera on panel, 1 1 inches by 6^ inches
ITALIAN (.?) SEVENTEENTH CENTURY
DESIGN FOR ALTARPIECE
Water colour and ink on paper, 6 inches by 43^ inches
ITALIAN (.'') SIXTEENTH CENTURY
DRAWING FOR A CANDLESTICK
Sepia and ink on paper, 113^ inches by 43^ inches
JOHNSTON, JOHN AMERICAN I752-1818
PORTRAIT OF DANIEL WALDO, SR.
Oil on canvas, 35^2 inches by 293^ inches
Estate of Mrs. Hester Newton Wetherell
JOHNSTON, JOHN AMERICAN I752-1818
PORTRAIT OF MRS. DANIEL WALDO, SR.
Oil on canvas, 35 inches by 29 inches
Estate of Mrs. Hester Newton Wetherell
JOHNSTON, JOHN AMERICAN I752-1818
PORTRAIT OF MRS. DANIEL WALDO, SR.
Oil on canvas, 36 inches by 30 inches.
Gift of Stephen Salisbury III 188

JOHNSTON, JOHN AMERICAN I752-1818
PORTRAIT OF STEPHEN SALISBURY I
Oil on panel, 36 inches by 28 inches
Gift of Stephen Salisbury III
JOHNSTON, JOHN BERNARD AMERICAN 1847-1886
BLACK HEIFER
Oil on panel, lo inches by 14 inches
Signed
Gift of Mrs. Isaac Fenno-Gendrot
KNOWLTON, HELEN MARY AMERICAN 1832-I918
ANTONIO Pastel on paper, 12 inches by 9 inches
Signed
KNOWLTON, HELEN MARY AMERICAN 1832-1918
MARKET PLACE, DIVES, FRANCE
Charcoal on paper, 163^ inches by 11 inches
Signed
Gift of Mrs. Isaac Fenno-Gendrot
KNOWLTON, HELEN MARY AMERICAN 1832-I918
ox CART AND DRIVER
Oil on prepared board, II inches by 16 inches
Signed
Gift of Lucy E. Knowlton
KNOWLTON, HELEN MARY AMERICAN 1832-I918
PORTRAIT OF WILLIAM MORRIS HUNT
Oil on canvas, 40 inches by 30 inches
Signed
Gift of the artist 189

KNOWLTON, HELEN MARY AMERICAN 1832-I918
STUDY OF A HEAD
Oil on canvas, i8 inches by 14 inches
Signed
Gift of Mrs. Isaac Fenno-Gendrot
LA FARGE, john American 1835-1910
LA suonatore
Wax on panel, 453^ inches by 36 inches
Signed and dated 1887
LA FARGE, john American 1835-1910
WOMAN bathing
Oil on panel, 18 inches by 123^ inches
LAWRENCE, sir thomas, p. r. a. English 1769-1830
portrait of lady STRACHAN
Miniature on ivory, 3 inches by 23^ inches
LAWRENCE, sir thomas, p. r. a., school of English eighteenth
CENTURY '
portrait of the honorable miss STUART
Oil on canvas, 29 inches by 24 inches
LIPPI, FRA FILIPPO, school of FLORENTINE FIFTEENTH CENTURY
MADONNA AND CHILD
Tempera on panel, 30 inches by 203^ inches
LOCKWOOD, WILTON AMERICAN I862-I9I4
PEONIES
Oil on canvas, 31 inches by 37 inches
LOCKWOOD, WILTON AMERICAN I862-I9I4
PORTRAIT OF JEROME WHEELOCK
Oil on canvas, 77 inches by 35 inches
Signed
Purchased from the bequest of Jerome Wheelock
190

LONGHI, PiETRO, manner of Venetian 1702-1785
HE.VD OF A GIRL
Ink on paper, 7Js inches by 6 inches
lotto, lorenzo venetian ca. i4s0-i556
portrait of a woman
Oil on panel, 13 inches by n inches
Illustrated on page j8
MACKNIGHT, dodge American 1860-
FRENCH CANADIAN WASH
Abater colour on paper, I4^;( inches by 213^ inches
Signed
MACKNIGHT, dodge American 1860-
MEADOW IN SNOW
W ater colour on paper, 15 inches by 21^ inches
Signed
AIAES, NICOLAUS DUTCH I 63 2-1 693
PORTRAIT OF AN OLD LADY
Oil on canvas, 34 inches by 27 inches
Illustrated on page 68
MAGNASCO, ALESSANDRO, manner of Milanese i 681-1747
MARTYRDOM OF A SAINT
Sepia on paper, 9 inches by 14^ inches
MALBONE, EDWARD GREENE AMERICAN I777-1807
PORTRAIT OF EBEN FARLEY
Miniature on ivory, 2^ inches by 2 inches
Illustrated on page 112
MALBONE, EDWARD GREENE AMERICAN I777-1807
PORTRAIT OF ELIZABETH TUCKERMAN (SALISBURY)
Aliniature on ivory, 2^ inches by 23/g inches
Gift of Stephen Salisbury III 191

MALBONE, EDWARD greene American 1777-1807
PORTRAIT OF LUCRETIA TUCKERMAN
Miniature on ivory, 23^ inches by 2 inches
Gift of Stephen Salisbury III
MALBONE, EDWARD greene AMERICAN I777-1807
PORTRAIT OF STEPHEN SALISBURY I
Miniature on ivory, 2^ inches by 23^ inches
Gift of Stephen Salisbury III
MALBONE, EDWARD greene AMERICAN I777-1807
WOMAN AND DOG
Miniature on ivory, 13^ inches by % inches
MARTIN, HOMER AMERICAN 1836-1897
LANDSCAPE
Oil on canvas, 20 inches by 32 inches
Bequest of Mrs. Caroline Nelson Russell
MARTIN, HOMER AMERICAN I836-1897
LOW TIDE, HONFLEUR
Oil on canvas, 15 inches by 24 inches
Signed
MARTIN, HOMER AMERICAN I 83 6-1 897
MOONLIT POND, HONFLEUR
Oil on canvas, 14 inches by 10 inches
Signed
MARTIN, HOMER AMERICAN I836-1897
TWILIGHT NEAR HONFLEUR
Oil on canvas, 73^ inches by 183^ inches
Signed 192

MASOLINO DA PANICALE Florentine 1383-1440
MADONNA AND CHILD
Tempera on panel, 22 inches by 143^ inches
Illustrated on page 16
MASTER OF FRANKFORT german sixteenth century
MADONNA AND CHILD WITH ANGELS
Oil on panel, 333^ inches by 26 inches
Illustrated on page jo
MESDACH, SALOMON dutch seventeenth CENTURY
PORTRAIT OF A YOUNG WOMAN
Oil on panel, 4g}4 inches by 32 inches
AIESDAG, HENDRIK WILLEM DUTCH I83I-I915
DEPARTURE OF FISHING BOATS FROM SCHEVENINGEN
Oil on panel, 20 inches by 153^ inches
Signed
Bequest of Joseph 'Tuckerman
METCALF, WILLARD leroy American 1858-
PRELUDEOil on canvas, 36 inches by 39 inches
Signed and dated 1909
MICHEL (.?), GEORGES FRENCH I763-1843
landscape with mill
Oil on canvas, 25 inches by 32 inches
Bequest of Mrs. Caroline Nelson Russell
MONET, CLAUDE FRENCH 184O-
WATERLILIESOil on canvas, 36 inches by 36 inches
Signed and dated 1908 193

MONET, CLAUDE FRENCH 184O-
WATERLOO BRIDGE
Oil on canvas, 253^ inches by 36 inches
Signed and dated 1903
Illustrated on page Tj2
MONTAGNA, bartolommeo Venetian ca. 1450-1523
MADONNA AND CHILD
Tempera on panel, 26j<4 inches by 22 inches
Illustrated on page 20
MONTICELLI, adolphe frenCh 1824-1886
CONFIDENCESOil on panel, 103^ inches by 83^ inches
Signed
MONTICELLI, adolphe french i 824-1 886
ON THE RIVER BANK
Oil on panel, 14^ inches by 18 inches
Signed
MOREELSE, paulus dutch 1571-1638
PORTRAIT OF CORNELIA BRUINZEELS
Oil on panel, 43 inches by 30 inches
Gift of Mrs. Daniel Merriman
Illustrated on page j8
MORLAND, GEORGE English 1763-1804
FARMYARD SCENE
Oil on canvas, 20 inches by 28 inches
Signed and dated 1781
MORONI, GIOVANNI BATTISTA BRESCIAN Ca. I52O-I578
THE BERGAMASK CAPTAIN
Oil on canvas, 34 inches by 24 inches
Illustrated on page 44 194

->

MORSE, SAMUEL FINLEY BREESE AMERICAN 179I-1872
CAZENOVI.'V LAKE
Oil on canvas, 293^2 inches by 37 inches
Signed
Bequest of Stephen Salisbury III
MOSTAERT, jan flemish ca. 1475-1555
PORTRAIT OF A MAN
Oil on panel, 18 inches by 1234 inches
Illustrated on page 26
MURPHY, JOHN FRANCIS AMERICAN I853-I92I
THE CLEARING
Oil on canvas, 14 inches by 19 inches
Signed and dated 1909
NEER, EGLON HENDRIK VAN DER DUTCH Ca. 1635-I703
VIEW IN A DUTCH VILLAGE
(Landscape by Van der Heyden)
Oil on panel, 17 inches by 203^ inches
Illustrated on page 70
NELLI, OTTAVIANO UMBRIAN Active ca. 1400-1444
THE ADORATION OF THE MAGI
Tempera on panel, 32^ inches by 16 inches
Illustrated on page 8
NEUHUYS, ALBERT DUTCH I844-I914
CHILDREN OF LAREN GOING TO SCHOOL
Oil on canvas, 40 inches by 54 inches
Signed
Gift of William H. Sawyer, Sr.
NORTHCOTE, james English i 746-1 831
PORTRAIT GROUP
Miniature on ivory, 43^ inches by 73^ inches
Signed
Gift of Raymond Wyer 19s

ORPEN, sir WILLIAM ENGLISH 1878-
THE COSTERMONGER
Oil on canvas, 24^^ inches by 203^ inches
Signed and dated 1905
Illustrated on page IJ2
OSTADE, ADRIAEN VAN DUTCH 161O-1685
TAVERN BRAWL
Oil on panel, 9 inches by 10^ inches
Signed and dated 1646
OWEN, WILLIAM ENGLISH I769-1825
PORTRAIT OF TREVOR PLOWDEN
Oil on canvas, 36 inches by 28 inches
PALAMEDES, anthonie dutch 1601-1673
PORTRAIT OF a MAN
Oil on canvas, 29 inches by 243^ inches
Signed and dated 1652
PALMA, JACOPO the elder (palma vecchio) Venetian ca. 1480-1528
PORTRAIT OF A MAN
Oil on panel, 263^ inches by 22 inches
PALAIA, JACOPO THE ELDER (pALMA VECCHIo), School of VENETIAN SIX
TEENTH CENTUPY
HOLY FAMILY
Oil on panel, 32 inches by 483^ inches
PARSHALL, DE WITT American 1864-
HERMIT CREEK CANYON
Oil on canvas, 45 inches by 50 inches
Signed
PAUL, JEREMIAH AMERICAN Active ca.i79i-iS20
PORTRAIT OF MRS. RACHEL WEST CLARKSON
Oil on canvas, 24 inches by 18 inches 196

PEALE, CHARLES WILLSON AMERICAN I74I-1827
PORTRAIT OF COLONEL CHARLES PETTIT
Oil on canvas, 35^2' inches by 263^ inches
Signed and dated 1792
Illustrated on page g8
PESNE, ANTOINE FRENCH 1683-I757
PORTRAIT OF FREDERICK GEORGE SCHMIDT, THE ENGRAVER
Oil on canvas, 313^ inches by 29 inches
Illustrated on page j8
PLniER, ANDREW ENGLISH I763-1837
PORTRAIT OF FRANCES ELIZABETH HENRY
Miniature on ivory, 2'^g inches by 23^ inches
Illustrated on page 112
POURBUS, FRANZ THE YOUNGER FLEMISH Ca. I57O-1622
PORTRAIT OF A LADY
Oil on canvas, 26 inches by 223^4 inches
Illustrated on page 48
POL'SSIN, GASPARD (gASPARD DUGHEt) FRENCH 1613-1675
CLASSICAL SCENE
Oil on panel, 20 inches by 24 inches
Gift of Harriet E. Clarke
RAEBURN, SIR henry scotch 1756-1823
PORTRAIT OF MRS. RENNY STRACHAN
Oil on canvas, 30 inches by 25 inches
Purchased from the bequest of Mrs. Hester Newton Wetherell
Illustrated on page 104
REDON, ODILON FRENCH 1840-1916
SPRING
Oil on canvas, 21 inches by 29 inches
Signed Illustrated on page ijo 197

RESSO,  , manner of Italian
HEAD OF A YOUNG WOMAN
Pastel on paper, ii inches by J^y, inches
REYNOLDS, sir joshua, p. r. a. English 1723-1792
MOTHER AND CHILD
Oil on canvas, 30^ inches by 253^ inches
Illustrated on page 86
ROBBINS, ELLEN AMERICAN 1828-I905
POPPIES
Water colour on paper, 17 inches by 24 inches
Signed and dated 1888
Gift of Mrs. John Thaxter
ROBINSON, THOMAS AMERICAN 1835-1888
FOWLS IN YARD
Oil on canvas, lo inches by 133^ inches
Signed
Gift of Mrs. Isaac Fenno-Gendrot
RODIN, AUGUSTE FRENCH 184O-I917
NUDE FIGURE
Pencil and water colour on paper, 93^ inches by I2>^ inches
Signed
RODIN, AUGUSTE FRENCH 184O-I9I7
NUDE FIGURE
Pencil and water colour on paper, I23<4 inches by 93^ inches
Signed
RODIN, AUGUSTE FRENCH 184O-I917 ^
NUDE FIGURE
Pencil and water colour on paper, 103^ inches by 143^ inches
Signed Illustrated on page Ij6

RODIN, AUGUSTE FRENCH 184O-I9I7
NUDE FIGURE
Pencil and water colour on paper, 934' inches by I23<4 inches
Signed
RODIN, AUGUSTE FRENCH I84O-I9I7
NUDE FIGURE
Pencil and water colour on paper, 93^ inches by I23<4 inches
Signed
RODIN, AUGUSTE FRENCH 184O-I9I7
NUDE FIGURE
Pencil and water colour on paper, 934^ inches by 123^ inches
Signed
RODIN, AUGUSTE FRENCH 184O-I917
NUDE FIGURE
Pencil and water colour on paper, 123^ inches by 93^ inches
Signed
ROGERS, NATHANIEL AMERICAN I788-1844
PORTRAIT OF CAPTAIN CHARLES TYLER SAVAGE
Miniature on ivory, 2j/g inches by 2% inches
Signed
ROGERS, NATHANIEL AMERICAN I788-1844
PORTRAIT OF MRS. CHARLES TYLER SAVAGE
-Miniature on ivory, 23^ inches by 2 inches
ROMEYN, WILLEM DUTCH 1624-after 1693
LANDSCAPE WITH CATTLE
Oil on panel, i8 inches by 143^ inches
Gift of Mrs. Matthew J. Whittall 199

ROWLANDSON, thomas English i 756-1 827
three judges
Water colour on paper, io34^ inches by 10^4 inches
RUBENS, PETER PAUL FLEMISH I577-164O
head of a WOMAN
Wash drawing on paper, 4.^/^ inches by 334^ inches
Bequest of Mrs. Susan Chapman Dexter
RUBENS, peter paul flemish 1577-1640
MAN IN ARMOUR WITH NEGRO
Wash drawing on paper, 7 inches by 4^ inches
Bequest of Mrs. Susan Chapman Dexter
RUYSDAEL, Salomon van dutch ca. 1600-1670
landscape
Oil on panel, 1934 inches by 28^ inches
Signed and dated 1642
RYDER, ALBERT PINKHAM AMERICAN 1847-I9I7
PEGASUS
Oil on panel, 12 inches by 1 134' inches
Illustrated on page 126
IL SALVIATI (FRANCESCO DEI ROSSi) FLORENTINE I5IO-I563
PORTRAIT OF FRANCESCO DEGLI ALBIZZI
Oil on panel, 50 inches by 37 inches
Illustrated on page j6
SARGENT, JOHN singer American 1856-
THE BASIN, VIZCAYA
Water colour on paper, 133^ inches by 203^ inches
Signed and dated 1917 200

SARGENT, JOHN singer American 1856-
THE BATHERS
Water colour on paper, 153-2 inches by 2034' inches
Signed and dated 1917
SARGENT, JOHN singer American 1856-
BOATS AT anchor
Water colour on paper, I53l> inches by 203-2 inches
Signed and dated 1917
SARGENT, JOHN singer American 1856-
DERELICTS
Water colour on paper, 133^ inches by 203-2 inches
Signed and dated 1917
SARGENT, JOHN singer American 1856-
THE loggia, VIZCAYA
Water colour on paper, 153^ inches by 20^ inches
Signed and dated 1917
SARGENT, JOHN singer American 1856-
MUDDY ALLIGATORS
\^'ater colour on paper, 133^ inches by 203^ inches
Signed and dated 1917
Illustrated on page Ij8
SARGENT, JOHN singer American 1856-
PALMS
Water colour on paper, 153^ inches by 21 inches
Signed and dated 1917
SARGENT, JOHN singer American 1856-
THE PATIO, VIZCAYA
Water colour on paper, 153^ inches by 20^ inches
Signed and dated 1917 201

SARGENT, JOHN singer American 1856-
THE POOL
Water colour on paper, 133^ inches by 203-2 inches
Signed and dated 1917
SARGENT, JOHN singer American 1856-
PORTRAIT OF LADY WARWICK AND HER SON
Oil on canvas, 106 inches by 60 inches
Signed and dated 1905
Illustrated on page ij6
SARGENT, JOHN singer American 1856-
SHADY PATHS, VIZCAYA
\^'ater colour on paper, 153^ inches by 20^ inches
Signed and dated 1917
SARGENT, JOHN singer American 1856-
THE terrace, VIZCAYA
Water colour on paper, 13^ inches by 203^ inches
Signed and dated 1917
SARGENT, JOHN singer American 1856-
venetian water carriers
Oil on canvas, 25 inches by 273^ inches
Signed
SAVAGE, EDWARD AMERICAN I761-1817
PORTRAIT OF EBEN SEAVER
Miniature on ivory, 2 inches by i^^ inches
SAVAGE, EDWARD AMERICAN I761-1817
PORTRAIT OF MRS. SARAH SEAVER SAVAGE
Miniature on ivory, li^ inches by 23^ inches
202

SAVAGE, EDWARD AMERICAN I761-1817
SELF PORTRAIT
Miniature on ivory, ixs inches by ipe inches
SENNO, PIETRO ITALIAN Before 1 845-1904
A RAY OF SUNLIGHT
Oil on canvas, 67 inches by 51 inches
Signed
Gift of Mr. and Mrs. George T. Dewey
SHARPLES, JAMES AMERICAN I761-I8II
PORTRAIT OF CHARLES BROCKDEN BROWN
Pastel on paper, 93^ inches bj^ 73^ inches
SHAYER, WILLIAM J. ENGLISH I788-1879
COACHING SCENE
Oil on panel, 6 inches by 12 inches
Signed
SHAYER, WILLIAM J. ENGLISH I788-1879
COACHING SCENE
Oil on panel, 6 inches by 12 inches
Signed and dated 1 85 1
SHELLEY, SAMUEL English 1750-1808
PORTRAIT OF MRS. LAW
Miniature on ivory, 2^ inches by 23^ inches
SHURTLEFF, roswell morse American i 838-191 5
CHAPEL BROOK
Water colour on paper, 13^2 inches by 93^ inches
Signed
Gift of Jeanie Lea Southwick 203

SMIBERT, JOHN AMERICAN 1688-I75I
PORTRAIT OF REV. GEORGE BERKELEY, BISHOP OF CLOYNE
Oil on canvas, 30 inches by 25 inches
Signed
SNELL, HENRY BAYLEY AMERICAN 1858-
ENTRANCE TO THE HARBOUR OF POLPERRO
Oil on canvas, 34 inches by 44 inches
Signed
SORGH, HENDRIK MAERTENSZ DUTCH Ca. 161I-167O
THE MERRYMAKERS
Oil on panel, 22 inches by 30 inches
Signed Illustrated on page 62
SPANISH FIFTEENTH CENTURY
SAINT BARTHOLOMEW
Tempera on panel, 68 inches by 31^ inches
Illustrated on page 14
SPINELLI, LUCA (spinello aretino) Florentine Active 1361-1410
THE CRUCIFIXION
Tempera on panel, 273^ inches by 15 inches
Illustrated on page 6
STAIGG, RICHARD M. AMERICAN ca.i820-i88i
PORTRAIT OF GARDINER GREENE HAMMOND
Miniature on ivory, 2^^ inches by 2 inches
STEFANO DA ZEVIO THE YOUNGER Veronese ca. 1393-1450
MADONNA OF THE ROSE GARDEN
Tempera on panel, 24 inches by 17 inches
Illustrated on page 12 204

STEVENS, ALFRED BELGl.VN IS28-I906
UNE mJirE
Oil on panel, 25 inches by 17 inches
Signed Illustrated on page 116
STE\'ENS, WILLIAM CHARLES AMERICAN I854-I9I7
THE BROOK
Oil on panel, 93^ inches by 12 inches
Signed
STE\'ENS, WILLIAM CHARLES AMERICAN I854-I9I7
P-A.TH THROUGH THE WOODS
Oil on canvas, 28 inches by 32 inches
Signed and dated 1913
STUART, GILBERT AMERICAN I755-1828
PORTRAIT OF MRS. ELIZABETH TUCKERMAN SALISBURY
Oil on panel, 32 inches by 26 inches
Gift of Stephen Salisbury III
STUART, GILBERT AMERICAN I755-1828
PORTRAIT OF GABRIEL MANIGAULT
Miniature on ivory, 4 inches by 33^ inches
STUART, GILBERT AMERICAN I755-1828
PORTRAIT OF MRS. GABRIEL MANIGAULT
Miniature on ivory, 4 inches by 33^ inches
STUART, GILBERT AMERICAN I755-1828
PORTRAIT OF MRS. PEREZ MORTON
Oil on canvas, 28>^ inches by 243^ inches
Gift of the grandchildren of Joseph Tuckerman
Illustrated on page 102 205

STUART, GILBERT AMERICAN I755-1828
PORTRAIT OF SAMUEL SALISBURY
Oil on panel, 323^ inches by 27 inches
Gift of Stephen Salisbury III
STUART, GILBERT AMERICAN I755-1828
PORTRAIT OF STEPHEN SALISBURY I
Oil on canvas, 28 inches by 23 inches
Gift of Stephen Salisbury III
SUBLEYRAS, pierre french i 699-1 749
PORTRAIT OF MARIA FELICIE TIBALDI, THE WIFE OF THE PAINTER
Oil on canvas, 39 inches by 29 inches
Gift of Mrs. Daniel Merriman
SULLY, THOMAS AMERICAN I783-1872
PORTRAIT OF MISS MARGARET SIDDONS
Oil on canvas, 36 inches by 29 inches
Illustrated on page no
SULLY, THOMAS AMERICAN I783-1872
PORTRAIT OF MISS PEARCE
Oil on canvas, 30 inches by 25 inches
TARBELL, edmund charles American 1862-
THE VENETIAN BLIND
Oil on canvas, 52 inches by 38 inches
Signed
THAULOW, FRITZ NORWEGIAN 1847-I906
WINTER IN NORWAY
Oil on canvas, 43 inches by 53 inches
Signed and dated 1891 206

THAI ER, ABBOTT HANDERSON AMERICAN 1S49-I92I
BOWL OF ROSES
Oil on canvas, 223-^ inches by 3i3^ inches
Signed
THAYER, ABBOTT HANDERSON AMERICAN 1849-I92I
A YOUNG GIRL
Oil on panel, 43 inches by 21 inches
Signed and dated 1917
TILLING, LODEWYK DUTCH SEVENTEENTH CENTURY
ITALI.\X LANDSCAPE
Oil on canvas, 393^ inches by 433^ inches
Gift of Mrs. Matthew J. Whittall
TIEPOLO, GIOVANNI BATTISTA VENETIAN 1696-I770
THE HOLY F.\MILY
Sepia on paper, i6^^ inches by 12 inches
Gift of Paul J. Sachs
Illustrated on page J4
IL TINTORETTO (jacopo robusti), manner of Venetian 1518-1592
FIGURE OF .\ MAN
Sepia on paper, 8% inches by 434^ inches
TRUMBULL, john American 1756-1843
GENERAL GATES
Wash drawing on paper, 8^ inches by 53^ inches
TRUMBULL, john American 1756-1843
GENERAL WASHINGTON ON HORSEBACK
Wash drawing on paper, it inches by 7 inches
TRYON, DWIGHT WILLIAM AMERICAN 1849-
AUTUMN SUNSET
Oil on panel, 20 inches by 30 inches
Signed and dated 1908-9 207

TWACHTMAN, john henry American i 853-1902
RAPIDS, YELLOWSTONE
Oil on canvas, 30 inches by 30 inches
Signed
TWACHTMAN, john henry American i 853-1902
SNOW
Oil on canvas, 30 inches by 30 inches
Signed
TWACHTMAN, john henry American 1853-1902
THE WATERFALL
Oil on canvas, 30 inches by 30 inches
Signed Illustrated on page 148
VELDE, WILLEM VAN DE, manner of dutch seventeenth century
STUDY OF A BATTLESHIP
Pencil and wash on paper, 123-2 inches by 263^ inches
VINTON, FREDERIC PORTER AMERICAN 1846-I9II
PORTRAIT OF CHARLES H. DAVIS
Oil on canvas, 30 inches by 25 inches
Signed
Gift of Charles H. Davis
VINTON, FREDERIC PORTER AMERICAN 1846-I9II
PORTRAIT OF STEPHEN SALISBURY III
Oil on canvas, 50 inches by 40 inches
Signed and dated 1891
Bequest of Stephen Salisbury III
WEIR, JULIAN ALDEN AMERICAN I852-I9I9
AN AMERICAN GIRL
Oil on canvas, 36 inches by 28 inches 208

,  !^ WEST, BENJAMIN, P. R. A. AMERICAN 1738-182O
HISTORICAL SUBJECT
Oil on canvas, 40 inches by 50 inches
WEST, BENJAMIN, p. R. A. AMERICAN I738-182O
PRESENTATION OF THE QUEEN OF SHEBA AT THE COURT OF KING SOLOMON
Oil on panel, 36 inches by 28 inches
WHISTLER, J.A.MES .-ABBOTT MCNEILL AMERICAN 1834-I9O3
— -^ THE FUR J.VCKET
Oil on canvas, 76 inches by 363^ inches
Signed Illustrated on page 142
WHISTLER, JAMES ABBOTT MCNEILL AMERICAN 1834-1903
THE WIDOW
Oil on canvas, 32 inches by 18 inches
Signed Illustrated on page 144
WHITMAN, SARAH DE ST. PRIX WYMAN AMERICAN 1842-I9O4
THE HAYRICK
Oil on canvas, 20 inches by 30 inches
Signed
Gift of Mrs. John L. Gardner
WIGHT, MOSES AMERICAN 1827-1895
PORTR.A.IT OF JUDGE THOMAS KINNICUTT
Oil on canvas, 30 inches by 25 inches
Gift of Central National Bank, Worcester
WILKIE, SIR DAVID SCOTCH I785-184I
.,  > THE LASSIE
Oil on canvas, 25 inches by 21 inches 209

WILLIAMS, HENRY AMERICAN I787-183O
PORTRAIT OF SAMUEL LARKIN
Miniature on ivory, Jys inches by 2^6 inche.s
WOLSTENHOLME, d. English i 800-1 848
HUNTING SCENE
Oil on panel, 83^ inches by 10 inches
Signed
WOODBURY, CHARLES HERBERT AMERICAN 1864-
THE NORTH ATLANTIC
Oil on canvas, 40 inches by 56 inches
Signed and dated 1902
Purchased from the bequest of Mrs. Penelope S. Canfield
WYANT, ALEXANDER HELWIG AMERICAN I836-1892
AFTERNOONOil on canvas, 9 inches by 14 inches
Signed and dated 1891
WYANT, ALEXANDER HELWIG AMERICAN I836-1892
EARLY SPRING
Oil on canvas, i6 inches by 22 inches
Signed
WYANT, ALEXANDER HELWIG AMERICAN I836-1892
IN THE STILL FOREST
Oil on canvas, 56 inches by 55 inches
Signed and dated 1888
Illustrated on page 120
WYANT, ALEXANDER HELWIG AMERICAN 1836-1892
A SUMMER DAY
Oil on canvas, lo inches by 14 inches
Signed

210

ZUBIAURRE, RAMON de Spanish 1882-
PAYSANS CELTIQUES DE VIZCAYA, ESPAGNE
Oil on canvas, 26 inches by 303^ inches
Signed and dated 1915
ZUCCARELLI, francesco, manner of Italian i 702-1 788
BEGGING peasants
Ink on paper, 4^g inches by 33^2 inches
ZUCCARELLI, francesco, manner of Italian i 702-1 788
landscape
Pencil and water colour on paper, 12 inches by 173^ inches

211

ARTISTS ARRANGED
UNDER SCHOOLS

ARTISTS
The arrangement is alphabetical under schools.

AMERICAN Ahl, Henry Hammond
Allen, Charles Curtis
Allston, Washington
Badger, Joseph
Bemis, 
. Benson, Frank VVeston
Billings, E. T.
Blackburn, Joseph
Blakelock, Ralph Albert
Brush, George de Forest
Carlsen, Emil
Cassatt, Mary
Clark, Alvan
Clark, Walter Appleton
Colman, Samuel
Copley, John Singleton
Crane, Frederick
Davis, Charles Harold
DeCamp, Joseph
Dewing, Thomas Wilmer
Dunlap, William
Durant, John Waldo
Earl, James
Earl, Ralph
Eicholtz, Jacob
Eighteenth century artist, name
unknown
Enneking, John Joseph
Field, Robert
Foote, Mary Hallock
Eraser, Charles
Freeland, Anna C.
Frothingham, James
Fuller, George
Fulton, Robert
Goodridge, Elizabeth

Greenwood, Joseph H.
Gullager, Christian
Harding, Chester
Hassam, Childe
Hawthorne, Charles Webster
Hill, Pamelia
Homer, Winslow
Hunt, William Morris
Inman, Henry
Inness, George, Sr.
Johnston, John
Johnston, John Bernard
Knowlton, Helen Mary
La Farge, John
Lockwood, Wilton
Macknight, Dodge
Malbone, Edward Greene
Martin, Homer
A^Eetcalf, Willard Leroy
Morse, Samuel Finley Breese
Murphy, John Francis
Nineteenth century artist, name
unknown
Parshall, DeWitt
Paul, Jeremiah
Peale, Charles Willson
Robbins, Ellen
Robinson, Thomas
Rogers, Nathaniel
Ryder, Albert Pinkham
Sargent, John Singer
Savage, Edward
Sharpies, James
Shurtleff, Roswell Morse
Smibert, John
Snell, Henry B.
Staigg, Richard

21 :

AMERICAN {Continued)
Stevens, W^illiam Charles
Stuart, Gilbert
Sully, Thomas
Tarbell, Edmund Charles
Thayer, Abbott Handerson
Trumbull, John
Tryon, Dwight William
Twachtman, John Henry
Vinton, Frederic Porter
Weir, Julian Alden
West, Benjamin
Whistler, James Abbott McNeill
Whitman, Sarah de St. Prix Wyman
Wight, Moses
Williams, Henry
Woodbury, Charles Herbert
Wj-ant, Alexander Helwig
BELGIAN Stevens, Alfred
BRITISH ENGLISH
Aiken, Samuel
Blake, William
Bonington, Richard Parkes
Breanski, Alfred de
Cosway, Richard
Eighteenth century artist, name
unknown
Etty, William
Gainsborough, Thomas
Hogarth, William
Hone, Horace
Lawrence, Sir Thomas
Alorland, George
Nineteenth century artist, name
unknown
Northcote, James
Orpen, Sir William

Owen, William
Plimer, Andrew
Reynolds, Sir Joshua
Rowlandson, Thomas
Shayer, William J.
Shelley, Samuel
Wolstenholme, D.
SCOTCH
Raeburn, Sir Henry
Wilkie, Sir David
DUTCH Both, Jan, manner of
Bray, Jan de
Brekelenkam, Quiringh Gerritsz
van
Dubordieu, Pieter
Heyden, Jan van der
Hondecoeter, Melchior d'
Israels, Joseph
Maes, Nicolaus
Mesdach, Salomon
Mesdag, Hendrick Willem
Moreelse, Paulus
Neer, Eglon Hendrik van der
Neuhyus, Albert
Ostade, Adriaen van
Palamedes, Anthonie
Romeyn, Willem
Ruysdael, Salomon van
Seventeenth century artist, name
unknown
Sorgh, Hendrik Maertensz
Tieling, Lodewyk
Velde, Willem van de, manner of
FLEMISH Bouts, Albert
Cleve, Joost van
Dyck, Sir Anthony van

216

FLEMISH (Continued)
Fifteenth century artist, name
unknown
Mostaert, Jan
Pourbus, Franz the Younger
Rubens, Peter Paul
Sixteenth century artist, name
unknown
FRENCH Antigna, Alexandre
Boudin, Eugene
Breton, Jules
Courbet, Gustave
Daubigny, Charles Frangois
Diaz de la Pena, Narcisso Virgilio
Dumonstier, Pierre
Fifteenth century artist, name un
known
Gauguin, Paul
Grimou, Jean Alexis
Michel (.?), Georges
Monet, Claude
Monticelli, Adolphe
Pesne, Antoine
Poussin,Gaspard(Gaspard Dughet)
Redon, Odilon
Rodin, Auguste
Subleyras, Pierre
GERMAN Master of Frankfort
ITALIAN BOLOGNESEFrancia, Francesco (Francesco
Raibolini), school of
BRESCIAN
Moroni, Giovanni Battista
FERRARESE
Dossi, Dosso (Giovanni Lutera)

FLORENTINE Benozzo Gozzoli, school of
Bronzino, Agnolo, manner of
Buontalenti, Bernardo, manner of
Fifteenth century artist, name
unknown
Gabbiani, Anton Domenico, manner
of
Ghirlandaio, Ridolfo
Lippi, Fra Filippo, school of
Masolino da Panicale
II Salviati (Francesco dei Rossi)
Spinelli, Luca (Spinello Aretino)
MILANESE Conti, Bernardino dei
Alagnasco, Alessandro, manner of
PIEDMONTESE
Ferrari, Defendente, school of
SCHOOL OF THE MARCHES
Fourteenth century artist, name
unknown
SIENESE
Guido da Siena
UMBRIAN
Antoniazzo Romano
Antonio da Viterbo
Nelli, Ottaviano
VENETIAN Bassano, Giacomo (Jacopo da
Ponte), manner of
Bellini, Giovanni, school of
Buonconsiglio, Giovanni
Carriera, Rosalba
Eighteenth century artist, name
unknown
Girolamo da Udine
Longhi, Pietro
Lotto, Lorenzo
Montagna, Bartolommeo

217

ITALIAN {Continued)
Palma, Jacopo the Elder (Palma
Vecchio)
Tiepolo, Giovanni Battista
II Tintoretto (Jacopo Robusti),
manner of
VERONESE Farinato, Paolo
Stefano da Zevio the Younger
MISCELLANEOUS Bolognini, 
Cantarini, Simone (Simone da
Pesaro), manner of
Carracci, Annibale
Eighteenth century artist, name
unknown
Ghislandi, Fra Vittore

Guercino (Giovanni Francesco
Barbieri), manner of
Resso,  , manner of
Senno, Pietro
Zuccarelli, Francesco, manner of
NORWEGIAN Thaulow, Fritz
SPANISH Cano, Alonso
Carmona, Manuel Salvador
Fifteenth century artist, name un
known
Gonzales y Serrano, Bartolome
Goya y Lucientes, Francisco
Jose de
El Greco (Domenico Theotocopuli)
Zubiaurre, Ramon de

218

INDEX

INDEX

Adoration, Antonio da \'^iterbo, 23, 163.
.¦Idoration, manner of Simone Cantarini, 168.
.Adoration of the Magi, Ottaviano Nelli, 9, 195.
.¦Idoration of the Shepherds, Girolamo da Udine,
179.
Afternoon, A. H. Wyant, 210.
Ahl, Henry Hammond, 161.
Alhan Hills, George tnness, Sr., 186.
Albizzi, Francesco Degli, Portrait of, II Salviati,
37, 200.
.\lken, Samuel, 161.
Allen, Charles Curtis, 161.
Allston, Washington, 161.
Altarpiece, Design for, Italian (?), Seventeenth
century, 188.
American, Eighteenth century (artist un
known), 161, 162.
American, Nineteenth century (artist un
known), 162.
American Girl, J. A. Weir, 208.
Antigna, Alexandre, 163.
Antoniazzo, Romano, 163.
.\ntonio da Viterbo, 23, 163.
Antonio, Helen M. Knowlton, 189.
Anxious Family, Josef Israels, 119, 187.
Architectural design, Italian (.'), Eighteenth
century. 187.
Architectural sketch, manner of Bernardo
Buontalenti, 168.
Aretino, Spinello, see Spinelli, Luca.
Artists arranged under Schools, 213.
Artist's Daughters, Thomas Gainsborough, 89,
178.
At Sunset, C. H. Davis, 141, 171.
Atkinson, Colonel Theodore, Portrait of, Joseph
Blackburn, 95, 165.
Autumn Sunset, D. W. Tryon, 207.
"The Awakening of Helena Ritchie," Ulustra
tion for, W. A. Clark, 169.
Badger, Joseph, 163.
Barbieri, Giovanni Francesco, see Guercino.
Barrell, Joseph, Portrait of, John Singleton
Copley, 170.
Basin, Vizcaya, J. S. Sargent, 200.
Bassano, Giacomo, manner of, 163.
Bathers, J. S. Sargent, 201.
Bathers, W. M. Hunt, 125, 186.
Battleship, Study of, manner of Willem van de
Velde, 208.
Beach, Samuel, Portrait of, Robert Fulton, 113,
178.
Begging Peasants, manner of Francesco Zuc
carelli, 211.

Bellini, Giovanni, school of, 164.
Bemis,  , 164.
Benozzo Gozzoli, school of, 19, 164.
Benson, Frank Weston. 135, 164.
Bergamask Captain, Giovanni Battista .Mo
roni, 45, 194.
Berkeley, Ren. George, Portrait of, John Smi
bert, 204.
Bermuda Settlers, Winslow Homer, 183.
Billings, E. T., 165.
Black Heifer, J. B. Johnston, 189.
Black Mountain, C. C. Allen, 161.
Blackburn, Joseph, 95, 165.
Blake, William, 107, 165.
Blakelock, Ralph Albert, 165, i66.
Boats at Anchor, J. S. Sargent, 201.
Bolognini,  , 166.
Bond, Gorham, Portrait of, Elizabeth Good
ridge, 179.
Bonington, Richard Parkes, 166.
Booth, Edwin, Portrait of, American, Nine
teenth century, 162.
Both, Jan, manner of, 166.
Boudin, Eugene, 166.
Bours, John, Portrait of, John Singleton Copley
97, 170-
Bouts, Albert, 29, 166.
Bowl of Roses, A. H. Thayer, 207.
Boys and Kittens, Winslow Homer, 183.
Bray, Jan de, 67, 167.
Breakfast Room, Childe Hassam, 147, 181.
Breaking Wave on Shore Line, Winslow Homer,
184.
Breanski, Alfred de, 167.
Brekelenkam, Quiringh Gerritsz van, 65, 167.
Breton, Jules, 167.
Bronzino, Agnolo, manner of, 167.
Brook, W. C. Stevens, 205.
Brooks, Jonathan, Portrait of, James Frothing
ham, 177.
Brooks, Mrs. Jonathan, Portrait of, James
Frothingham, 177.
Brown, Charles Brockden, Portrait of, James
Sharpies, 203.
Bruinzeels, Cornelia, Portrait of, Paulus
Moreelse, 59, 194.
Brush, George de Forest, 167.
Buffington, Mrs. E. D., Gift of, 181.
Buonconsiglio, Giovanni, 41, 168.
Buontalenti, Bernardo, manner of, 168.
Candlestick, Drawing for, Italian (.'), Sixteenth
century, 188.
Canfield, Mrs. Penelope S., Bequest of, 210.

221

Canfield, Mrs. Penelope S., Gift of, 176.
Cano, Alonso, 168.
Cantarini, Simone, manner of, 168.
Carlsen, Emil, 168.
Carmona, Manuel Salvador, 168.
Carpenter, Mary, Portrait of, Ralph Earl, 174.
Carpenter, IJ'illiam, Portrait of, Ralph Earl,
loi, 174.
Carracci, Annibale, 169.
Carracci, Annibale, manner of, i6g.
Carriera, Rosalba, 169.
Cassatt, Mary, 169.
Cassone panels, school of Benozzo Gozzoli, 19,
164.
Catalogue, 159-211.
Cazenovia Lake, S. F. B. Morse, 195.
Central National Bank, Worcester, Gift of, 209.
Chapel Brook, R. M. Shurtleff, 203.
Charles, Cardinal du Bourbon, Portrait of,
Pierre Dumonstier, 172.
Chase, Mrs. Thomas, Portrait of, Robert
Field, 176.
Chevara, Donna, and her son. Portrait of,
manner of Agnolo Bronzino, 167.
Child Asleep in a Chair, Manuel Salvador
Carmona, 168.
Children of Laren going to School, Albert
Neuhuys, 1 95.
Christ bearing the Cross, Alonso Cano, 168.
Christ crowned with Thorns, Anton Domenico
Gabbiani, 178.
Christ healing the Sick, Washington Allston,
161.
Christ in tlie House of Mary and Martha, El
Greco, 55, 179.
Clark, .\lvan, 169.
Clark, Barnabas, Portrait of, Alvan Clark, 169.
Clark, Mrs. W. A., Gift of, 169.
Clark, Walter Appleton, 169, 170.
Clarke, Harriet E., Gift of, 197.
Clarkson, Mrs. Rachel West, Portrait of,
Jeremiah Paul, 196.
Classical Scene, Gaspard Poussin, 197.
Clearing, J. F. Murphy, 195.
Cleve, Joost van, 31, 170.
Coaching Scene, W. J. Shayer, 203.
Colman, Samuel, 170.
Confidences, Adolphe Monticelli, 194.
Conti, Bernardino dei, 35, 170.
Copley, John Singleton, 97, 170, 171.
Coral Formation, Winslow Homer, 184.
Cottermonger, Sir William Orpen, 133, 196.
Cosway, Richard, 171.
Courbet, Gustave, 171.
Crane, Frederick, 171.
Crane, Mrs. Frederick, Gift of, 171.
Crucifixion, Luca Spinelli, 7, 204.
Curtis, Mrs. A. B., Gift of, 175.
Daubignv, Charles Francois, 171.
Davis, Charles H., Gift of, 208.

Davis, Charles H., Portrait of, F. P. Vinton, 208.
Davis, Charles Harold, 141, 171.
Dean, Mrs. 'Phyla Walker, Portrait of, Pamelia
Hill, 182.
De Camp, Joseph, 171, 172.
Defendente Ferrari, see Ferrari, Defendente.
Departure of Fishing Boats from Schcveningen,
H. W. Mesdag, 193.
Derelicts, J. S. Sargent, 201.
Descriptions and Illustrations, 1-157.
Dewey, Mr. and Mrs. George T., Gift of, 203.
Dewing, Thomas Wilmer, 172.
Dexter, Mrs. Susan Chapman, Bequest of,
173, 200.
Diaz de la Pena, Narcisso Virgilio, 172.
Donegal, Marchioness of. Portrait of, Horace
Hone, 113, 186.
Dossi, Dosso, 172.
Dubordieu, Pieter, 61, 172.
Dughet, Gaspard, see Poussin, Gaspard.
Dumonstier, Pierre, 172.
Dunlap, William, 173.
Durant, John Waldo, 173.
Dutch (.''), Seventeenth century (artist un
known), 173.
Dyck, Sir Anthony van, 173.
Earl, James, 173.
Earl, Ralph, 101, 174.
Early Spring, A. H. Wyant, 210.
Eicholtz, Jacob, 174.
Eider Ducks Flying, F. W. Benson, 164.
Eider Ducks in Winter, F. W. Benson, 164.
Elbridge, John, Portrait of, English, Eighteenth
century, 174.
Elbridge, Thomas, Portrait of, English, Eigh
teenth centur)', 175.
Eleanor of Portugal {?), Portrait of, Flemish,
Sixteenth century, 47, 176.
English, Eighteenth century (artist unknown)
85, 174, 175.
English, (Early) nineteenth century (artist
unknown), 175.
Enneking, John Joseph, 175.
Entrance to Harbour of Polperro, H. B. Snell,
204.
Etty, William, 175.
Farinato, Paolo, 43, 175.
Farley, Eben, Portrait of, E. G. Malbone, 191.
Farmyard Scene, George Morland, 194.
Fay, James, Portrait of, Charles Fraser, 176.
La Femme .4ccroupie, Paul Gauguin, 155, 178.
Fenno-Gendrot, Mrs. Isaac, Gift of, 189, 190,
198.
Fernandez, Don Fray Miguel, Portrait of,
Francisco Goya, 93, 179.
Ferrari, Defendente, school of, 175, 176.
Field, Robert, 176.
Figure of a Man, manner of U Tintoretto, 207.
Fisher, Mr. and Mrs. Gurdon, Gift of, 179.

Fisltiiig Boats, Winslow Homer, 184.
Flemish, Fifteenth centur\- (artist unknown),
25, 176.
Flemish, Sixteenth centurv (artist unknown),
47, 176-
Flint, Mrs. Catherine Dean, Portrait of, Pamelia
Hill, 182.
Flowers. Dutch (?), Seventeenth century, 17?.
Foote, Mar)- Hallock, 176.
Foa'ls in Tard, Thomas Robinson, 198.
Fox and Hounds, Samuel Aiken, 161.
Francia. Francesco, school of, 176.
Fraser, Charles, 176, 177.
Frederic III, Scenes from tlie Coronation of,
school of Benozzo Gozzoli, 19, 164.
Freeland, .\nna C, 177.
French, (Early) fifteenth century (artist
unknown), 5, 177.
French Canadian Wash, Dodge Macknight,
Frothingham, James, 177.
Fuller, George, 115, 177.
Fulton, Robert, 113, 178.
Fur Jacket, J. .\. McNeill Whistler, 143, 209.
Gabbiani, Anton Domenico, manner of, 178.
Gainsborough, Thomas, 89, 91, 178.
Gale, Winslo-«r Homer, 129, 184.
Gardner, Mrs. John L., Gift of, 209.
Gates, General, John Trumbull, 207.
Gauguin, Paul, 155, 178.
Gentner, Philip J., Gift of, 177.
Ghirlandaio, Ridolfo, 33, 178.
Ghislandi, Fra \ ittore, 73, 179.
Girl driving Turkeys, George Fuller, 177.
Girl playing Solitaire, F. W. Benson, 164.
Girolamo di Bernardino da Udine, 179.
Golden Hour, R. A. Blakelock, 165.
Gonzalez y Serrano, Bartholome, 53, 179.
Goodridge, Elizabeth, 179.
Goya y Lucientes, Francisco Jose de, 93, 179.
Gozzoli, Benozzo, see Benozzo Gozzoli
Grand Landscape, Thomas Gainsborough,
91, 178.
El Greco, 55, 57, 179, 180.
Green, Dr. John, Portrait of, E. T. Billings, 165.
Greenwood, Joseph H., 180.
Grimou, Jean .-Mexis, 77, 180.
Guercino, manner of, 180.
Guido da Siena, 3, 180.
Gullager, Christian, 181.
Hammond, Benjamin T., Bequest of, 167.
Hammond, Gardiner Greene, Portrait of,
R. M. Staigg, 204.
Harding, Chester, 109, 181.
Hassam, Childe, 147, 181.
Hawthorne, Charles Webster, 182.
Hayrick, Sarah Whitman, 209.
Head, Manual Salvador Carmona, 168.

Head of a Girl, Italian (Venetian), Eighteenth
century, 187.
Head of a Ctrl, manner of Pietro Longhi, 191.
Head of a Man, Henry Inman, 186.
Head of a Man, manner of Giacomo Bassano,
163.
Head of a Woman, Paul Gauguin, 178.
Head of a Woman, Peter Paul Rubens, 200.
Head of a Woman, Rosalba Carriera, 169.
Head of a Toung Woman, manner of Resso, 198.
Head, Study of, Helen M. Knowlton, 190.
Henry, Frances Elizabeth, Portrait of, Andrew
Phmer, 113, 197.
Hermit Creek Canyon, DeWitt Parshall, 196.
Heyden, Jan van der, 71, 182.
Heywood, Mr., of Charleston, Portrait of,
Charles Fraser, 177.
Hill, Mrs. Edward K., Gift of, 186.
Hill, Pamelia, 182, 183.
Historical subject, Benjamin West, 209.
Hogarth, William, 81, 83, 183.
Holland, Emma E. P., Estate of, 169, 186.
Holy Family, Dosso Dossi, 172.
Holy Family, Giovanni Battista Tiepolo,
75, 207-
Holy Family, school of Jacopo Palma the
Elder, 196.
Homer, Winslow, 129, 131, 183, 184, 185.
Hondecoeter, Melchior d', 186.
Hone, Horace, 113, 186.
Hunt, William Morris, 125, 186
Hunt, William Morris, Portrait of, Helen
M. Knowlton, 189.
Hunting Scene, D. Wolstenholme, 210.
Huntington, Daniel, Portrait of, Henrv Inman,
186.

In a Florida Jungle, Winslow Homer, 184.
In the Still Forest, A. H. Wyant, 121, 210.
Indian Horsemen after Dawn, R. A. Blakelock,
165.
Inman, Henry, 186.
Inness, George, Sr., 123, 186, 187.
Interior, Josef Israels, 187.
Introduction, vii.
Israels, Josef, 119, 187.
Italian (.'), Eighteenth century (artist un
known), 187.
Italian (Venetian), Eighteenth century (artist
unknown), 187, 188.
Italian (Florentine), (Early) fifteenth century
(artist unknown), 11, 188.
Italian (School of the Marches), Fourteenth
century (artist unknown), 188.
Italian (.'), Seventeenth century (artist un
known), 188.
Italian (.'), Sixteenth century (artist un
known), 188.
Italian Landscape, Lodewyk Tieling, 207.

223

Jacopo da Ponte, see Bassano, Giacomo.
James, Mrs. William, Portrait of, William
Hogarth, 81, 183.
James, William, Portrait of, William Hogarth,
83, 183.
Johnston, John, 188, 189.
Johnston, John Bernard, 189.
Keith, Colonel Israel, Portrait of, American,
Nineteenth century, 162.
Kinnicutt, Judge Thomas, Portrait of, Moses
Wight, 209.
Knowles, Lucius J., Fund, 186.
Knowlton, Helen Mary, 189, 190.
Knowlton, Lucy E., Gift of, 189.
Lady in White, T. W. Dewing, 172.
La Farge, John, 190.
Lake St. John, Winslow Homer, 184.
Landscape, Charles Francois Daubigny, 171.
Landscape, Homer Martin, 192.
Landscape, J. H. Greenwood, 180.
Landscape, manner of Francesco Zuccarelli,
211.
Landscape, manner of Guercino, 180.
Landscape, R. A. Blakelock, 165.
Landscape, Salomon van Ruysdael, 200.
Landscape with Cattle, Willem Romeyn, 199.
Landscape with Figures, Diaz de la Peiia, 172.
Landscape with Figures, Jules Breton, 167.
Landscape with Mill, Georges Michel (?), 193.
Landscape with Peasants, manner of Jan
Both, 166.
Larkin, Samuel, Portrait of, Henry Williams,
210.
Larrabce, Captain John, Portrait of, Joseph
Badger, 163.
Lassie, Sir David Wilkie, 209.
Late Autumn, J. H. Greenwood, 180.
Late Autumn in New England, J. J. Enneking,
175-
Law, Mrs., Portrait of, Samuel Shelley, 203.
Lawrence, Sir Thomas, 190.
Lawrence, Sir Thomas, school of, 190.
Learning to walk. Richard Parkes Bonington,
166.
Light House, Winslow Homer, 184.
Lippi, Fra Filippo, school of, 190.
Little, Elizabeth, Portrait of, Elizabeth Good
ridge, 179.
Lockwood, Wilton, igo.
Loggia, Vizcaya, J. S. Sargent, 201.
London from the Thames, Frederick Crane, 171.
Longhi, Pietro, manner of, 191.
Looking East from Leicester Hills, Ralph Earl,
174-
Lotto, Lorenzo, 39, 191.
Low Tide, Gustave Courbet, 171.
Low Tide, Honfleur, Homer Martin, 192.
Lutera, Giovanni, see Dossi, Dosso.

Macknight, Dodge, 191.
Madonna and Child, Bartolommeo Montagna
21, 194.
Madonna and Child, Bernardino dei Conti,
3 5, I7°-
Madonna and Child, Italian (Florentine),
(Early) fifteenth century, 11, 188.
Madonna and Child, Masolino da Panicale, 17,
193-
Madonna and Child, school of Fra Filippo
Lippi, 190.
Madonna and Child, school of Giovanni Bellini,
164.
Madonna and Child with Angel, .\lbcrt Bouts,
29, 166.
Madonna and Child with .-Ingels, Alaster of
Frankfort, 51, 193.
Madonna and Child with Saint and Donor,
French, (Early) fifteenth century,
S, 177-
Madonna and Child with Saint John, school of
Francia, 176.
Madonna and Child with Saints, Italian (School
of the Marches), Fourteenth century,
188.
Madonna of the Rose Garden, Stefano da Zevio
the Younger, 13, 204.
Maes, Nicolaus, 69, 191.
Magdalene, El Greco, 57, 180.
Magnasco, Allessandro, manner of, 191.
Malbone, Edward Greene, 113, 191, 192.
Man in Armour with Negro, Peter Paul
Rubens, 200.
Manigault, Gabriel, Portrait of, Gilbert Stuart,
205.
Manigault, Mrs. Gabriel, Portrait of, Gilbert
Stuart, 205.
Market Place, Dives, France, Helen M. Knowl
ton, 189.
Marrs, Mrs. Kingsmill, Gift of, 175.
Martin, Homer, 192.
Martyrdom of a Saint, manner of Alessandro
Magnasco, 191.
Masolino da Panicale, 17, 193.
Master of Frankfort, 51, 193.
Meadow ir. Snow, Dodge Macknight, 191.
Melting Snow, J. H. Greenwood, 180.
Melville, Deborah ScoUay, see Scollay, Debo
rah.
Une Mere, Alfred Stevens, 117, 205.
Merriman, Mrs. Daniel, Gift of, 59, 171, 194,
206.
Merriman, Rev. Daniel, Portrait of, Joseph
De Camp, 171.
Merrymakers, Hendrik Maertensz Sorgh, 63,
204.
Mesdach, Salomon, 193.
Mesdag, Hendrik Willem, 193.
Metcalf, Willard Leroy, 193.
Michel (.?), Georges, 193.
Miniature Portraits, see Portrait Miniatures.

224

Monet, Claude, 153, 193, 194.
Montagna, Bartolommeo, 21, 194.
Monticelli, Adolphe, 194.
Moon .Mystery, R. A. Blakelock, 166.
Moonlit Pond, Honfleur, Homer Martin, 192.
Moreelse, Paulus, 59, 194.
Morland, George, 194.
Moroni, Giovanni Battista, 45, 194.
Morse, Samuel Finley Breese, 195.
Morton, Mrs. Perez, Portrait of, Gilbert Stuart,
103, 205.
Mostaert, Jan, 27, 195.
Mother and Child, George de Forest Brush, 167.
Mother and Child, Mary Cassatt, 169.
Mother and Child, Sir Joshua Reynolds, 87, 198.
Muddy Alligators, J. S. Sargent, 139, 201.
Murphy, John Francis, 195.
Near .Manhattan Beach, R. A. Blakelock, 166.
Neer, Eglon Hendrik van der, 71, 195.
Nelli, Ottaviano, 9, 195.
Neuhuys, Albert, 195.
North Atlantic, C. H. Woodbury, 210.
Northcote, James, 195.
Nude Figure, Auguste Rodin, 157, 198, 199.
Old Friend, Winslow Homer, 185.
On the River Bank, Adolphe Monticelli, 194.
Orpen, Sir William, 133, 196.
Ostade, Adriaen van, 196.
Owen, William, 196.
Ckol, W. M. Hunt, 186.
Ox Cart and Driver, Helen M. Knowlton, 189.
Paine, Mrs. Susan B., Bequest of, 180.
Palamedes, Anthonie, 196.
Palma, Jacopo the Elder, 196.
Palma, Jacopo the Elder, school of, 196.
Palma Vecchio, see Palma, Jacopo the Elder.
Palms, J. S. Sargent, 201.
Parshall, DeWitt, 196.
Path through the Woods, W. C. Stevens, 205.
Patio, Vizcaya, J. S. Sargent, 201.
Paul, Jeremiah, 196.
Paysans Celtique de Vizcaya, Espagne, Ramon
de Zubiaurre, 211.
Peale, Charles Willson, 99, 197.
Pearce, Miss, Portrait of, Thomas Sully, 206.
Pegasus, A. P. Ryder, 127, 200.
Peonies, Wilton Lockwood, 190.
Perley, Mary X., Bequest of, 166.
Pesne, Antoine, 79, 197.
Pettit, Colonel Charles, Portrait of, C. W. Peale,
99, 197- .
Pinckney, General Charles, Portrait of, James
Earl, 173.
Plan of the Museum, 231.
Plimer, Andrew, 113, 197.
Plowden, Trevor, Portrait of, William Owen,
196.

Pool, J. S. Sargent, 202.
Pool in the Woods, Georg&lnvess,^^., 123, 187.
Poppies, Ellen Robbins, 198.
Port of Trouville, Eugene Boudin, 166.
Portrait Group, James Northcote, 195.
Portrait Head, Alexandre Antigna, 163.
Portrait Head of a Man, Italian (Venetian),
Eighteenth century, 187.
Portrait Head of a Woman, Italian (Venetian),
Eighteenth century, 188.
Portrait Miniatures, English and American,
113, 162, 169, 171, 175, 176, 177, 178,
179, 182, 183, 186, 190, 191, 192, 195,
197, 199, 202, 203, 204, 205, 210.
Portrait of Donor and Bishop, Flemish, Fif
teenth century, 25. 176.
Portrait of an Ecclesiastic, Ridolfo Ghirlandaio,
33, 178-
Portrait of a Lady, Franz Pourbus the Younger,
49, 197-
Portrait of a Lady, Pieter Dubordieu, 61, 172.
Portrait of a Lady, William Dunlap, 173.
Portrait of a Man, Anthonie Palamedes, 196.
Portrait of a Man, Jacopo Palma the Elder,
196.
Portrait of a Man, Jan de Bray, 67, 167.
Portrait of a Man, Jan Mostaert, 27, 195.
Portrait of a Man, Joost van Cleve, 31, 170.
Portrait of a Man with a Gun, Ralph Earl,
174-
Portrait of My Daughters, F. W. Benson,
135, 164.
Portrait of an Old Lady, Nicolaus Maes, 69,
191.
Portrait of a Venetian, Paolo Farinato, 43, 175.
Portrait of a Woman, American, Nineteenth
century, 162.
Portrait of a Woman, Lorenzo Lotto, 39, 191.
Portrait of a Toung Girl, Mary Cassatt, 169.
Portrait of a Toung Noblewoman, Bartholome
Gonzales y Serrano, 53, 179.
Portrait of a Toung Woman, Salomon Mesdach,
193.
Portraits, subject known, see surname of
sitter.
Poultry, Melchior d'Hondecoeter, 186.
Pourbus, Franz the Younger, 49, 197.
Poussin, Gaspard, 197.
Prelude, W. L. Metcalf, 193.
Presentation of the ^ueen of Sheba at the Court
of King Solomon, Benjamin West, 209
Pi out's Neck, Rocky Shore, Winslow Homer,
185.
Prout's Neck, Surf and Rocks, Winslow Homer,
185.
Quincy, Mrs. Norton, Portrait of, American,
Eighteenth century, 161.
Raeburn, Sir Henry, 105, 197. _
Raibolini, Francesco, see Francia, Francesco.

225

Rapids, Tellozostone, J. H. Twachtman, 208.
Ray of Sunlight, Pietro Senno, 203.
Redon, Odilon, 151, 197.
Renfrew, Margaret, Portrait of, English,
(Early) nineteenth century, 175.
Resso,  , manner of, 198.
Reynolds, Sir Joshua, 87, 198.
Robbins, Ellen, 198.
Robinson, Thomas, 198.
Robusti, Jacopo, see U Tintoretto.
Rodin, Auguste, 157, 198, 199.
Rogers, Nathaniel, 199.
Roman Daughter, Annibale Carracci, i6g.
Romeyn, Willem, 199.
Ropes, Mrs. Joseph A., Gift of, 163, 167,
171, 172, 187.
Rosalba Carriera, see Carriera, Rosalba.
Rossi, Francesco dei, see II Salviati.
Rowlandson, Thomas, 200.
Rubens, Peter Paul, 200.
Rum Cay, Bermuda, Winslow Homer, 185.
Russell, Mrs. Caroline Nelson, Bequest of,
162, 170, 171, 173, 192, 193.
Ruysdael, Salomon van, 200.
Ryder, Albert Pinkham, 127, 200.
Sachs, Paul J., Gift of, 75, 207.
Sachtleeven, Cornelius, Sir Anthony van Dyck,
173-
Saguenay River, Lower Rapids, Winslow
Homer, 131, 185.
Saint .-Inthony, school of Defendente Ferrari,
175-
Saint Bartholomew, Spanish, Fifteenth century,
15, 204.
Saint John, school of Defendente Ferrari, 176.
Saint Wulstan Society Fund, 186.
Salisbury. Mrs. Elizabeth Tuckerman, Portrait
of, Chester Harding, 109, 181.
Salisbury, Mrs. Elizabeth Tuckerman, Portrait
of, Gilbert Stuart, 205.
Salisbury, Mrs. Elizabeth Tuckerman, Portrait
of, Pamelia Hill, 182.
Salisbury, Mrs. Elizabeth Tuckerman, see
also Tuckerman, Elizabeth.
Salisbury, Mrs. Nicholas, Portrait of. Christian
Gullager, 181.
Salisbury, Mrs. Rebecca Scott Dean, Portrait
of, Pamelia Hill, 182.
Salisbury, Mrs. Samuel, Portrait of. Christian
Gullager, 181.
Sali.fbury, Samuel, Portrait of, Gilbert Stuart,
206.
Salisbury, Stephen I, Portrait of, E. G. Mal
bone, 192.
Salisbury, Stephen I, Portrait of, Gilbert Stuart
206.
Salisbury, Stephen I, Portrait of, John Johnston,
189.

Salisbury, Stephen II, Portrait of, American
Nineteenth century, 162.
Salisbury, Stephen II, Portrait of, E. T.
Billings, 165.
Salisbury, Stephen II, Portrait of, Pamelia
Hill, 183.
Salisbury, Stephen III, Bequest of, 109, 165,
181, 195, 208.
Salisbury, Stephen III, Gift of, 161, 162,
165, 174, 175, 179, 181, 182, 183,
188, 189, 191, 192, 205, 206.
Salisbury, Stephen III, Portrait of, F. P.
Vinton, 208.
Salisbury, Stephen III, Portrait of, Pamelia
Hill, 183.
Sally, Joseph De Camp, 172.
Salvador-Carmona, Manoel, see Carmona,
Manuel Salvador.
II Salviati, 37, 200.
Sargent, John Singer, 137, 139, 200, 201, 202.
Savage, Captain Charles Tyler, Portrait of,
Nathaniel Rogers, 199.
Savage, Edward, 202, 203.
Savage, Mrs. Charles Tyler, Portrait of,
Nathaniel Rogers, 199.
Savage, Mrs. Samuel Phillips, Portrait of,
John Singleton Copley, 171.
Savage, Mrs. Sarah Seaver, Portrait of, Edward
Savage, 202.
Sawyer, William H., Sr., Gift of, 195.
Scenes from the Coronation of Emperor Frederic
III, school of Benozzo Gozzoli, 19, 164.
Schmidt, Frederick George, Portrait of, .\ntoine
Pesne, 79, 197.
Scollay {Melville), Deborah, Portrait of, John
Singleton Copley, 170.
Seaver, Eben, Portrait of, Edward Savage, 202.
Self Portrait, Edward Savage, 203.
Self Portrait, Fra Vittore Ghislandi, 73, 179.
Self Portrait, Richard Cosway, 171.
Self Portrait, Sir Anthony van Dyck, 173.
Sejina, Countess of Huntington, Portrait of,
English, Eighteenth century, 85, 174.
Senno, Pietro, 203.
Seven Angels pouring Vials of the Wrath of
God upon the Earth, William Blake,
107, 165.
Shady Paths, Vizcaya, J. S. Sargent, 202.
Sharpies, James, 203.
Shayer, William J., 203.
Shelley, Samuel, 203.
ShurtlefF, Roswell Morse, 203.
Siddons, Miss Margaret, Portrait of, Thomas
Sully, 111, 206.
Simone da Pesaro, see Cantarini, Simone.
Smibert, John, 204.
Snell, Henry Bayley, 204.
Snow, J. H. Twachtman, 208.
Sorgh, Hendrik Maertensz, 63, 204.
Southwick, Jeanie Lea, Gift of, 164, 203.

226

Spalding, George, Portrait of, William Dunlap,
. I73-.
Spanish, Fifteenth century (artist unknown),
15. 204.
Spinelli, Luca, 7, 204.
Spinello Aretino, see Spinelli, Luca.
Spring, Odilon Redon, 151, 197.
Spring Whistles, fvlary H. Foote, 176.
Staigg, Richard M., 204.
Stefano da Zevio the Younger, 13, 204.
Stevens, Alfred, 117, 205.
Stevens, William Charles, 205.
Still Life, Emil Carlsen, 168.
Strachan, Lady, Portrait of. Sir Thomas Law
rence, 190.
Strachan, .l/rr. Rcnny, Portrait of. Sir Henry
Raeburn, 105, 197.
Stuart, Gilbert, 103, 205, 206.
Stuart, the Honourable Miss, Portrait of,
school of Sir Thomas Lawrence, 190.
Subleyras, Pierre, 206.
Sully, Thomas, 111, 206.
Summer Day, A. H. Wyant, 210.
Sunset, Henry Hammond Ahl, 161.
Sunset, J. J. Enneking, 175.
Sunset, Gloucester, Winslow Homer, 185.
La Suonatore, John La Farge, 190.
Sylph's Rock, Appledore, Childe Hassam, 181.
Tailor Shop, Quiringh Gerritsz van Brekelen
kam, 65, 167.
Tarbell, Edmund Charles, 206.
Tavern Brawl, Adriaen van Ostade, 196.
Tenny, H. Allan, Gift of, 177.
Terrace, Vizcaya, J. S. Sargent, 202.
Thaulow, Fritz, 206.
Thaxter, Mrs. John, Gift of, 198.
Thayer, Abbott Handerson, 207.
Theotocopuli, Domenico, see El Greco.
Thomson, Miss, Portrait of, Jacob Eicholtz,
174.
Three Judges, Thomas Rowlandson, 200.
''The Three Kings," Illustration for, W. A.
Clark, 170.
Tibaldi, Maria Felicie, Portrait of, Pierre
Subleyras, 206.
Tieling, Lodewyk, 207.
Tiepolo, Giovanni Battista, 75, 207.
II Tintoretto, manner of, 207.
Toper, Jean Alexis Grimou, 77, 180.
Trumbull, John, 207.
Tryon, Dwight William, 207.
Tuckerman {Salisbury) , Elizabeth, Portrait of,
American, Eighteenth century, 161.
Tuckerman {Salisbury), Elizabeth, Portrait of,
E. G. Malbone, 191.
Tuckerman, George W., Portrait of, American,
Nineteenth century, 162.
Tuckerman, Joseph, Bequest of, 193.
Tuckerman, Joseph, Grandchildren of, Gift,
103, 205.

Tuckerman, Lucretia, Portrait of, E. G. Mal
bone, 192.
Turkey Buzzard, Winslow Homer, 185.
Twachtman, John Henry, 149, 208.
Twickenham to Richmond, Alfred de Breanski,
^ , . '67.
Twilight near Honfleur, Homer Martin, 192.
Two Heads, Study of, manner of Annibale
Carracci, 169.
Velde, Willem van de, manner of, 208.
Venetian Blind, E. C. Tarbell, 206.
Venetian Girl, C. W. Hawthorne, 182.
Venetian IVairr Carriers, J. S. Sargent, 202.
I'iew in a Dutch Village, Jan van der Heyden
and Eglon van der Neer, 71, 182, 195.
View in Worcester or Vicinity, Bemis, 164.
View of Lake George, Samuel Colman, 170.
Vinton, Frederic Porter, 208.
Virgin and Child with Saint John, Antoniazzo
Romano, 163.
Virgin and Child with Saints Mary Magdalene,
Peter, and Paul, Giovanni Buonconsiglio,
41, 168.
Waldo, Cornelius, Portrait of, Joseph Badger,
163.
Waldo, Daniel, Jr., Portrait of, Chester
Harding, 181.
Waldo, Daniel, Sr., Portrait of, John Johnston,
188.
Waldo, John, Portrait of, J. W. Durant, 173.
Waldo, Mrs. Cornelius, Portrait of, Joseph
Badger, 163.
IValdo, Mrs. Daniel, Sr., Portrait of, John
Johnston, 188.
Warwick, Lady, and her Son, Portrait of, J. S.
Sargent, 137, 202.
Washington, General, on Horseback, John
Trumbull, 207.
Waterfall, J. H. Twachtman, 149, 208.
Waterlilies, Claude Monet, 193.
Waterloo Bridge, Claude Monet, 153, 194.
Weir, Julian Alden, 208.
Weir, Mrs. Robert, Portrait of, American,
Eighteenth century, 162.
West, Benjamin, 209.
Wetherell, Mrs. Hester Newton, Bequest of,
97, 105, 170, 197.
Wetherell, Mrs. Hester Newton, Estate of,
163, 173, 181, 188.
Wheelock, Jerome, Bequest of, 73, 179, 190.
Wheelock, Jerome, Portrait of, Wilton Lock-
wood, 190.
Whistler, James Abbott McNeill, 143, 145, 209.
Whitman, Sarah de St. Prix Wyman, 209.
Whittall, Mrs. Matthew J., Gift of, 199, 207.
Widow, J. A. McNeill Whistler, 145, 209.
Wight, Moses, 209.
Wilkie, Sir David, 209.

227

William the Conqueror, Anna C. Freeland, 177. Wright, Mrs. Georgianna B., Bequest of, 186.
Williams, Abby, Gift of, 168. Wyant, Alexander Helwig, 121, 210.
Williams, Emily, Gift of, 168. Wyer, Raymond, Gift of, 41, 168, 195.
Williams, Henry, 210.
Winifred Dysart, George Fuller, 115, 177. honkers from the Palisades, Childe Hassam,
H' inter in Norway, rritz 1 haulow, 200. o
Wolstenholme, D., 210. y T' / A H Thaver 207
Woman and Child, Bolognini, 166. t^ ' jr- !¦ ¦ , ^  j' Tti'.^ -a..„-i, ,r_
j„ , ri -c- ^ A? lu Toung Violinist, George de forest crush, 107.
Woman and Dog, t,. (.J. M.sahone,\g2. 6,0
Woman Bathing, John La Farge, 190.
^001^ Nymph, R. A. Blakelock, 166. Zevio, see Stefano da Zevio.
Woodbury, Charles Herbert, 210. Zubiaurre, Ramon de, 211.
Wrestlers, William Etty, 175. Zuccarelli, Francesco, manner of, 211.

228

1mm
/ \
/ \
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GALLERY VIII
IBth CENTUBY
AMERICAN
N c
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GALLERY IX
RENAISSANCE SCULPTURE
\
GALLERY X
MODERN
THIRD FLOOR
SECOND FLOOR
FIRST FLOOR
PLAN OF THE MUSEUM
231
PRINTED AT THE COMMONWEALTH PRESS
WORCESTER, MASSACHUSETTS, U. ». A.

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