Chapter III: Preface: vii (2)
Presented by his daughter, Adelaide Mills, November 24, 1902.
334. Portrait of David Grim, (1737-1826.) (28X36.) _Samuel L. Waldo._
Painted, 1812.
Bequest of Sophie E. Minton, December 2, 1902.
335. Landscape. Sunset. (25X37.) _A. B. Durand._
The last picture painted by the Artist, 1878, aged 83 years.
Presented by the children of the Artist, through John Durand,
April 7, 1903.
336. Study from Nature. (10X14.) _A. B. Durand._
Made at Hoboken, N. J., before 1834.
Presented by the children of the Artist, through John Durand,
April 7, 1903.
337. Study from Nature. (11X14½.) _A. B. Durand._
Made at Hoboken, N. J., before 1834.
Presented by the children of the Artist, through John Durand,
April 7, 1903.
338. Ideal Head. A suggestion from life. (21½X27.) _A. B. Durand._
Painted, 1836.
Presented by the children of the Artist, through John Durand,
April 7, 1903.
339. Portraits, three children with landscape accessories. (29X37.) _A. B. Durand._
Painted about 1834.
Presented by the children of the Artist, through John Durand,
April 7, 1903.
340. Landscape. Sunday morning. (25X36.) _A. B. Durand._
Painted, 1839.
Presented by the children of the Artist, through John Durand,
April 7, 1903.
341. Il Pappagallo. (24X30.) _A. B. Durand._
Painted from a model in Rome, 1840.
Presented by the children of the Artist, through John Durand,
April 7, 1903.
342. A Dream of Arcadia. Study for original picture. (9X14.) _Thomas Cole._
Presented by the children of the late Asher B. Durand, through
John Durand, April 7, 1903.
343. Portrait of Asher B. Durand, (1796-1886.) (15X19½.) _William Jewett._
Painted in 1825.
Presented by the children of the late Asher B. Durand, through
John Durand, April 7, 1903.
344. Portrait of Philip W. Engs, (1790-1875.) (22X27½.)
Presented by his grandson, Henry A. Bostwick, April 7, 1903.
345. View of New York about 1753. (37½X60.)
Presented, December 6, 1904, by Miss Cornelia LeRoy White in
the name of Goldsborough Banyer, late a Fellow of the Society.
346. Sacrifice of Abraham. (37½X40.) _Dutch School._
Presented by Mrs. Peter Gerard Stuyvesant Ten Broeck, May 2,
1905.
347. Portrait of Peter Stuyvesant, (1592-1672.) (22½X17¾.)
Painted from life.
Director General of New Netherland, 1646-1664.
Presented by his great-great-great-great-grandson, Robert Van
Rensselaer Stuyvesant, February 2, 1909.
348. Portrait of Peter Stuyvesant. (25X30.)
Copy from the original.
Presented by Nicholas William Stuyvesant, January 9, 1829.
349. Portrait of Nicholas William Stuyvesant, (1648-1698.) (25X35.)
Son of Peter Stuyvesant.
Presented by his great-great-great-grandson, Robert Van
Rensselaer Stuyvesant, June 6, 1905.
350. Portrait of Gerardus Stuyvesant, (1690-1777.) (25X30.)
Son of Nicholas William Stuyvesant.
Presented by his great-great-grandson, Robert Van Rensselaer
Stuyvesant, June 6, 1905.
351. Portrait of Nicholas William Stuyvesant, (1722-1780.) (25X30.)
Son of Gerardus Stuyvesant.
Presented by his great-grandson, Robert Van Rensselaer
Stuyvesant, June 6, 1905.
352. Portrait of Petrus Stuyvesant, (1727-1805.) (25X30.) _Gilbert C. Stuart._
Son of Gerardus Stuyvesant.
Presented by his great-grandson, Robert Van Rensselaer
Stuyvesant, June 6, 1905.
353. Portrait of Nicholas William Stuyvesant, (1769-1833.) (25X30.)
Son of Petrus Stuyvesant.
Presented by his grandson, Robert Van Rensselaer Stuyvesant,
June 6, 1905.
354. Portrait of Peter Stuyvesant, (1796-1860.) (24X30.)
Son of Nicholas William Stuyvesant.
Presented by his son, Robert Van Rensselaer Stuyvesant, June
6, 1905.
355. View near Fort Montgomery, New York. (21X14.) Water Color. _William G. Wall._
Presented by Daniel Parish, Jr., July 19, 1905.
356. View of the Highlands looking South from Newburgh Bay. (21X14.) Water Color. _William G. Wall._
Presented by Daniel Parish, Jr., July 19, 1905.
357. Portrait of Peter Augustus Jay, (1776-1842.) (27X33.) _Charles F. Saltza._
From the original by A. B. DURAND.
Second Vice President of the Society, 1823; First Vice
President, 1824-1827; President, 1840-1842.
Presented by his daughter, Mrs. Matthew Clarkson, June 6, 1905.
358. View of the Dongan Manor House. (1876.) (19X13.) _J. H. Wright._
West New Brighton, New York.
Presented by Joseph T. Williamson, October 5, 1905.
359. "The Fight in the Air." (68X49½.) _Sigmund Lachenwitz._
Presented by Mrs. Fancher Nicoll, May 1, 1906.
360. Portrait of Henry Dexter, (1813-1910.) (40X52.) _Charles A. Whipple._
Patron. Painted for the Society, 1901.
361. Portrait of Orrando Perry Dexter, (1853-1903.) (24X30.) _Charles A. Whipple._
Presented by his father, Henry Dexter, July 30, 1906.
362. Portrait of James William Beekman, (1815-1877.) (22X27.) _Walter Satterlee._
From the original by THOMAS LECLEAR.
Second Vice President of the Society, 1872-1877.
Presented by his sons, Gerard and James William Beekman,
December 4, 1906.
363. Portrait of John D. Jaques, M.D., (1772-1839.) (25X30.) _Henry Inman._
Presented by David Ralph Jaques, February 5, 1907.
364. Portrait of John S. Giles, (1799-1880.) (48X51.) _J. B. Stearns._
Painted 1858.
Treasurer of the Widows and Orphans Fund, Volunteer Fire
Department, New York City.
Presented by his daughter, Mrs. Frances M. Gibson, June 4,
1907.
365. Lake George View of Black Mountain from the Harbor Islands. (60X32.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
366. Sepia Drawing of Primeval Forest. (58X48.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
367. Head of a Roman. (24½X19½.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
368. View at Milton, New York. (23X30.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
369. Portrait of J. W. Casilear, (1811-1893.) (30X25.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
370. Hudson River View of Fishkill Mountains. (32X46.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
371. Portrait of [Nephew of A. B. Durand]. Unfinished. (12X14.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
372. Portrait of Asher B. Durand, (1796-1886.) (30X24.)
Painted by himself.
Presented by his daughter, Mrs. Lucy M. Durand Woodman,
November 12, 1907.
373. Landscape--Sunset. (25X34.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
374. Study from Nature--Rocks and Trees. (21X16¾.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
375. Study from Nature--Factory Point, N. H. (18X24.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
_BY HIMSELF._]
376. View of Chappell Brook--Adirondack Mountains. (28X33.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
377. Portrait--Sister of the Artist. (25¾X20½.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
378. Portrait of Mrs. John Durand. (12X9¾.) _A. B. Durand._
Mother of the Artist.
First portrait painted by DURAND, 1822.
Presented by her daughter, Mrs. Lucy M. Durand Woodman,
November 12, 1907.
379. Portrait--Infant son of the Artist. (20X15¾.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
380. Portrait of a Lady. Unfinished. (14X12.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
381. Portrait of a Lady. Unfinished. (14X12.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
382. Head of a Roman. (29½X24¼.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
383. Head of a Roman. (24½X19¾.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
384. Study from Nature--Trees and Rocks upright. (16½X21.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
385. Trees. Pencil Sketch. (22¾X16¾.) _A. B. Durand._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
386. Ariadne--Enlarged copy for study. (87½X70.) _A. B. Durand._
From the original of JOHN VANDERLYN.
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
387. Landscape. (30X22½.) _J. W. Casilear._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
388. A Dream of Arcadia. (11½X13¾.) _Thomas Cole._
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
389. Dutch Singers. (25½X19½.)
Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907.
390. Portrait of George Bruce, (1781-1866.) (29X36.) _Daniel Huntington._
Bequest of Matilda Wolfe Bruce, 1908.
391. Escape of the Constitution. (25X36.) _Thomas Birch._
Bequest of Matilda Wolfe Bruce, 1908.
392. Portrait of David Leavitt. (29X36.) _J. B. Flagg._
Painted, 1872.
Presented by Mrs. James M. Lincoln, January 5, 1908.
393. Portrait of John B. Hall. (25X30.) Oval. _H. Inman._
Painted, 1839.
Presented by the Misses Helen L. and Evelina S. Hale, January
5, 1908.
394. Portrait of Mrs. John B. Hall. (25X30.) Oval. _H. Inman._
Presented by the Misses Helen L. and Evelina S. Hale, January
5, 1908.
395. Portrait of Francis A. Hall. (13½X15½.) Oval.
Presented by the Misses Helen L. and Evelina S. Hale, January
5, 1908.
396. Portrait of George Carpenter. (25X30.)
Presented by the Misses Helen L. and Evelina S. Hale, January
5, 1908.
397. Portrait of Mrs. Maria Carpenter. (25X30.)
Presented by the Misses Helen L. and Evelina S. Hale, January
5, 1908.
398. Original Sepia of New York, 1852. (51X29.) _J. W. Hill._
From which the View of New York in 1855 was engraved by C.
Mottram and published by G. W. Smith.
Presented by Daniel Parish, Jr., January 5, 1908.
399. Portrait of a young man--DePeyster Family. (41X50.)
Painted in Flanders and brought to this country by Johannes
DePeyster.
Bequest of Catherine Augusta DePeyster, 1908.
400. Portrait of a young lady--DePeyster Family. (41X50.)
Painted in Flanders and brought to this country by Johannes
DePeyster.
Bequest of Catherine Augusta DePeyster, 1908.
401. Portrait of a member of the DePeyster Family. (41X50.)
Painted in Flanders and brought to this country by Johannes
DePeyster.
Bequest of Catherine Augusta DePeyster, 1908.
402. Portrait of Col. James DePeyster, (1726-1799.) (46X61.) _Gerard Beekman DePeyster._
Bequest of Catherine Augusta DePeyster, 1908.
403. Portrait of Abraham DePeyster (1753-.) (22X27.) _Gerard Beekman DePeyster._
Son of James DePeyster.
Bequest of Catherine Augusta DePeyster, 1908.
404. Portrait of Mrs. William Axtell. (40X50.)
Daughter of Abraham DePeyster, 1st.
Bequest of Catherine Augusta DePeyster, 1908.
405. Portrait of John Livingston, (1714-1788.) (25X30.)
Son of Philip Livingston, 1st.
Bequest of Catherine Augusta DePeyster, 1908.
406. Portrait of Mrs. John Livingston, (1724-.) (25X30.)
Née Catharine DePeyster.
Bequest of Catherine Augusta DePeyster, 1908.
407. Portrait of William Axtell DePeyster. (16½X20½.) Oval.
Bequest of Catherine Augusta DePeyster, 1908.
408. Portrait of William Axtell DePeyster. (10X12.) Oval.
Bequest of Catherine Augusta DePeyster, 1908.
409. Portrait of Mrs. William Axtell DePeyster, (1800-.) (10X12.) Oval.
Née Mary Beekman.
Bequest of Catherine Augusta DePeyster, 1908.
410. Portrait of Mrs. William Axtell DePeyster. (8X10.) Oval.
Bequest of Catherine Augusta DePeyster, 1908.
411. Portrait of Stephen Van Cortlandt. (7X8½.)
Bequest of Catherine Augusta DePeyster, 1908.
412. Portrait of Mrs. Stephen Van Cortlandt. (7X8½.)
Née Jane Beekman.
Bequest of Catherine Augusta DePeyster, 1908.
413. Portrait. (Unknown figures.) (26X32.)
Bequest of Catherine Augusta DePeyster, 1908.
414. Portrait of a Navigator. (Unknown.) (26X32.)
Bequest of Catherine Augusta DePeyster, 1908.
415. Portrait of Benjamin West, (1738-1820.) (20X24.) Oval. _Abraham Delanoy, Jr._
Painted, 1776.
Bequest of Catherine Augusta DePeyster, 1908.
416. Landscape. (2½X3½.)
Bequest of Catherine Augusta DePeyster, 1908.
417. Portrait of Mary DePeyster McKnight, (1832-.) Miniature.
Bequest of Catherine Augusta DePeyster, 1908.
418. Portrait of Elizabeth Van Rensselaer DePeyster. Miniature.
Bequest of Catherine Augusta DePeyster, 1908.
419. Portrait of Catherine Augusta DePeyster. Miniature.
Founder of the "William Axtell DePeyster and Mary Beekman
DePeyster Memorial Fund" of the Society.
Bequest of Catherine Augusta DePeyster, 1908.
420. Portrait of John Divine Jones, (1814-1895.) (52X60.) _Daniel Huntington._
Founder of the John Divine Jones Fund of the Society.
Presented by Louisa F. J. Thorn, in the name of Mrs. John
Divine Jones, February 2, 1909.
421. Common Meadow Vole and Rice Field Mouse. (28X22½.) _J. J. Audubon._
Presented by Archer Milton Huntington, February 2, 1909.
422. Portrait of John Watts DePeyster, (1821-1908.) (34X48.) _E. S. Jacquin._
Painted, 1907.
Presented by Mrs. Howard Townsend Martin, April 6, 1909.
423. Portrait of the Lincoln Family. (37X26.) _Frank B. Carpenter._
Presented by Warren C. Crane, April 6, 1909.
424. View of Donner Lake, California. (120X72.) _Albert Bierstadt._
Presented by Archer Milton Huntington, October 5, 1909.
425. Portrait of Matthais Bloodgood, (1803-1890.) (23½X20.) Oval.
Presented by the family of Matthais Bloodgood, October 5, 1909.
426. Portrait of Mrs. Matthais Bloodgood (Maria Ackerman). (23½X20.)
Presented by the family of Matthais Bloodgood, October 5, 1909.
427. Portrait of John Lawrance, (1750-1810.) (25½X33.)
Presented by Anna McWhorter Thomas in the name of George C.
McWhorter, 1909.
428. Portrait of John Lawrance, (1750-1810.) (Copy.) (24½X31½.)
Presented by Anna McWhorter Thomas in the name of George C.
McWhorter, 1909.
429. Portrait of a Lady. (Unknown.) (26X33½.)
Presented by Anna McWhorter Thomas in the name of George C.
McWhorter, 1909.
430. Portrait of John Alsop, (1724-1794.) (26X30.)
Member of the Continental Congress from New York, 1774-1776.
Bequest of Mary Rhinelander King, 1909.
431. Portrait of John Alsop King, (1816-1900.) (20½X25.) _Trumbull._
Painted about 1830.
Bequest of Mary Rhinelander King, 1909.
432. The Genius of Painting. (29X29.) _Romanelli._
Bequest of Mary Rhinelander King, 1909.
433. Racing Horse "Eclipse." (30X25.) _E. Troye._
Painted 1834.
Bequest of Mary Rhinelander King, 1909.
434. Racing Horse "Sir Henry." (30X25.) _E. Troye._
Painted 1834.
Bequest of Mary Rhinelander King, 1909.
435. Landscape with Figures. (30½X38.) _Pannini._
Bequest of Mary Rhinelander King, 1909.
436. Little Boys Reaping--Gray and White. (59X24.)
Bequest of Mary Rhinelander King, 1909.
437. Portrait of George Washington, (1732-1799.) (5X4.) _W. Grimaldi._
Painted for Rufus King.
Bequest of Mary Rhinelander King, 1909.
438. Portrait of Matilda Hoffman, (1791-1809.) (Miniature.)
Bequest of Mary Rhinelander King, 1909.
439. Portrait of Edward Bement, (1795-1866.) (Miniature.)
Presented by his son, Edward Bement, February 8, 1910.
440. Autumn Woods. (54X84.) _Albert Bierstadt._
Presented by Mrs. Albert Bierstadt, March 1, 1910.
441. Marine View. (60X94.) _T. Gudin._
Presented by Mrs. Albert Bierstadt, March 1, 1910.
442. Bowling Green, New York, 1860. (33X48.) _David Johnson._
Purchased by the Society, 1910.
443. View of Upper New York from the East River. (28X40.)
Presented by Samuel V. Hoffman, May 3, 1910.
444. New York City from Weehawken. (32X23½.) _N. Calyo._
Presented by Samuel V. Hoffman, May 3, 1910.
445. Fire of 1835. New York as seen from the Bay with Castle William in the Foreground. (20½X30.)
Presented by Samuel V. Hoffman, May 3, 1910.
446. View of New York from the Navy Yard, Brooklyn. (20X29.)
Presented by Samuel V. Hoffman, May 3, 1910.
447. Broadway at Grand Street, looking north, 1852. (21X17.)
Presented by Samuel V. Hoffman, May 3, 1910.
448. Portrait of Morgan Lewis, (1754-1844.) (29X36.) _Charles C. Curran._
President of the Society, 1832-1835.
From the original by JAMES HERRING.
Presented by Maturin Livingston Delafield and John Ross
Delafield, June 7, 1910.
449. Portrait of Mrs. Horatio Gates (Elizabeth Phillips). (2¾X2¾.) (Miniature.)
Presented by John Austin Stevens, June 7, 1910.
450. Castle Garden, New York City, 1845. (28½X38½.)
Presented by Samuel V. Hoffman, October 4, 1910.
451. Portrait of Peter Bryant, M.D., (4½X3.) (Miniature.)
Father of William Cullen Bryant.
Presented by Anna Fairchild, November 1, 1910.
452. Portrait of Mrs. Peter Bryant, (3½X3¼.) (Miniature.)
Mother of William Cullen Bryant.
Presented by Anna Fairchild, November 1, 1910.
453. Cameo Head and Bust of William Cullen Bryant, (1794-1878.) (1¾X1½.)
Presented by Anna Fairchild, November 1, 1910.
454. Portrait of William Cullen Bryant, (1794-1878.) (4¼X4½.) (Miniature.)
Painted, 1819.
Foreign Corresponding Secretary of the Society, 1871-1872, and
First Vice President, 1873-1878.
Presented by Anna Fairchild, November 1, 1910.
455. Portrait of Mrs. William Cullen Bryant, (1797-1865.) (2¾X3¼.) (Miniature.)
Presented by Anna Fairchild, November 1, 1910.
456. Portrait of Julia S. Bryant. (3X3¾.) (Miniature.)
Daughter of William Cullen Bryant.
Presented by Anna Fairchild, November 1, 1910.
457. Portrait of William Gilliland, (1734-1796.) (25X30.) _Ralph Earle._
Painted, 1789.
Bequest of Charlotte E. Draper, 1910.
458. Portrait of David Hosack, M.D., (1769-1835.) (30X36.) _Augustus G. Heaton._
From the original by THOMAS SULLY.
Corresponding Secretary of the Society, 1814-1816; Second Vice
President, 1817; First Vice President, 1818; President, 1820-1827.
Presented by the Artist, November 1, 1910.
459. Portrait of George Washington, (1732-1799.) (35½X29.) _Rembrandt Peale._
Bequest of Carolina Phelps Stokes, 1910.
460. Portrait of Martha Washington, (1732-1802.) (35½X29.) _Rembrandt Peale._
Bequest of Carolina Phelps Stokes, 1910.
461. Portrait of Commodore John H. Graham, (1794-1878.) (29X36.) _William H. Powell._
Bequest of Cornelia Graham Brett, 1911.
462. Portrait of Mrs. John H. Graham (née Milledoler). (36X29.) _William H. Powell._
Painted, 1839.
Presented by Mrs. Herman Von Wechlinger Schulte, April 4, 1911.
463. Portrait of Jean Lazare Vaché, (1762-1833.) (Miniature.)
Presented by his great-granddaughter, Isabella Vaché Cox, May
2, 1911.
464. Portrait of Maria Anne Vaché, (1769-1835.) (Miniature), on tortoise shell snuff box.
Presented by her great-granddaughter, Isabella Vaché Cox, May
2, 1911.
465. Portrait of John B. Vaché, (1792-1813.) (Miniature.)
Presented by his grand-niece, Isabella Vaché Cox, May 2, 1911.
466. Portrait of Jedediah Vincent Huntington, (1815-1862.) (25X30.) _Daniel Huntington._
Presented by his nephew, Charles R. Huntington, November 14,
1911.
467. Portrait of Henry Aaron Burr. (36½X29¼.)
Presented by Mrs. Cornelius H. Van Ness, February 6, 1912.
468. Portrait of Mrs. Henry Aaron Burr. (36½X29½.)
Presented by Mrs. Cornelius H. Van Ness, February 6, 1912.
469. Portrait of Emma Louisa Burr. (37X30.)
Presented by Mrs. Cornelius H. Van Ness, February 6, 1912.
470. Portrait of Henry Burr. (24½X18½.)
Presented by Mrs. Cornelius H. Van Ness, February 6, 1912.
471. Portrait of Julia Malvina Anderson. (2¾X2½.) _Alex. Anderson._
Painted, 1820.
Presented by her daughter, Miss Mary E. Halsey, October 1,
1912.
472. Portrait of Franklin Pierce, (1804-1869.) (22X27.)
Fourteenth President of the United States.
Presented by Mrs. Frances M. Gibson, November 12, 1912.
473. Portrait of Benjamin B. Sherman, (1811-1885.) (25X30.) _George Gerhard._
Painted, 1885.
Treasurer of the Society, 1878-1884.
Presented, May, 1913, by his son, Charles A. Sherman.
474. Landscape. (14X23¼.) _John F. Kensett._
Bequest of the late Kate Warner, 1914.
475. The Cavalier's Return. (30X28½.) _R. C. Woodville._
Bequest of the late Kate Warner, 1914.
476. Children in Storm. (35X25.)
Bequest of the late Kate Warner, 1914.
477. Portrait of a Welsh Prince. (44X32.)
Bequest of the late Kate Warner, 1914.
478. View of Blackwell's Island, East River. (30X25.) _F. F. Palmer._
Presented by Daniel Parish, Jr., April 7, 1914.
479. Portrait of William Darlington, M.D., (1782-1863.) (6½X9.) Oval. _Jacob Eichholz._
Painted at Lancaster, Pa., October, 1810.
Presented by Daniel Parish, Jr., April 7, 1914.
480. Portrait of Charles U. Combes. (14X17.) Water Color. _David E. Cronin._
Painted, 1891.
Sergeant 1st New York Mounted Rifles.
Presented by Daniel Parish, Jr., April 7, 1914.
481. Fight Between Union and Confederate Cavalrymen. (11X17.) Water Color. _David E. Cronin._
Presented by Daniel Parish, Jr., April 7, 1914.
482. Fugitive Slaves in the Dismal Swamp, Va. (17X14.) Water Color. _David E. Cronin._
Presented by Daniel Parish, Jr., April 7, 1914.
483. Portrait of the Rev. Henry Ward Beecher, (1813-1887.) (24X19.) (Crayon.)
Presented by John H. Johnston, April 7, 1915.
484. Portrait of General Ebenezer Stevens, (1751-1823.) (36X27½.)
Presented from the estate of Byam Kerby Stevens, in accordance
with his wishes, April 30, 1915.
485. Surrender of Lord Cornwallis at Yorktown, Va., Oct. 19, 1781. (40½X60.) _Marietta Minnigerode._
Painted in 1893.
Copied from the original by TRUMBULL.
Presented from the estate of Byam Kerby Stevens, in accordance
with his wishes, April 30, 1915.
486. Portrait of Rev. Lazare Bayard. (45½X33.)
Father-in-law of Gov. Peter Stuyvesant.
Bequest of Cora V. R. Catlin, 1915, in the name
of her brother, the late N. W. Stuyvesant Catlin,
great-great-great-grandson of Governor Stuyvesant.
487. Portrait of Mrs. Lazare Bayard (Judith DeVos.) (45½X33.)
Mother-in-law of Gov. Peter Stuyvesant.
Bequest of Cora V. R. Catlin, 1915, in the name
of her brother, the late N. W. Stuyvesant Catlin,
great-great-great-grandson of Governor Stuyvesant.
488. Bayard Homestead at Alphen, Holland, with Portraits of Samuel Bayard and Anna Stuyvesant, his wife; sister of Gov. Stuyvesant. (36X47½.)
Bequest of Cora V. R. Catlin, 1915, in the name
of her brother, the late N. W. Stuyvesant Catlin,
great-great-great-grandson of Governor Stuyvesant.
The above three paintings were brought over by Governor
Stuyvesant in 1647.
THE BRYAN COLLECTION
THOMAS J. BRYAN
Thomas Jefferson Bryan was the son of Guy Bryan and Martha Matlock, his wife. He was born at "Spring Hill," Philadelphia, Pa., about 1800, and died at sea, May 14, 1870, on board the French steamship "Lafayette," while on his way to New York, four days out from Havre, France.
Mr. Bryan graduated at Harvard University in 1823 and studied law, but he never practiced his profession, as he had an adequate inheritance.
Much of his time was given to foreign travels in forming a valuable collection of paintings. For a time this collection, known as the Bryan Gallery of Christian Art, was displayed on the walls of a spacious room in a house on the corner of Broadway and Thirteenth Street, where an admission fee of twenty-five cents was charged to view the paintings, Mr. Bryan himself being the custodian in charge. He next deposited them in the Cooper Union, and in 1867 he deeded the entire collection to the New York Historical Society, which he catalogued, arranged and added to from time to time until his death in 1870.
_WILLIAM O. STONE._
FOUNDER OF THE BRYAN COLLECTION.
PAINTED FOR THE SOCIETY, 1867.]
THE BRYAN COLLECTION
BYZANTINE SCHOOL
NO. SUBJECTS OF PAINTINGS. ARTISTS.
B-1. Virgin and Child. (15X13.)
The Virgin, clothed in a rich crimson drapery which covers
the head, holds the infant CHRIST on her right arm. The child
has a gilt globe in his hand. Over his head is seen the date of
the picture, MXC. It was brought from the East by the celebrated
artist, PAPETI, who was sent to Greece by the French Government.
(_Bryan Collection._)
B-2. Triptique. (8X20½.)
A very remarkable and elaborate work; and of the highest
interest in the history of art.
(_Bryan Collection._)
ITALIAN SCHOOL
B-3. A Virgin and Child, with four Saints. (77½X39½.) _Guido of Siena._
This picture is in perfect condition, and is from the renowned
collection of M. Artaud de Montor, in the account of which it was
engraved. It is described in the work of Gault de St. Germain (p.
51).
(_Bryan Collection._)
B-4. Virgin and Child, with Saints. (17X9.) Oval Top. _Cimabue._
From the De Montor collection--engraved.
(_Bryan Collection._)
B-5. Knights at a Tournament. (24X24.) Round. _Giotto di Bondone._
The frame is as ancient as the picture itself, of which it
forms a part. It bears the arms of the Medici family. From the De
Montor collection--engraved.
(_Bryan Collection._)
B-6. Virgin and Child. (12½X8½.) _Simone Memmi._
The head of the Virgin presents the same type as that
exhibited in the portrait of PETRARCH'S LAURA, painted by MEMMI,
which is in the Library of the Vatican. From the De Montor
collection--engraved.
(_Bryan Collection._)
B-7. The Last Judgment. (12½X8½.) _Simone Memmi._
"CHRIST, with the cruciform halo, and the elliptical aureola,
bordered with cherubim, appears in the heavens. Above, two angels,
strangely enough colored entirely blue, sound the trumpet; below,
the Virgin and ST. JOHN kneel upon the ground, from which rises the
cross, on which two angels are looking. On the left, the elect,
wearing crowns of gold, mount towards the sky, under the protection
of a pitying spirit; on the right, the damned, covered with blood,
are delivered to the demons by a minister of divine vengeance.
JESUS himself wears a terrible expression. MICHAEL ANGELO is,
therefore, not the first to have given him this menacing aspect.
The general color of the picture pleases the eye by its extreme
fineness: the Virgin and ST. JOHN by the beauty of their types."
To this just and graphic description from the pen of M. Michiels,
which appeared in the _Gazette de France_, it is needless to add
anything more. From the De Montor collection.
(_Bryan Collection._)
B-8. The Crucifixion. (8X21.) _Taddeo Gaddi._
From the De Montor collection.
(_Bryan Collection._)
B-9. St. Jerome, St. Dominic, and St. Francis of Assisi. (15X10.) Oval Top. _Taddeo Gaddi._
The three Saints stand side by side. There is dignity in the
attitudes and the draperies, and harmony in the color of this
picture. From the De Montor collection.
(_Bryan Collection._)
B-10. Two Wings of a Tabernacle. (19X8½.) _Lorenzo il Monaco._
From the De Montor collection.
(_Bryan Collection._)
B-11. A Tabernacle. (24X22.) _Giottino._
From the De Montor collection.
(_Bryan Collection._)
B-12. St. Anthony. (12X9½.) Triangle. _Giottino._
From the De Montor collection.
(_Bryan Collection._)
_GUIDO OF SIENNA._
(BRYAN COLLECTION)]
B-13. St. Dominic. (12X9½.) Triangle. _Giottino._
From the De Montor collection.
(_Bryan Collection._)
B-14. Crucifixion. (Half of a Triptique.) (14X10.) _Buonamico Buffalmacco._
From the De Montor collection.
(_Bryan Collection._)
B-15. A Tabernacle. (21X20.) _Buonamico Buffalmacco._
From the De Montor collection.
(_Bryan Collection._)
SCHOOL OF THE TWELFTH CENTURY
B-16. A Tabernacle. (20½X18.)
The carved arabesque work indicates the period of this
picture, which has been much injured by the hand of time.
From the De Montor collection.
(_Bryan Collection._)
ANCIENT VENETIAN SCHOOL
B-17. Virgin adoring the Infant Jesus. (18½X11.)
The Virgin kneels before her Divine Son. Around are angels,
and behind her is JOSEPH. Above is a company of angels; and, in the
distant sky, one is seen appearing to the shepherds. The infant
has a crimson, cruciform aureola. In this rudely-drawn picture the
future glory of the Venetian School, its gorgeous color, is plainly
indicated.
(_Bryan Collection._)
B-18. The Birth of John the Baptist. (24X24.) _Uccello._
From the De Montor collection.
(_Bryan Collection._)
B-19. Christ in the Garden of Gethsemane. (3½X3½.) _Castagno._
From the De Montor collection.
(_Bryan Collection._)
B-20. Triumph of Julius Cæsar. (16X60½.) _Antonio Dello._
From the De Montor collection.
(_Bryan Collection._)
B-21. The Crucifixion. (15X11.) _Botticelli._
From the De Montor collection.
(_Bryan Collection._)
B-22. Adoration of the Infant Christ. (79½X5½.) _Perugino._ [_Macrino d'Alba._]
The Virgin MARY, ST. JOHN the Baptist, ST. JEROME, ST. JOSEPH,
ST. MICHAEL, and the Pope JULIUS II., are kneeling before the
divine infant. Three small Angels, also kneeling, carry the nails
and the Cross, emblems of the torture which the new-born should
suffer. The CHRIST bears a striking resemblance to that of the
little JESUS, so much admired, in a painting of the same artist,
now placed in the Louvre, after having decorated the gallery of the
King of Holland. ST. MICHAEL strikes the beholder by his noble air
and his martial type. The head is evidently the portrait of GASTON
DE FOIX, the model of the chivalry of the day. ST. JOHN is the
lean prophet of the desert, the ascetic, and the eater of locusts
and wild honey. At the top of the picture, three Angels play upon
different instruments. In the background are seen the Capitol, the
image of Roman power, and the vast ruins of the Coliseum. The head
of JOSEPH, who stands behind ST. JOHN, must strike the considerate
observer by its close resemblance to the type of JOSEPH which we
find in the Holy Families of RAPHAEL. In the Cherub who holds
the Cross, we also find great similarity to the little Angel who
occupies so prominent a position in the famous Madonna of Foglino,
from the same divine pencil. From the collection ERRARD. Signed and
dated 1509.
(_Bryan Collection._)
B-23. St. John, Weeping. (20½X16½.) _Leonardo da Vinci._
For the authenticity of this picture, we have the high
authority of Mr. Woodburn.
(_Bryan Collection._)
B-24. St. John. (13½X10½.) Oval. _Leonardo da Vinci._
(_Bryan Collection._)
B-25. The Birth and Resurrection of Christ. (11X19½.) _Raphael._
In the centre of the upper compartment, CHRIST, draped in
red, and bearing the emblematic banner of the Cross, rises from
an open tomb. His hand is raised with an expression of command.
On each side are two soldiers sleeping, and two starting away in
fright. A slender tree also is seen upon each side of the tomb; in
the distance is a large hill. In the lower compartment are eight
figures, besides the infant CHRIST. Six kneel in a semicircle about
the new-born Saviour, who lies in the middle of the foreground.
Three of these, on the left, are shepherds. On the right are the
Virgin mother and two Angels. Next to MARY sits JOSEPH; and on the
extreme left, a fourth shepherd approaches. Two slender trees here
also appear on each side of the composition. In the distance are
heavily undulating hills.
_GIOTTO DI BONDONE._
(BRYAN COLLECTION)]
Very few Raphaels of this period exist. Those which are in
the Vatican and the Louvre, show, in style and handling, an exact
similarity to these pictures, which is absolutely conclusive. The
donor wishes it to be understood, that, in his opinion, and in that
of some of the accomplished and practised experts in Europe, there
is not the slightest doubt of the authenticity of these pictures.
Only the inexperienced and the uncultivated fail to trace in them
the pencil of the divine RAPHAEL.
(_Bryan Collection._)
B-26. Madonna and Child. (28X21½.) _Copy from Raphael._
An old and admirably executed copy of the Bridgewater Madonna.
(_Bryan Collection._)
B-27. Dance of Cupids. (7X10.) _Copy from Raphael._
Nine Cupids dance in a ring. On the left, one plays upon
double pipes; on the right, another sits upon the ground. This
copy is very fine, as it may well be, having been made by no less
distinguished an artist than SASSOFERRATO himself.
(_Bryan Collection._)
B-28. St. George, and St. Anthony of Padua. (47X22½.) _Gaudenzio Ferrari._
(_Bryan Collection._)
B-29. Martyrdom of St. Bartholomew. (17X28.) _Fra Bartolomeo._
(_Bryan Collection._)
B-30. The Repose in Egypt. (29½X35.) _Giorgione._
No. B-17 is a specimen of the ancient Venetian style, which
should be examined in connection with these productions of the
glorious days of that school.
(_Bryan Collection._)
B-31. Prince of Palermo--in Disguise. (22X17½.) _Giorgione._
Similar to that in the Royal Gallery of Naples, it is
distinguished by the Prince holding a flute, and not a staff,
a ring on his finger and an amulet in his fur cap. From the
collection of the Marquis Sommariva.
(_Bryan Collection._)
B-32. A Concert. (31X37½.) _Copy from Giorgione, by Watteau._
Two men and a naked female sit in the open air, diverting
themselves with music. Another female figure peers at the group
from the shrubbery, which is not in the original, but found only in
Watteau's Pastiche, No. B-247.
(_Bryan Collection._)
B-33. The Repose in Egypt. (32½X41½.) _Titian._
This composition was repeated many times by TITIAN, and
without great variation. This repetition is distinguished by the
absence of some figures in the background, and the introduction
of a rivulet in the foreground, and a butterfly upon a flower in
the right corner. It has twice been found necessary to remove the
picture from its canvas: the drapery of the Virgin has suffered
somewhat from this and other causes; the other parts of the picture
are somewhat injured.
(_Bryan Collection._)
B-34. Portrait of a Lady. (43X40.) _Style of Titian._
From the collection of R. W. Meade, of Philadelphia.
(_Bryan Collection._)
B-35. St. Jerome, in his Study. (39X29.) _School of Titian._
Probably a copy by ODVARDO FIALETTI, scholar of TINTORETTO.
This is a large copy of a print by ALBRECHT DÜRER. Its color shows
it evidently to be of the Venetian School.
(_Bryan Collection._)
B-36. Virgin and Child. (43X36.) Oval. _School of Titian._
This picture came from the Gallery of Louis Philippe, and on
the back was written "_Dans la Chambre du Prince._"
(_Bryan Collection._)
B-37. Portrait of a Presbyter. (20½X16½.) _Tintoretto._
(_Bryan Collection._)
B-38. St. Benedict. (91X54.) Oval Top. _Francesco Zucco._
The Saint is prostrate before an altar, receiving the black
stole from the Virgin: the head of the Saint is worthy the palette
of Titian. Signed and dated. Found in New York, by the donor.
(_Bryan Collection._)
B-39. Abraham discarding Hagar and Ishmael. (24½X19½.) _Paul Veronese._
(_Bryan Collection._)
B-40. Portrait of Charles, Constable de Bourbon. (23½X19.) _Ludovico Brea._
From the collection of General D'Espinoy.
(_Bryan Collection._)
_UCCELLO._
(BRYAN COLLECTION)]
B-41. Christ Shown to the Multitude. (45X40.) _Sebastiano del Piombo._
This picture, which is in very fine condition, and the
principal figure in which much resembles that in the famous picture
of _Christ looking into Hell_, in the Royal Gallery of Madrid, was
purchased by the donor in Rome.
(_Bryan Collection._)
B-42. Virgin and Child, with Angels. (44X34½.) _Andrea del Sarto._
(_Bryan Collection._)
EARLY FLORENTINE SCHOOL
B-43. Virgin and Child, with St. John. (10X81.)
It will be noticed that gold is used freely in the halos, and
upon the draperies, which fall in somewhat stiff but ample and
not unpleasing folds. This picture is from the collection of the
Abbé GENOUDE, known as the translator of the Bible, by which he
accumulated a fortune.
(_Bryan Collection._)
B-44. Adoration of the Shepherds. (35½X34.)
This picture is from the collection of the Sylvestre family,
and was once improperly attributed to RAPHAEL. It bears many of the
marks of GAROFALO'S pencil.
(_Bryan Collection._)
B-45. The Crucifixion. (33X23.) _Andrea Mantegna._
Mr. Michiels, the distinguished critic employed by the Belgian
Government to prepare a history of Flemish Art, says of this work:
"The CHRIST has a nobility in his attitude which few painters
have been able to give him; the expression of the good robber is
also grave and dignified. The whole picture bears the impress of
a serene imagination; the coloring is sombre; the attitudes are
distinguished by an air of majesty. We feel that the artist had, at
the commencement of his career, severely studied the ancients. Two
cuirasses, and some of the draperies, are gilded; gold is mingled
with the other costumes, in the form of _traits,_ designating the
folds. We are particular about these details, because they indicate
the primitive epoch in which the picture was painted, and the
manner in which they passed from the use of gold grounds to the
entire abandonment of that metal."
It should be observed that the Jewish type is preserved in the
heads of many of the figures, which is the case of the works of
very few other masters. It will be observed that there are in this
crowded canvas no two pieces of offensive or defensive armor alike.
This is worthy of particular remark, as SQUARCIONI, the master of
MAN TEGNA, had the largest and most varied collection of ancient
arms which existed in his day.
Aside from its intrinsic merit, this picture is of the
greatest interest when considered in connection with the _St.
Jerome_ (B-47) by CORREGGIO, the disciple of MANTEGNA. In the
peculiar mode of introducing gold in the lights of that noble
painting, we notice an unmistakable similarity to MANTEGNA'S use of
the same material in the work before us; thus showing the direct
connection between the manner of the two painters.
It is impossible to overrate the historical importance of the
juxtaposition of this work of MANTEGNA with that of CORREGGIO.
There is afforded in no other gallery, public or private, in the
world, a similar opportunity to study the master and scholar side
by side in works of unquestionable authenticity and the highest
intrinsic merit.
(_Bryan Collection._)
B-46. Adoration of the Kings. (19X14.) _Andrea Mantegna._
Found in Venice, 1859.
(_Bryan Collection._)
B-47. The Virgin and Child, Mary Magdalen, and St. Jerome (known as the St. Jerome). (19X14.) _Correggio._
Of this sketch M. Michiels remarks, that in it "burns in all
its grace the talent of _Correggio_. Never has the Ecstasy of
piety, or the fervor of religious affection, been better expressed."
This picture differs from the large one at Parma, in the
absence of the emblematic lion which stands in that by the side
of ST. JEROME; and also in the color of some of the draperies,
particularly in that of the canopy, which in this is striped,
while in that it is of one color. In this, too, we find gold
used in the halos and in the draperies, which is not the case in
the other; a fact which points to the earlier production of this
picture, and which also connects it in a remarkable manner with the
_Crucifixion_ by _Mantegna_ (No. B-45).
There can be no doubt that this picture is the finished sketch
for the well-known _St. Jerome_, at Parma. The marked differences
already alluded to in minor points, prove incontestably that it
could not be the work of a copyist, who would, of course, reproduce
his original with all possible fidelity. It is from the collection
of Marshal Sebastiani, it having been nailed firmly to the wall in
his bed-chamber.
(_Bryan Collection._)
B-48. Virgin and Child. (34X27.) _Correggio._
In support of the authenticity of this picture, we have the
first authority in England,--that of Mr. Woodburn. The donor thinks
it may be SCHIDONE.
(_Bryan Collection._)
_ATTRIBUTED TO PERUGINO_
[_MACRINO D'ALBA_]]
B-49. Virgin and Child. (10X8.) _Bernardino Luini._
(_Bryan Collection._)
B-50. Virgin and Child, with St. John. (32X25½.) _Giulio Romano._
This picture was attributed to CÆSARI DA SESTO, but is now
believed by the donor to be by GIULIO ROMANO. It is from the
collection of Bishop Luscomb, Paris.
(_Bryan Collection._)
B-51. Portrait of a Princess of Florence. (52X41½.) _Agnolo Bronzino._
(_Bryan Collection._)
B-52. Portrait of a Noble Florentine as St. Barbe. (35X30.) _Agnolo Bronzino._
(_Bryan Collection._)
B-53. Portrait of a Venetian Lady as Mary Magdalen. (42X30.) _Copy from Palma._ (_Vecchio._)
(_Bryan Collection._)
B-54. Charity. (9X6½.) _Giuseppe Cesari d'Arpino._
(_Bryan Collection._)
B-55. Virgin and Child. (8X6½.) _Annibale Caracci._
(_Bryan Collection._)
B-56. St. Joseph holding the Infant Jesus. (8X6½.) _Annibale Caracci._
(_Bryan Collection._)
B-57. St. Paul borne to Heaven by Angels. (19½X15.) _Domenichino._
"Three angels bear aloft the interpreter of the divine will:
one has the form of infancy, another of youth, the third of
adolescence. The minister of our Lord raises his hands to heaven,
on which he gazes with an expression of burning hope. How he seeks
to discover the first rays of the eternal light! How he longs for
the moment in which he shall appear before the Almighty! What
enthusiasm animates his countenance! I doubt if the ardor of faith
could be better shown. The little angel has those brilliant eyes,
and that expressive visage, which this master knew so well how to
paint; it is certainly not inferior to those which we admire in the
grand salon of the Louvre. The angel of the second age charms the
eye by a grace and an easiness of attitude extremely remarkable;
upon his countenance burn the veneration and the love with which
the Apostle inspires him. The entire group seems actually to mount
in the air. Mr. Bryan had the good taste to purchase it at the sale
of M. Forbin-Janson."
To this just and graphic description, from the pen of M.
Michiels, which appeared in the _Gazette de France_, it is needless
to add anything more.
This picture was formerly in the gallery of the Cardinal
Lambruschini, and afterwards in the collection of M. Forbin-Janson,
Director of the Louvre, at whose sale it was purchased by the donor.
(_Bryan Collection._)
B-58. Christ Crowned with Thorns. (24½X20.) _Guido._
If not original, it is the best copy ever seen by the donor.
(_Bryan Collection._)
B-59. Magdalen in a Trance. (46½X36.) _School of Guido._
This picture is from the collection of Louis Philippe. The
head of the Magdalen is evidently a reminiscence of the Niobe
discovered at Rome at the epoch of the painter.
(_Bryan Collection._)
B-60. The Young Bacchus. (33X24.) Oval. _School of Carlo Dolci._
(_Bryan Collection._)
B-61. Lucretia. (33X24.) Oval. _School of Carlo Dolci._
(_Bryan Collection._)
B-62. Magdalen. (34X28.) Oval. _School of Carlo Dolci._
(_Bryan Collection._)
B-63. St. Dorothea. (34X28.) Oval. _School of Carlo Dolci._
(_Bryan Collection._)
B-64. Christ disputing with the Doctors. (39X54.) _Gentileschi._
(_Bryan Collection._)
B-65. Portrait of Galileo Galilei. (30½X24½.) _Justus Sustermans._
From the collection of Louis Philippe.
(_Bryan Collection._)
B-66. Virgin and Child. (18½X15½.) _Sassoferrato._
Found at Rome.
(_Bryan Collection._)
B-67. Landscape, with Historical Figures. (48X79.) _Salvator Rosa._
(_Bryan Collection._)
_ANDREA MANTEGNA._
(BRYAN COLLECTION)]
B-68. Landscape. (38½X46.) _School of Salvator Rosa._
(_Bryan Collection._)
B-69. Landscape. (24X38.) _School of Salvator Rosa._
(_Bryan Collection._)
B-70. Landscape. (24X38.) _School of Salvator Rosa._
(_Bryan Collection._)
B-71. Marine View, with Architecture. (34X50½.) _Canaletto._
Figures by TIEPOLO.
(_Bryan Collection._)
B-72. Autumn. (18½X24½.)
Purchased of Mr. TERRY, artist, Rome.
(_Bryan Collection._)
B-73. Philip IV. of Spain. (26X21½.)
Bought at Sienna.
(_Bryan Collection._)
B-74. Don John of Austria. (26X21½.)
Bought at Sienna.
(_Bryan Collection._)
B-75. A Theologian Decorated with the Order of the Golden Fleece. (26X21½.)
Bought at Sienna.
(_Bryan Collection._)
B-76. Portrait. (29X24.)
Bought at Sienna.
(_Bryan Collection._)
B-77. Portrait. (29X24.)
Bought at Sienna.
(_Bryan Collection._)
FLEMISH AND DUTCH SCHOOLS
B-78. Landscape. (25½X33.) _Jacobus van Artois._
From the collection of Marshal Oudinot.
(_Bryan Collection._)
B-79. Landscape. (12½X17.) _Jan Asselyn._
(_Bryan Collection._)
B-80. Landscape. (19½X15½.) _School of Asselyn._
(_Bryan Collection._)
B-81. Marine View. (16½X24.) _Ludolf Bakhuysen._
(_Bryan Collection._)
B-82. A large Marine View. (60X54.) _School of Bakhuysen._
(_Bryan Collection._)
B-83. Marine View. (24X31.) _School of Bakhuysen._
(_Bryan Collection._)
B-84. Winter Scene. (35½X52.) _Jan Beerestraten._
This is the finest specimen of the Master ever seen by the
donor. It graced the collection of Cardinal Fesch.
(_Bryan Collection._)
B-85. Boors Regaling. (29X24.) _Cornelius Bega._
(_Bryan Collection._)
B-86. Landscape. (33X44.) _Dirk van Bergen._
This is not a remarkable, though it is an authentic, specimen
of the Master, and is signed.
(_Bryan Collection._)
B-87. Italian Scenery, and Figures in Italian Costume. (16X20.) _Nicholas Berghem._
Dated and signed "BERCHEM," his true signature, and a superb
specimen of this Master.
(_Bryan Collection._)
B-88. Landscape, with Oxen at the Plough. (15X20½.) _Copy of Nicholas Berghem._
This picture was considered a BERGHEM by the Comte de Turenne,
in the catalogue of his collection.
(_Bryan Collection._)
B-89. Cattle and Herdsmen. (13½X11.) _Nicholas Berghem._
This little picture, though much injured, is unquestionably
authentic.
(_Bryan Collection._)
B-90. Cattle Market. (29X38½.) _Petrus van Bloemen._
The ruined buildings near which the cattle are grouped, are
the remains of the Palace of the Cæsars, Rome.
(_Bryan Collection._)
_PHILLIPPE DE CHAMPAGNE._
(BRYAN COLLECTION)]
B-91. Halt of Soldiers. (29X38½.) _Petrus van Bloemen._
These two pictures were engraved as the works of DE LAER,
by an English engraver, in 1769; an error of names but not of
appreciation at that time, when DE LAER was rated with WOUWERMANS.
(_Bryan Collection._)
B-92. Halt of Cavaliers. (10X11.) _Petrus van Bloemen._
This is in his Flemish style.
(_Bryan Collection._)
B-93. Landscape. (18½X24.) _Jan Both._
(_Bryan Collection._)
B-94. Landscape. (15X12½.) _Jan Both._
(_Bryan Collection._)
B-95. Italian Landscape: Sunrise. (21X27½.) _Jan Both._
(_Bryan Collection._)
B-96. Italian Landscape: Sunset. (21X27.) _Jan Both._
B-95 and B-96 are companion pictures: the spirited figures are
by LINGELBACH.
(_Bryan Collection._)
B-97. Interior of a Tavern. (15½X13.) _Renier Brakenburg._
It is signed both by BRAKENBURG and JAN STEEN, and bears
everywhere marks of the careful assistance of the latter.
(_Bryan Collection._)
B-98. A Presentation to the Temple. (28X22½.) _Leonard Bramer._
Signed and dated. Bought from J. Vollmering in New York city.
It is as fine as REMBRANDT'S best works. The senior of REMBRANDT,
he appears to have led the way for him in his shades.
(_Bryan Collection._)
B-99. Robber examining Coin by Day-light. (9X6.) _Adrian Brower._
This Master was much respected by RUBENS.
(_Bryan Collection._)
B-100. Robber examining Coin by Candle-light. (8X6½.) _Adrian Brower._
(_Bryan Collection._)
B-101. Portrait of a Jansenist. (41½X41½.) Round. _Phillippe de Champagne._
This picture is an excellent specimen of the Master.
Collection of Mr. VIEN, artist.
(_Bryan Collection._)
B-102. St. Paul. (20X16.) _Phillippe de Champagne._
(_Bryan Collection._)
B-103. Cattle in a Landscape. (15X13½.) _Albert Klomp._
(_Bryan Collection._)
B-104. An Equestrian Portrait. (19X16.) _Gonzales Coques._
The picture gives but a feeble idea of the merit of the
painter.
(_Bryan Collection._)
B-105. Cattle and Figures in a Landscape. (22X26½.) _Albert Cuyp._
(_Bryan Collection._)
B-106. Portraits of the Burgomaster d'Eyselyhn of Rotterdam, and his family. (41X59.) _Jacob G. Cuyp._
The landscape is probably not by CUYP.
(_Bryan Collection._)
B-107. Landscape, with Figures. (24X20½.) _Guillam Dubois._
The similarity of many parts of this picture to the works of
RUYSDAEL is so great, that some dealer, more keen than honest, had
placed his signature over that of the actual painter. Upon cleaning
the picture, the fictitious signature, of course, disappeared, and
that of DUBOIS, with the date, 1652, was brought to light; and
hence results the unmerited obscurity of a landscape painter of no
mean powers who preceded RUYSDAEL, and whose works are important in
the history of art, as showing the origin of that Master's style of
treating foliage.
(_Bryan Collection._)
B-108. Landscape. (15½X21.) _John Renier de Vries._
(_Bryan Collection._)
B-109. The Presentation at the Temple. (31X25½.) _Christian W. E. Dietrich._
This is the first picture bought by the donor, in Europe.
(_Bryan Collection._)
B-110. Abraham discarding Hagar. (28½X24.) _Christian W. E. Dietrich._
(_Bryan Collection._)
B-111. The Crucifixion. (31½X20½.) _Anthony van Dyck._
(_Bryan Collection._)
B-112. Portrait of a Lady. (42½X35½.) _Anthony van Dyck._
This picture belonged to General D'Espinoy's large and famous
collection of portraits. It was covered with the dust of time; and
the Cupid, which the donor found in perfect preservation, had been
painted out by some sacrilegious hand.
(_Bryan Collection._)
B-113. Portrait of Charles I. (30½X39.) _Anthony van Dyck._
The monarch is represented on the same canvas in front,
profile, and three-quarter view. The object in presenting such a
picture was, as the reader will remember, to enable the Italian
sculptor, BERNINI, who had not seen Charles, to model a bust.
(_Bryan Collection._)
B-114. The Artist in his Atelier. (12X15.) _Gerard Douw._
(_Bryan Collection._)
B-115. The Continence of Scipio. (52X67.) _Gerbrandt vanden Eeckhout._
This is the most celebrated of the Master's compositions, and
is cited by Descamps as his _chef d'oeuvre_. His pictures having
been frequently changed into REMBRANDTS by picture-dealers, this
specimen is the finest and purest which the donor has met with.
(_Bryan Collection._)
B-116. The Crucifixion. (15X14½.) _Jan van Eyck._
The cross upon which the dead CHRIST is suspended occupies
the middle of the composition. On the left, ST. JOHN sustains the
fainting Virgin, behind whom kneels the churchman for whom the
picture was painted. His name, _Fr(ater) Aurelius de Emael_, is
written in German-text across his figure. Behind him is a weeping
female figure; on the left is a group of dignitaries and soldiers.
A landscape, in which the towers of a distant city appear, closes
the scene. Underneath the left arm of the cross appears the legend,
_Vere Filius Dei erat iste_, in Roman characters of the epoch,
which ceased to be used after the time when the painting in oil
commenced. The forms in the CHRIST are somewhat meagre, but the
anatomy is remarkably correct and particular. The expression in the
faces of the several figures is marked. Modern art rarely shows us
finer expression. The picture is slightly but admirably restored in
the left arm of the cross, and a portion of the legend. It is of
unquestionable authenticity and the extremest rarity.
(_Bryan Collection._)
B-117. Landscape, with Figures. (22X36.) _Jacques Fouquières._
(_Bryan Collection._)
B-118. Landscape. (26X39½.) _Jan Glauber._
It is unrivalled by any production of the Master known to the
donor, and is worthy of CLAUDE, to whom it has been attributed by
some of the most distinguished experts of Europe. The figures are
by GERARD DE LAIRESSE.
(_Bryan Collection._)
B-119. Castle and Seaport. (14X23.) _John van Goyen._
Bought in New York city.
(_Bryan Collection._)
B-120. Dogs and Game. (16X21.) _Anthony Griff._
This little picture is a fair specimen of the Master.
(_Bryan Collection._)
B-121. The Marriage of St. Catherine. (36X27½.) Oval Top. _Jan Memling._
The picture is in remarkably fine condition, and, aside from
its intrinsic merit, is important in the history of Art. When
purchased by the donor, its beauties were hidden beneath the
accumulated blackness of ages; otherwise a private American fortune
would have failed to obtain it, as the Director of the National
Academy of Brussels, partly suspecting its value, was a competitor
for its possession. It was purchased at the sale of the well-known
_Collection Quedeville_.
(_Bryan Collection._)
B-122. The Annunciation. (17X17.) _Copy from Jan Memling._
This picture, as well as the preceding, is from the
_Collection Quedeville_, and was supposed, for a long time, by
some, to be an original; but a comparison of it with the "Marriage
of St. Catherine," just noticed, will soon convince even the least
practised eye of the error of this belief.
(_Bryan Collection._)
B-123. View of an old City on the Rhine. (18½X25.) _Jan van der Heyden._
(_Bryan Collection._)
B-124. Landscape. (25X32½.) _School of Mindert Hobbema._
(_Bryan Collection._)
_JAN VAN EYCK._
(BRYAN COLLECTION)]
B-125. Landscape. (25½X30.) _Cornelius Huysmans, of Mechlin._
This is the finest easel-picture of this Master known to the
donor. One inferior to it in every respect was placed by the side
of a HOBBEMA at the exhibition of the British Institution, 1851,
and sustained itself.
(_Bryan Collection._)
B-126. Portrait. (25X20.) _Karl du Jardin._
Portraits by this Master are very rare.
(_Bryan Collection._)
B-127. Landscape, with Figures. (24X21.) _Karl du Jardin._
The signature is in script, _K. du Jardin_; an unusual one for
the Master, who almost always signed in Roman letters.
(_Bryan Collection._)
B-128. Landscape: Cattle and Figures. (14X21.) _Jan Kobell._
Purchased in New York city.
(_Bryan Collection._)
B-129. Portrait. (48½X39½.) _Sir Peter Lely._
This is the portrait of a sister to the Duke whose portrait,
representing him holding an orange, is in the Louvre, and which
was long attributed to VANDYKE; and the donor, with due deference,
declares both portraits to be painted by the same artist--Sir PETER
LELY. It is from the collection of DROLLING, artist.
(_Bryan Collection._)
B-130. Portrait. (17X13.) _Nicholas Maas._
(_Bryan Collection._)
B-131. Virgin and Child, with Cherubs. (13½X10.) Oval Top. _Jan de Mabuse._
(_Bryan Collection._)
B-132. Virgin and Child. (27½X22.) _Jan de Mabuse._
This picture in its composition and expression shows the
influence of the painter's study in Italy.
(_Bryan Collection._)
B-133. A Triptique. (28X39½.) _Quintin Matsys._
Bodily rather than mental suffering is portrayed in this
picture by a painter who sought expression alone. His Misers, in
the English Queen's collection, is the connecting link between the
early and the more modern Flemish art.
(_Bryan Collection._)
B-134. Boors regaling. (12½X9½.) _Jan Molenaer._
(_Bryan Collection._)
B-135. Winter Scene. (31X44½.) _Nicholas Molenaer._
(_Bryan Collection._)
B-136. Landscape. (14X18½.) _Frederick Moucheron._
This picture is signed by the artist.
(_Bryan Collection._)
B-137. Landscape. (18X21½.) _Frederick Moucheron._
Bought in New York City.
(_Bryan Collection._)
B-138. Portrait. (12X11.) _Jan van Neck._
This picture is from the gallery of Cardinal Fesch, at the
sale of which it was purchased,--but not by the donor,--as by
NETSCHER, the true signature being covered by the false one of
NETSCHER.
(_Bryan Collection._)
B-139. Landscape by Moonlight. (24½X35.) _Arnold van der Neer._
(_Bryan Collection._)
B-140. The Interior of a Cathedral. (14X18.) _Peter Neefs._
The figures are by Franck and the picture is signed by both
masters.
(_Bryan Collection._)
B-141. Portrait of Madame de Montespan. (19½X15.) _Caspar Netscher._
The Duchess sits near a small table, playing upon the harp; at
her feet sits her son, the Duc de Maine. The artist has intended
to represent the lady as St. Cecilia. The anvil, hammers, and
balance, introduced into the painter's design, are allusions to the
discovery of the musical octave by Pythagoras, and also her sitting
upon a celestial globe typical of the music of the spheres.
(_Bryan Collection._)
B-142. A Carnival Scene. Twelfth Night. (66½X92.) _Jacob van Oost._
(_Bryan Collection._)
B-143. A Lady playing with a Dog. (37X30.) _Jacob van Ochterveldt._
(_Bryan Collection._)
_PAUL REMBRANDT._
(BRYAN COLLECTION)]
B-144. Portraits of the Painter's Wife and Child. (11½X10.) _Adrian Van Ostade._
From the collection of Cardinal Fesch.
(_Bryan Collection._)
B-145. Head of a Boor. (5X4½.) _School of Ostade._
(_Bryan Collection._)
B-146. A Dutch School. (13X16.) _Isaac van Ostade._
From the Da Costa Collection.
(_Bryan Collection._)
B-147. Landscape, with Figures. (6X7½.) _Cornelius Poelemburg._
(_Bryan Collection._)
B-148. Portrait of Henri IV. (15X9½.) _Francis Porbus._
(_Bryan Collection._)
B-149. A Nobleman and Lady. (14X11.) _Francis Porbus._
Leaving a chateau, to promenade in the garden.
(_Bryan Collection._)
B-150. A Waggoner, Horse, and Greyhound. (8X15½.) _School of Paul Potter._
(_Bryan Collection._)
B-151. Battle-Piece. (20X23.) _Augustus Querfurt._
The group of Hercules and the Lion standing upon a Pedestal
near the middle of the picture will remind one of RUBENS. (No.
B-161).
(_Bryan Collection._)
B-152. Portrait. (27X21.) _Paul Rembrandt._
This portrait is signed with the R., the early signature of
the Master. It was bought at the sale of the celebrated miniature
painter SAINT, to whom it belonged, by Mr. Roehn, the celebrated
connoisseur, and was sold by him as REMBRANDT'S to Mr. Jecker,
the same who left his important collection of prints to the
_Bibliothèque National_ at Paris.
(_Bryan Collection._)
B-153. Tobit and the Angel. (18X13.) _Copy from Paul Rembrandt._
Copied by SCHUERMAN from the original in the Louvre.
(_Bryan Collection._)
B-154. Holy Family. (15X12½.) _Copy from Paul Rembrandt._
The copy is also by SCHUERMAN, who died in 1847.
(_Bryan Collection._)
B-155. Portrait of an Abbé. (20X17.) _School of Paul Rembrandt._
(_Bryan Collection._)
B-156. St. John preaching. (29½X42.) _Theodore Rombouts._
In a former catalogue this picture was classed among unknown
artists. The donor has since discovered it to be by ROMBOUTS. From
the collection of General Desport.
(_Bryan Collection._)
B-157. View of a Windmill on a Canal. (10½X12½.) _Theodore Rombouts._
Signed by the artist. Bought in New York city.
(_Bryan Collection._)
B-158. St. Catherine. (38½X28½.) _Peter Paul Rubens._
There are but six pictures of this quality of color by
RUBENS, known to the donor. Three are in the Louvre, one is
over the painter's tomb, one is the famous _Chapeau de Paille_,
and the other is before us. It was brought from a church in the
neighborhood of Brussels, by NIEUWEN-HUYSEN, the elder, and sold to
the Count Perregeau.
(_Bryan Collection._)
B-159. Christ bearing the Cross. (59X24½.) _Peter Paul Rubens._
This picture is especially valuable for historical
considerations, as being the only one which RUBENS is known to have
painted on cedar panel. It formed one compartment of a triptique in
the Cathedral of Antwerp. The centre compartment represented the
Flagellation of Christ.
The donor has the authority of Mr. HERIS for the authenticity
of this picture, and the locality from which it was stolen.
(_Bryan Collection._)
B-160. Portrait of a Knight of the Order of the Golden Fleece. (44X33.) _Peter Paul Rubens._
This picture is from the collection of Louis Philippe, King of
the French, and was supposed to be by VANDYKE.
(_Bryan Collection._)
_PETER PAUL RUBENS._
(BRYAN COLLECTION)]
B-161. Hercules strangling the Nemean Lion. (80X67.) _Peter Paul Rubens._
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Catalogue of the Gallery of Art of The New York Historical SocietyChapter III: Preface: vii (2)
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