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BOL, CORNELIS, was a native of Holland, and
flourished about the year 1G60. He visited England
before the fire of London, as he painted views of
that conflagration. He also painted representations
of Sutton Place in Surrey, Arundel House, Somerset
House, and the Tower. He etched some plates
representing the seaports of Holland, among which
is that of the Briel.

BOL, FERDINAND, was born at Dordrecht in 1611.
Of his life we know but little. He went when a
child with his parents to Amsterdam, his future
home ; studied under Rembrandt ; was made a
citizen ; married, in 1653, Elisabeth Dell ; and died
there in 1681. His masterpiece, the ' Four Regents
of the Leprosy Hospital,' which formerly hung in
that institution at Amsterdam, and is now in the
Townhall, at a certain exhibition held for chari-
table purposes is said to have received more notice
and praise than any of the works of his master,
Rembrandt. Yet Bol was a most uncertain painter ;
and although, while under the influence of Rem-
brandt, he produced works that may have passed
as being the work of the master himself, he latterly
degenerated into a bad imitator of Rembrandt, and
appears even to have exaggerated the faults of his
manner and style without retaining the power of
giving the superb effects of light and shade which,
while in that master's studio, he certainly once pos-
sessed. This change is apparent in
those paintings of Bol that bear a later
date than 1660, when he had probably
left Rembrandt.

The following are his principal paintings :

Amsterdam. Museum. Portrait of Ferdinand Bol.

Portrait of Arthur Quellinus,

Sculptor; BOL. 1663.
Portrait of Admiral Michiel Adri-
ausz de Ruyter ; F. BOL FECIT.
1677.
Amsterdam. A Mother with her two Children ;

F. BOL FECIT.

The Instruction; F. BOL. 1663.

" Portrait of Admiral de Ruyter.
' Town 7/uff.Four Regents of the Leprosy Hos-
pital (his masterpiece).
Berlin. Museum. Portrait of an Old Lady; F. BOL

FECIT. 1642.

Brussels. Gallery. Portrait of a Man ; F. BOL F. 1660.
The F and the interlaced as
given above. (Formerly called a
Rembrandt.)



PAINTERS AND ENGRAVERS.



Brussels. Gallery. Portrait of a Woman; P. BOL F.
1660. (Formerly called a Rem-
brandt. )
Portrait of Saskia van Ulenburgh,

wife of Rembrandt van Ryu.
Cambridge Fit:vil- ) A Portrait .

ftam Mus. }
Dresden. Gallery. Rest on the Flight into Egypt ; P.

BOL FECIT. 1644.

n Jacob's Vision ; F. BOL FECIT.

Joseph presenting Jacob to Pha-
raoh.

,, Portrait of Ferdinand Bol.

Frankfort. Sti'iJel. Portrait of a Young Mau holding
his Hat and Gloves in his Hand ;
F. BOL. 1644.
Portrait of a Man with Curly Hair ;

F. BOL. 1659.
Hague. Gallery. Portrait of Van Juchen.

Portrait of Engel de Ruijter ; F.

BOL. 1669.

Liverpool. Institute. The Angel appearing to Hagar.
London. A'at. Gallery. Portrait of an Astronomtr ; h

BOL FECIT. 1652.

Nortfil'i-ook ] Portraits of a Bride and BriJe-
Colt. $ groom.

A Scene from Guariui's 'Past.':

Fido.'
Levden. Town Hall. Allegory of Peace (painted in

1664).
Munich. Finakothek. Abraham, about to offer up I

stopped by an Angel.
Portrait of a Man clothed in Black

Paris. Louvre. A Philosopher in Meditation.

Portrait of a Mathematician.

Portrait of a Man ; P. BOL. L659

Petersburg. Hermitage. Portrait of a Countess of Na^-a
Siegen (probably Ernestine, ir>/.
of John theyounyer).
Portraits of Persons, unknown

as Theseus and Ariadne.
The Savant, writing.

Portrait of a Man.

Portrait of a Lady, in black.

holding her gloves.
Portrait of a Young Man, his right

hand on a table.

Portrait of a Young Lady, stand-

ing before an old Man, who i>
seated (miscalled 'Estht,-
jlhasufrus ').
The Philosopher (signed).

Portrait of a Young Man (irith a

forged signature of Rembrandt)
1641.
Portrait of an Old \Voman ; F. BOL.

1651 ; otT 81 JAER.
Rotterdam. Museum. Portrait of Dirk van der Waeijen ;

F. BOL. 1656.
Portrait of a Lady ; F. BOL FECIT.

1652.

Bol's etchings are highly esteemed ; they are
executed in a bold and free manner, and his lights
and shadows are very judiciously managed. Al-
though they are not equal in lightness of touch
and tasteful style to the etchings of Rembrandt,
they possess great merit. The following is a list
of nearly the whole of his prints :

PORTRAITS AND HEADS.

A young Man, with a round Hat ; marked Bol fee.

An Officer with his hands on the Hilt of his Sword ;

Bolfec. 1643.

A young Man, with a Cap and Feathers ; F. Bol. 1642.
A young Woman, half length, with a Cap and Feathers ;

marked F. Bol f. 1644 ; fine, oval.
The Woman with the Pear, at a Wiudow; Ml the

manner of Rembrandt ; very fine.
An old Man sitting in a Chair, with some Books and an

unlighted Candle ; marked Bol; scarcr.



An old Man. half length, with a Bonnet, leaning ou a
Cane ; in the manner of Rembrandt ; F. Bolfec. 1642.

Bust of an old Man, seen in front, with a fur Robe,
fastened with Diamonds ; no name ; very scarce.

VARIOUS SUBJECTS.

A Philosopher in Meditation, resting on a Table, on
which are some Books and a Globe ; very fine.

Another Philosopher, holding a Book ; F. Bol. 1642.

The Astrologer, an old Man sitting at a Table, with
Books and a Globe; he wears a flat Hat, and his
Hands are crossed.

The Family A Woman suckling a new-born Infant,
with a Man holding Linen ; F. Bol. 1649.

Abraham's Sacrifice ; an arched plate ; F. Bol f.

Hagar in the Desert, with the infant Ishmael ; F. Bolf.
A very scarce print, mentioned by Heiueken.

The Sacrifice of Gideon.

St Jerome in a Cavern, contemplating a Crucifix ; F

Bolf.

BOL, HANS, or JAN, a Flemish painter and en-
graver, was born at Mechlin in 1534. After study-
ing two years under an obscure painter, he travelled
through Germany, and passed some time at Heidel-
berg, where he was employed by the Elector of
the Palatine for two years. After visiting his
native city he went, in 1572, to Antwerp, where he
stayed till 1584. He then visited Bergen, Dor-
drecht, and Delft, but he subsequently settled at
Amsterdam, where he died in 1593. His works,
which were greatly esteemed, included several
copies from the most eminent masters. Van
Mander speaks highly of two pictures by this
in isier, representing 'Daedalus find Icarus,' and
' The Crucifixion.' He is, however, more known as
a painter of landscapes and views in the neighbour-
hood of Amsterdam. A Landscape by him is in
the Berlin Gallery. He also painted portraits and
fruit and flower pieces. In Inter life he devoted
himself entirely to miniature painting, in which he
was very successful. The cabinet of miniatures at
Munich possesses good examples of his art. He
etched several plates from his own designs in a
slight spirited style, which he sometimes marked
H. J)., and sometimes H. Bol, the H and B joined
together. We have the following prints by him :

The Reconciliation of Jacob and Ksau ; circular.

The first interview between tho Servant of Abraham

and Rebekah.
Twelve circular plates of the Twelve Months of the

Year ; Ad. Collaert excud.
A set of twelve Landscapes ; H. Bol inv. Joh. Sadeler

A set of twelve Landscapes ; H. Cock ere. H. Bol.
A large Landscape, with a Man in a Boat catching a
Goose, with several figures.

BOLDRINI, LEONARDO, lived in the 16th century,
and is the author of an altar-piece, whose panels
are now hanging apart in the church of San Gallo,
near Zogno. No further information of him is
known.

BOLDRINI, NiccoiA frequently confused with
Niccol6 Vicentino, was an engraver on wood, born
at Vicenza in the early part of the 16th century,
and who was still living in 1566. His prints are
chiefly after Titian, and it is thought that he
studied under that master ; they are executed in a
bold free style. His works are scarce. He marked

his prints with the cipher *>R - v We nave tne

following by him :

John, Baron de Schwarzenburg ; with a border; after

Albrecht JJurer.

The Wise Men's Offering ; after Titian, with his cipher.

157



A BIOGRAPHICAL DICTIONARY OF



St. Jerome praying ; in a landscape ; after the same.
St. Catharine, St Sebastian, and four other Saints ;

after the same.
A mountainous Landscape, with a Woman milking a

Cow.
Venus seated on a Bank, holding Cupid, a Squirrel on

the Branch of a Tree ; marked Titianus inv. Nicolaus

Boldrinus Yicentinus incidebat. 1566.

BOLLMAN, HIERONYMDS. By this artist, who
was probably a native of Germany, we have some
prints after Raphael and other eminent painters of
the Italian school. They are executed in a bold,
free, and effective style, and possess considerable
merit.

BOLLONGIE, HANS or JAN BOLONGIEE, flourished
in Holland in the middle of the seventeenth cen-
tury. He entered the Painters' Guild at Haarlem
in 1623, and is again mentioned in the records in
1642. Neither his birth nor his death is recorded.
In the Rotterdam Museum is a ' Scene of a Carni-
val,' signed H. BOLLONGIE, 1628. A flower-piece,
marked I. B. 1625, in the Dresden Gallery is attri-
buted to him. HOBATIUS BOLONGIER of Haarlem
was also a painter; he died in 1681.

BOLOGNA, ANDREA DA, was a follower of Vitale.
A painting by him, representing ' The Virgin_and
Child,' signed DE BONONIA NATUS, ANDREAS FATUS
A.D. MCCCLXXII. , is in the church Del Sacramento at
Pansola, near Macerata. Another example of this
painter is in a convent at Fermo, but Bologna does
not possess any work by him.

BOLOGNA, CBISTOFORO DA, has been claimed as
belonging to Bologna, Modena, and Ferrara. As
his works are found in the last-named city, it is
presumed that he lived there. He painted toward
the close of the 14tli and the beginning of the 15th
century. Among his works at Ferrara, an ' En-
tombment,' signed XPOFORUS FECIT, in the Costabili
Collection, is worthy of note.

BOLOGNA, LATTANZIO DA, was, according to
Baglione, a native of Bologna, and a scholar of the
Carracci. On leaving that celebrated academy he
went to Rome, and was employed by Sixtus V. in
painting the ceiling of one of the saloons in the
Lateran. He also painted the ceiling in the chapel
of Sixtus V. in the church of Santa Maria Mag-
giore, representing a choir of angels. In Santa
Maria de' Monti is a fine picture by him of the
' Flagellation.' This painter promised to arrive at
a high rank in the art, but being naturally of a
weak constitution, which was probably impaired
by constant application, he died, much regretted,
at the age of 27.

BOLOGNA, LORENZO DA. See SABBATINI.

BOLOGNA, NICCOLO DA, is the author of a mis-
sal, with the date 1374, in the Munich Gallery, and
of miniatures in a Commentary on the New Testa-
ment, in the library of the Vatican, at Rome.

BOLOGNA, PELLEGRINI DA. See PELLEGRINI.

BOLOGNA, SIMONE DA, who painted from 1370
to 1377 at Bologna, is thought to have been a pupil
of Franco Bolognese. He is also called 'Simone
de' Crocifissi,' in contradistinction to Vitale, who
never treated that subject, whilst Simone painted
little else. His figures are somewhat masculine
and coarse. His chief works are in Bologna :



S. Giacomo | Ca f Ma f Crucifixion
Maggiore. ] g^ \ OPUS A.D.



(SlMON FECIT HOC
MCCCLXX.).

S.Stefano. Fourth church. Crucifixion (signed).

Seventh church. St. Ursula and her companions.
( Coronation of the Virgin
Academy. | (SIMON rECIT ).

158



Other paintings by him are in Modena, Ferrara,
and elsewhere.

BOLOGNA, TOMMASO VINCITORE DA. See VIN-
CITORE.

BOLOGNA, VITALE DA. See CAVALLI.

BOLOGNESE, FRANCO, a miniature painter of
the 14th century, is said to have received instruc-
tion from Oderigi of Gubbio. In conjunction with
that master and Giotto he was employed by Pope
Boniface VIII. to illustrate several books, now in
the library of the Vatican. Though inferior to
Giotto, Dante gives him a higher rank in the
' Purgatorio ' (xi. 83). Franco Bolognese was the
founder of a school of painters at Bologna, and
instructed, amongst others, Vitale, Lorenzo, Si-
mone Jacopo, and Cristoforo da Bologna.

BOLOGNESE, IL. See GRIMALDI, Giov. FR., alsc
MONTI.

BOLOGNINI, CARLO, who is mentioned in the
1 Abecedario Pittorico ' of Padre Orlandi, was born
at Bologna in 1678 (Zani says 1662), and was first
a scholar of Mauro Aldrovandini. He afterwards
studied under Giulio Trogli. He excelled in paint-
ing architectural views and perspective, and was
much employed at Vienna, where he resided some
years. He died in 1704.

BOLOGNINI, GIACOMO, the nephew of Giovanni
Battista Bolognini, was born at Bologna in 1664.
He received his instruction in the art from his
uncle, and became a reputable painter of history.
There are some of his pictures in the churches at
Bologna. In that of SS. Sebastiano e Rocco there
is a picture of ' St. Francis receiving the Stigmata;'
and in that of the Purita, ' The dead Christ, with
the Virgin Mary and Mary Magdalen.' He died
in 1734.

BOLOGNINI, GIOVANNI BATTISTA, a Bolognese
painter and engraver, was born at Bologna in 1611,
and died at the same place in 1688. He was one
of the ablest scholars of Guido Reni. There are
several of his pictures in the churches at Bologna.
In Santa Maria Nuova is a picture by this master,
representing ' The Virgin Mary and Infant Jesus,
with St. Dominic, St. Eustatius, and Mary Mag-
dalene.' In the church of the Servi, ' The dead
Christ, with the Virgin Mary, St. John, and others;'
in Santa Lucia, ' The Immaculate Conception,' and
in the Pinacoteca of that town is a ' Magdalen ' by
him. This artist etched some plates after the works
of Guido, in a slight spirited manner ; among them
are the following :

The Murder of the Innocents ; after Guido.
St. Peter made Head of the Church ; after the same.
Bacchus and Ariadne ; in three sheets ; after the same.
The Crucifixion ; after the picture in the church of the
Capuchins at Bologna.

BOLONGIER. See BOLLONGIE.

BOLSWERT, BOETIUS ADAM A, an eminent en-
graver, was born at Bolswert, a town in Friesland,
about 1580. It is not said by whom he was in-
structed in the art of engraving ; but, in company
with his younger brother Scheltius, he settled at
Antwerp as a printseller and engraver. He died
in that city about the end of the year 1633. He
worked entirely with the graver, and seems to
have adopted the free open manner of Cornelis
Bloemaert. The plates that he engraved after
Rubens are, however, in a more finished style, and
fuller of colour. He sometimes signed his plates



dams <>olsvert, & sometimes
His principal plates are the following :



PAINTERS AND ENGRAVERS.



PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS.

F. Adam Sasbout ; inscribed Omnia ranitas.

John Bergman, Jesuit, kneeling before an Altar, point-
ing to a Skull.

St. Aloysius Gonzaga kneeling before a Crucifix.

William Louis, Count of Nassau.

William of Nassau lying in State. 1618.

Seventy-seven plates for the ' Life of Christ ; ' published
at Antwerp 1622 and 1623 ; Het Leren, &c.

The plates for a book entitled ' The Pilgrimage ; ' pub-
lished at Antwerp in 1627.

VARIOUS SUBJECTS AFTER DIFFERENT MASTERS.

The Adoration of the Shepherds; after A br. Bloemaert.

1618.

The Repose in Egypt ; after the same.
Twenty-four of the Hermits of the Deserts ; Silva Ana-

ghoretica; published at Antwerp in 1619; after the

same.

Twenty-six of the Hermitesses; after the same.
Four of landscapes and figures ; after the same. 1613.
Set of twenty landscapes; numbered; after the same.

1616.
Fourteen of animals; after the same; B. a Bolswert

fee. 1611.
Jesus Christ, with Mary and Martha; after J. Goiemar;

B. d, Bolswert sc.; scarce.
The Judgment of Solomon ; after Rubens.
The Resurrection of Lazarus; after the same; very

fine.
The Last Supper ; after the same ; P. P. Rubens pinx.

Boet. b. Bolswert sc. ; very fine.
Men contending against Animals ; after D. I'incken-

booms ; B. <i Bolswert sc. ; scarce.
A Landscape, with Adam and Eve in Paradise ; after the

same ; B. a. Bolswert sc. ; scarce.

BOLSWERT, SCHELTIUS A, a very distinguished
engraver, was the younger brother of Boetius Adam
a Bolswert, and was born at the town of Bolswert, in
Fru-sland, in 1586. He settled with his brother at
Antwerp, where he became one of the most cele-
brated engravers of his country. He died there
in 1659. The plates of this excellent artist are
worked entirely with the graver, and it does not
appear that he made any use of the point. He
engraved many plates after the most eminent of
the Flemish masters, but he has particularly dis-
tinguished himself by the admirable performances
he has left us, after some of the finest pictures of
Rubens and Van Dyck, which he represented with
a judgment and ability that give them more effect
than can well be expected in a print, and appear
to exhibit the very character and colour of the
paintings. It was not unusual for Rubens to retouch
his proofs, in the progress of the plates, with chalk
or with the pencil, which corrections, attended to
by the engraver, contributed not a little to the
characteristic expression we find in his prints ;
proofs of this description are to be met with in
the portfolios of the curious. He engraved with
equal success historical subjects, huntings, land-
scapes, and portraits ; and the number of his
prints is very considerable. His plates are gener-



ally signed with his name, or thus,

ols. The following are his principal prints, of
which we have given rather a detailed list :

VARIOUS SUBJECTS, MOSTLY AFTER HIS OWN

DESIGNS.

The Infant Jesus and St. John playing with a Lamb.
The Virgin Mary, and Infant Jesus sleeping.
The Virgin giving suck to the Infant.
The Virgin Mary, with her hands folded on her Breast.
The Virgin Mary with the Infant in the clouds, with

Angels and Cherubim.



The Infant Jesus caressing the Virgin Mary, and St.

Joseph holding a Pear.
Twelve half-length figures of Saints.
Twelve other half-length figures of Saints, beginnine

with St. Peter.

A Hermit kneeling before a Crucifix.
Mater Dolorosa.

Jesus Christ triumphing over Death.
St. Barbe, Martyr.

St. Stanislaus Koska, kneeling before an Altar.
St. Francis Borgia.
St. Alfonso Rodriguez.
Robert Bellarmin, of the Society of Jesus.
Leonard Lessius ; another Jesuit.
An emblematical subject of Prince Ferdinand ; inscribed

Jn te spes reclinata recumbit.
Two plates of a Thesis ; dedicated to Sigismund, King

of Poland.
Six plates, with the Frontispiece, for the Academic de

l'Espee;by Thikault. 1628.
The Dispute between the Gras and the Meagre ; B. A.

Bolswert inv
VARIOUS SUBJECTS, AFTER DIFFERENT FLEMISH

MASTERS.
The Death of a Saint, and that of a Sinner ; after Die-

penbeeck.
The Dead Christ ou the Knees of the Virgin Mary ;

after the same.
The Crucifixion of the Three Jesuits at Japan ; after the,

same.
The Crucifixion ; Jac. Jordans inv. et pinx. ; the best

impressions are before the cum Pnvilegio Segis.
Mercury and Argus ; after the same ; the good impressions

axe before the address of Blooteling ; fine.
The infant Jupiter ; after the same ; fine.
Pan playing on a Flute ; after the same ; fine.
A Concert; entitled Soo ifOude songen, soo pepen de

Jongen ; after the same.

Pan holding a Basket of Fruit, and Ceres crowned with
Corn, and a Man sounding a Horn; after the lame ;
very scarce.

The Salutation ; after Gerard Zeaers.
The Return of the Holy Family out of Egypt ; after the

same.
The Virgin appearing to St. Ignatius, who is kneeling;

after the same.
St. Francis Xavier, tempted by the Devil; after the

same.

Peter denying Christ ; after the same ; very fine.
Abraham sacrificing Isaac ; after Theoodor Rombouts.
A Concert ; after the same.
The Virgin with the Infant Jesns holding a Globe ; after

Erasmus Quellinus.

The Communion of St. Rosa ; after the same.
The Triumph of the Archduke Leopold William,
Governor of the Netherlands, 1653 ; four sheets ; after
the same.

PORTRAITS, ETC., AFTER VAN DYCK.
Andries van Ertvelt, painter of Antwerp.
Martin Pepin, painter.
Adriaan Brouwer, painter.
Jean Baptiste Barbe, engraver.
Justus Lipsius, historiographer.
Albert, Prince of Aremberg.
Mary Ruthven, wife of Van Dyck.
Margaret of Lorraine, Duchess of Orleans.
Willem de Vos, painter.
Sebastiaan Vranck, painter.
Maria mater Dei.

The Holy Family, with an Angel holding a Crown.
The Virgin and the Infant Christ on her Knoe, with a

Female Saint holding a Palm.
The Holy Family, with the Infant sleeping in the Anna

of the Virgin.

The Holy Family in a landscape, with several Angels.
Christ crowned with Thorus ; very fine.
The Elevation of the Cross.

The Crucifixion, a grand composition, with two Men on
horseback, and a figure presenting the Sponge to
Christ. On the other side, the Virgin Mary and St.
John standing, and Mary Magdalene kneeling and
embracing the Cross. This is considered one of the
most beautiful engravings by Bolswert. In the first

159



A B10GEAPHICAL DICTIONARY OF



impressions, which are very scarce, the hand of St.
John is not seen on the shoulder of the Virgin : in
the second impressions, the hand of St. John rests
on the Virgin's shoulder, and the name of Van Dyck
is changed from the left to the right hand corner
of the plate. In the last impressions the hand was
erased, probably to give tnem the appearance of first
impressions, but the trick is easily discovered by the
superiority of the first in point of clearness and
colour.

SUBJECTS AFTER RUBENS.

The Brazen Serpent ; the best impressions are those
which have the word Antwerpitf at the right hand
corner, without the name of G. Hendrix.

The Marriage of the Virgin ; the best impressions have
the name of Hendrix, without the word Antwerpie.

The Annunciation ; the best impressions are those with
the address of M. van den Enden.

The Nativity ; the best impressions have the same ad-
dress.

The Adoration of the Magi ; the same.

The Return of the Holy Family from Egypt ; the same.

The Feast of Herod, with Herodias presenting the Head
of St. John to her Mother.

The Executioner giving the Head of St. John to He-
rodias.

The miraculous Draught of Fishes ; in three plates.

Christ crucified between the Thieves ; G. Hendrix exc.

The Crucifixion, a Soldier on horseback piercing the
side of our Saviour ; dated 1631 ; extremely fine.

The Crucifixion, with the city of Jerusalem in the dis-
tance ; M. van den Enden exc.

The Dead Christ in the Lap of the Virgin Mary, with
St. Francis ; the same subject is engraved by Pontius.

The Resurrection ; M. van den Enden excudit.

The Ascension ; the same.

The Four Evangelists.

The Fathers of the Church ; Nic. Lauwers exc.

The Destruction of Idolatry ; in two sheets ; the same.

The Triumph of the Church ; in two sheets ; the same.

The Immaculate Conception ; Ant. Bon. Enfant exc,

The Assumption ; arched ; M. van den Enden exc.

The Assumption, with one of the Disciples lifting the
Stone of the Sepulchre ; M. ran den Enden ; the im-
pressions with the address of G. Hendrix me posterior,
and those with the name of C. van Jlferlen are re-
touched.

The Infant Jesus embracing the Virgin Mary ; 31. van
den Enden exc.

The Virgin Mary holding a Globe, and the Infant Jesus
holding a Sceptre.

The Holy Family, with the Infant Jesus and St. John
caressing a Lamb.

The Holy Family, with a Parrot on a Pillar; A. Bonen-
fant exc.

St. Ignatius and St. Francis Xavier; the first impres-
sions are before the name of Eubens.

The Education of the Virgin by St. Anne; the best im-
pressions are without the name of Hendrix.

St. Cecilia; very fine.

St. Theresa at the Feet of Christ, interceding for the

Souls in Purgatory ; M. van den Enden exc.
The Continence of Scipio ; the best impressions are be-
fore the address of G. Hendrix.

Sileuus, drunk, supported by a Satyr, with another
figure ; the best impressions are those with the name
of olswert only, without the address.

LANDSCAPES AND HUNTINGS.

A grand Landscape, deluged by a Torrent ; in a moun-
tainous part of it the subject of Baucis and Philemon.

A large Landscape, with a view of the Sea-coast and a
Shipwreck.

A grand woody Landscape, with the Chase of Meleager
and Atalanta.

A view near Mechlin, with Haymakers and a "Waggon,
and figures driving Cattle.

A view of a Stable with Horses and Cows, and the sub-
ject of the Prodigal Son, These five landscapes are
highly esteemed and finely executed.

A set of twenty smaller Landscapes.

A set of twelve Huntings of different animals, of which
one is a Lion Hunt, with figures on horseback ; very
spirited and fine.
160



BOLT, JOHANN FRIEDRICH, an engraver who
worked principally in stipple, was born at Berlin



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