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Petersburg.

An Accountant standing by a Table. Private.
Head of a Young Man. Private.
Portrait called Six. Private.
Portrait called his Wife. Private.
The Mills. New York.

The Adoration of the Shepherds. New York.
Portrait of himself. Private.
Portrait of a Boy. Private.
Portrait called Six. (Signed.) Private.

The following are the authentic etchings of
known date.

1628. Rembrandt's Mother. (Signed R. H. L.)

1629. A Bust of himself. (Signed R. H. L.)

1630. Rembrandt with an air of grimace. (Signed

R. H. L.)

Rembrandt with his mouth open. (Signed R. H. L.)
Rembrandt in a fur cap and light dress. (Signed

R. H. L.)
Rembrandt with curly hair rising into a tuft.

(Signed R. H. L.)
The Presentation, with the Angel. (Signed

R. H. L.)
Two Beggars, a Man and a Woman, conversing.

(Signed R. H. L.)

A Beggar sitting on a Hillock. (Signed R. H. L.)
A Man standing. (Signed R. H. L.)
Profile of a bald Man with a jewelled chain.

(Signed R. H. L.)

Profile of a bald Man. (Signed R. H. L.)
An Old Man with a large beard. (Signed R. H. L.)
Rembrandt laughing. (Signed R. H. L.)
Rembrandt with haggard eyes. (Signed R. H. L.)
An Old Man sitting in a chair and wearing a high

cap. (Signed RT.)
And Old Man with a large square beard. (Signed

R. H. JL.)

1631. Rembrandt with a broad hat and mantle. (Signed

RT.)
Rembrandt with a round fur cap, full face. (Signed

R. H. L.)

The Blind Fiddler. (Signed R. H. L.)
The little Polander. (Signed R. H. L.)
A Woman beneath a Tree. (Signed R. H. L.)
A Man with a short beard and embroidered cloak.

(Signed R. H. L.)
An Old Man with a pointed beard. (Signed

E. H. L.)
Rembrandt's Mother, her hand resting on her

breast. (Signed R. H. L.)
Rembrandt's Mother. (Signed RT.)

1632. St. Jerome kneeling. An arched print. (Signed

Rembrandt/.)

The Rat-killer. (Signed R. H. L.)
The Persian. (Signed R. H. L.)

1633. Rembrandt with a scarf round his neck. (Signed

Rembrandt f. )

The Descent from the Cross. (Signed Rem-
brandt f.)

An Old Woman, etched no lower than the chin.
(Signed Rembrandt f.)

1634. Rembrandt with a drawn sword held upright.

(Signed Rembrandt/.)



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PAINTERS AND ENGRAVERS.



Portrait of an unknown Man with a sabre. (Signed

Rembrandt /.)

Joseph and Potiphar's Wife. (Signed Rembrandt/.)
Christ and the Diaciples at Eimnaus. (Signed

Rembrandt f.)

A Young Woman reading. (Signed Rembrandt f.)
Saskia with pearls in her hair. (Signed Rem-
brandt f.)

1635. Jesus driving out the Money-lenders. (Signed

Rembrandt f.)

The Martyrdom of St. Stephen. (Signed Rem-
brandt f.)

St. Jerome kneeling. (Signed Rembrandt/.)
The Pancake Woman. (Signed Rembrandt/.)
The Mountebank. (Signed Rembrandt/.)
Portrait of Johannes Uijteubogaerd. (Signed
Rembrandt f.)

1636. Rembrandt and his Wife. (Signed Rembrandt f?)
The Prodigal Son. (Signed Rembrandt/.)
Portrait of Manasseh ben Israel. (Signed Rem-
brandt/.)

Rembrandt's Wife, and five other heads. (Signed
Rembrandt/.)

1637. Abraham sending away Hagar and Ishmael.

(Signed Rembrandt/.)

A Young Man seated. (Signed Rembrandt /.)
An Old Man wearing a rich velvet cap. (Signed

Rembrandt/.)

Three Heads of Women, one asleep. (Signed Rem-
brandt.)

1638. Rembrandt with a Mezetin cap and feather.

(Signed Rembrandt /.)
Adam and Eve. (Signed Rembrandt/.)
The little Jewish Bride. (Signed Rembrandt /.)

1639. Rembrandt leaning upon a stone ledge. (Signed

Rembrandt /.)

The Death of the Virgin. (Signed Rembrandt/.)
A Jew with a high cap. (Signed Rembrandt /,)

1640. The Beheading of St. John the Baptist. (Signed

Rembrandt/.)

An Old Man with a square beard and divided fur
cap. (Signed Rembrandt/. )

1641. The Angel departing from Tobit and his Family.

(Signed Rembrandt/.)
The Virgin and Child in the clouds. (Signed

Rembrandt/.)

The Baptism of the Eunuch. (Signed Rembrandt/.)
The large Lion-hunt. (Signed Rembrandt /.)
Jacob and Laban. (Signed Rembrandt f.)
The School-master. (Signed Rembrandt /.)
The Card-player. (Signed Rembrandt/.)
Landscape with a Cottage and Hay-barn. (Signed

Rembrandt /.)

Landscape with a Mill-sail- (Signed Rembrandt/.)
Rembrandt's Mill. (Signed Rembrandt/.)
Portrait of a Man with a chain and cross. (Signed

Rembrandt /.)

Portrait of Corneliez Claes Anslo. (Signed Rem-
brandt f.)

1642. The Raising of Lazarus. (Signed Rembrandt/.)
The Descent from the Cross. (Signed Rem-
brandt /.)

St. Jerome. In Rembrandt's dark manner. (Signed

Rembrandt/.)
A Man in an Arbour. (Signed Rembrandt/.)

1643. The Hog. (Signed Rembrandt/.)

The three Trees. (Signed Rembrandt/.)

1644. The Shepherd and his Family. (Signed Rem-

brandt/.)

1645. Abraham conversing with Isaac. (Signed Rem-

brandt/.)

Repose in Egypt. (Signed Remlirandt /.)
Six's Bridge. (Signed Rembrandt f.)
View of Omval, near Amsterdam. (Signed Rem-
brandt/.)

Boat-house, called the Grotto. (Signed Rem-
brandt/.)

1646. An aged Beggar. (Signed Rembrandt/.)
Ledikant. (Signed Rembrandt/.)

A Man seated on the Ground. (Signed Rem-
brandt /. )

1647. Ephraim Bonus. (Signed Rembrandt/.)
Jan Six. (Signed Rembrandt/.)

1648. Rembrandt drawing. (Signed Rembrandt /.)

R 2



Medea, or the Marriage of Jason and Creusa.

(Signed Rembrandt /.)

A Jew's Synagogue. (Signed Rembrandt /.)
Beggars at the Door of a House. (Signed Rem-

bra.nd.tf.)

1650. Jesus appearing to the Disciples. (Signed Rem-

brandt.)

The Shell, or the Damier. (Signed Rembrandt/.)
The three Cottages. (Signed Rembrandt/.)
A Village with a square Tower. (Signed Rem-
brandt/.)
Landscape with a Village and Swans. (Signed

Rembrandt.)

Landscape with a Canal and large Boat. (Signed
Rembrandt /.)

1651. The Flight into Egypt. (Signed Rembrandt /.)
The Gold-weigher's Field. (Signed Rembrandt.)
Clement de Jonghe. (Signed Rembrandt/.)

1652. Jesus disputing with the Doctors. (Signed Rem-

brandt /. )
Landscape with a vista. (Signed Rembrandt f.)

1654. The Circumcision, with the Cask and Net. (Signed

Rembrandt/.)

The Flight iuto Egypt ; the Holy Family crossing a
Rill. (Signed Rembrandt/.)

Jesus and His Parents returning from Jerusalem.
(Signed Rembrandt /.)

The Holy Family with the Serpent. (Signed Rem-
brandt/.)

Jesus disputing with the Doctors. (Signed Rem-
brandt/.)

The Descent from the Cross. ( Signed Rembrandt/.)

Christ at Emmaus. (Signed Rembrandt/.)

The Game of Golf. (Signed Rembrandt/.)

1655. Abraham's Sacrifice. (Signed Rembrandt/.)
Four prints for ' Piedra Gloriosa.' (Signed Rem-
brandt.)

Christ before Pilate. (Signed Rembrandt /.)
Thomas Jacobsz Hariug. (Signed Rembrandt f.)

1656. Abraham entertaining the Angels. (Signed Rem-

brandt f.)
Johannes Lutma. (Signed Rembrandt f.)

1657. St. Francis praying. (Signed Rembrandt/.)

1658. A Woman preparing to dress after bathing. (Signed

Rembrandt /.)
A Woman with her feet in the water. (Signed

Rembrandt/.)
A Negress. (Signed Rembrandt/.)

1659. St. Peter and St. John at the Gate of the Temple.

(Signed Rembrandt/.)

Antiope and Jupiter. (Signed Rembrandt/.)
1661. The Woman with an Arrow. (Signed Rem-
brandt/.)

The following etchings are of more or less
uncertain date.

Sketch of a Beggar. About 1629.

Two Beggars, a Man and a Woman, coming from

behind a bank. (Signed R. H. L.) 1629 or 1630.
Three profiles of Old Men. 1629 or 1630.
A Beggar sitting. (Signed R. H. L. 1630 or 1635. )
Rembrandt. A small head stooping. About 1630.
Rembrandt with a broad nose. 1630 or 1631.
An Old Man with a bald head and large beard.

1630 or 1631.

A Man on Horseback. 1630 or 1632.
An Old Man with a short beard. 1630 or 1632.
The Circumcision. 1630 or 1636.
Jesus disputing with the Doctors. (Signed BT.

1630 or 1636. )
Sketches, with a head of Rembrandt. (Signed RT.

1630 or 1650.)
The Flight into Egypt. 1630, or between 1632 and

1G40.
A Beggar with a wooden leg. About 1630, or

between 1632 and 1640.
A Beggar leaning upon a stick. 1630. About 1631

or 1641.

Rembrandt with bushy hair. About 1631.
A Beggar sitting in an elbow-chair. About 1631.
A ragged Peasant. About 1631.
Diana bathing. (Signed RT. /.) About 1631.
Danae and Jupiter. (Signed RT.) About 1631.

243



A BIOGRAPHICAL DICTIONARY OF



244



Bust of an Old Man with a large beard. About

1631.

The Man with three moustaches. About 1631.
Rembrandt's Mother seated, looking to the right.

(Signed B. H. L./.) About 1631.
Sketches, with a head of Eembrandt. About 1631.
A Beggar walking towards the left. About 1631,

or between 1632 and 1640.

A Woman sitting upon a hillock. 1631 or 1635.
An Old Man with a short beard. 1631 or 1635.
A Turkish Slave. 1631 or 1635.
Bust of an Old Man. 1631 or 1635.
Bust of an Old Man. 1631 or 1635.
A sheet of sketches, afterwards divided into five.

1631 or 1635.

The Bathers. (Signed Rembrandt /., 1631 or 1651.)
An Old Man with a large white beard and fur cap.

(Signed B. H. L. /.) 1632 or 1635.
Small grotesque head. 1632 or 1635.
Holy Family : the Virgin with the Linen. (Sinned

ET.) 1632 or 1640.
An Old Man lifting his hand to his cap. 1632-1640

or 1639.

Two Women in separate Beds. 1632-1640 or 1639.
The Shepherds in a Wood. 1632-1640 or 1641.
The Cottage with the white pales. (Signed Rem-
brandt/.) 1632, 1635, 1642, or 1645-9.
Jesus Christ's body carried to the Tomb. (Signed

Reml:randt.) 1632 or about 1645.
The Rest in Egypt. 1632-1640, 1641-1642, or

1647.
Landscape with a cow drinking. 1632-1640 or

1649.
An arched Landscape with an Obelisk. 1632-1640

or 1650.

Portrait of Coppenol. 1632 or about 1651.
The Adoration of the Shepherds. 1632-1640, or

about 1652.
A Polander walking towards the right. About

1633 or 1635.
Rembrandt with moustache and small beard.

About 1634.

The Crucifixion. About 1634 or 1635.
Three heads of women : Saskia at the top. 1635

or 1636.

Peasant carrying Milk-pails. 1636 or about 1650.
An arched Landscape with a Flock of Sheep.

(Signed Rembrandt /., 1636 or 1650.)
Rembrandt in a flat cap and slashed vest. About

1638.

Abraham caressing Isaac. 163S or 1639.
A Physician feeling the Pulse of a Patient. About

1639.

Sketch of a Tree. 1638-1640 or 1643.
The Presentation in the vaulted Temple. 1639

or 1641.

A large Tree by a House. About 1640.
The Flute-player. (Signed Rembrandt f., 1640 or

1641.) '

A view of Amsterdam. 1640 or 1641.
A Young Woman with a Basket. 1640 or about

1642.

The Crucifixion. 1640 or 1648.
The Triumph of Mordecai. 1640 or 1648-1650.
The Bull. (Signed Rembrandt f., 164-.) 1640 or

1649.

The Canal. 1640 or 1652.

A small Lion-hunt with a Lioness. About 1641.
A Lion-hunt. About 1641.
A Battle-scene. About 1641.
The Draughtsman. About 1641.
Portrait of a Boy. (Signed Rembrandt /., 164-.)

About 1641.

The Star of the Kings. 1641 or about 1652.
A Woman in a large cap. About 1642.
The Spanish Gipsy. 1642 or about 1647.
St. Jerome. (Signed Rembrandt f., 1642 or 1648.)
A Village, with a river and sailing vessel. About

1645.
An old Man resting his hands on a book. 1645 or

1646.

Landscape with a Man sketching. 1645 or 1646.
Jan Cornelis Sylvius. (Signed Rembrandt, 1645 or



St. Peter. (Signed Rembrandt f., 1645 or 1655.)

Academical figures of two Men. About 1646.

Portrait of Jan Asselyn. (Signed UK.MBKA. /.,
164-.) 1647 or 1648.

A Landscape with a ruined Tower. 1648 or 1650.

Dr. Faustus. 1648 or 1651.

Allegorical piece. (Signed Rembrandt f. , 1648 or
1658.)

Jesus Christ healing the Sick. 1649 or 1650.

The Sportsman. 1650 or 1653.

King David on his Knees. (Signed Rembrandt/.,
1651 or 1652.)

Tobit blind, with the Dog. (Signed Rembrandt /.,
1651 or 1652.)

A woman sitting before a Dutch Stove. (Signed
Rembrandt/., 165-.) 1651, 1657, or 1658.

Jesus Christ preaching. About 1652.

Portrait of Titus. 1652 or 1654.

Jesus Christ entombed. 1652 or 1654.

The three Crosses. (Signed Rembrandt f., 1653 or
1655.)

The Presentation in the Temple. 1653, 1654, or
1657.)

The Nativity. (Signed Rembrandt f.) About
1654.

The little Goldsmith. (Signed Rembrandt, 1654 or
1655.)

Jacob Haring. About 1655.

Abraham Francen. 1655 or 1656.

Dr. Arnoldus Tholinx. 1655 or 1656.

Christ in the Garden of Olives. (Signed Rem-
brandt, 165-.) 1655 or 1657.

Jesus and the Samaritan Woman. (Signed Rem-
brandt f., 1657 or 1658.)

Coppenol. 1652 or 1661.

There is, furthermore, a large number of etchings,
signed or unsigned, each of which is rejected by
one or more of the authorities though accepted,
sometimes with enthusiastic eulogies, by others;
of these the following are some of the most
important.

Profile of a bald Man. (Signed R. s. L. 1630.)

A Man in full face. (Signed E. H. L. 1630.)

A Philosopher with an hour-glass. (Signed E.H. L.

1630.)

A Man in a broad hat. (Signed ET. 1630 or 1638.)
Rembrandt with a mantle and cap. (Signed E H L

1631.)

Rembrandt with curly hair. (Signed ET. 1631.)
A Peasant with his hands behind him. (Signed

Rembrandt, 1631.)
An Old Man without a beard. (Sinned E. H. L.

1631.)

A Beggar in a tattered cloak. (Signed ET. 1631.)
Lazarus Klap, or the Dumb Beggar. (Signed

E. H. L. 1631.)
An Old Beggar seated with a dog by his side.

(Signed R. s. L. 1631.)
An Old Man with a large beard. (Signed E. H. L.

1631.)
An Old Man with a beard. (Signed E. H. L.

1631.)
A bald Old Man with his mouth open. (Signed

R. H. L. 1631.)
A Man in a round fnr cap. (Signed E. H. L.

1631.)
An Old Man with a square beard and cap. (Signed

B. H. L. 1631.)
An Old Man with a straight beard. (Signed E. H.

1631.)

A head wearing a cap. (Signed ET. 1631.)
An Old Man with a bald head. (Signed R. s L.

1631.)

Bust of a Man with curly hair. (Signed ET. 1631.)
Rembrandt's Mother in a widow's dress. (Signed

Rembrandt/.)
An Old Woman in a black veil. (Sianed ET

1631.)
Jacob mourning for Joseph. (Signed Rembrandt

vanRijn, 1632 or 1633.)
The Raising of Lazarus. (Signed R. H. L. Rijnf.)



J. RILEY







1 1 \ilkcr ar,j Cufkcrcll photo] Nation., I Portrait (

JAMES II.



PAINTERS AND ENGRAVERS.



The Descent from the Cross. (Signed Rembrandt
f. cumprivil., 1633.)

The Good Samaritan. (Signed Rembrandt inventor
et fecit, 1633.)

Adverse Fortune. (Signed Remtrandtf., 1633.)

Portrait of Jan Cornells Sylvius. (Signed Rem-
brandt, 1633, 1634, or 1636.)

The Angel appearing to the Shepherds. (Signed
Rembrandt f., 1634.)

The Samaritan Woman at the Euins. (Signed Rem-
brandt f., 1634.)

The Landscape with a Cow. (Siyned i,- . 1 1 . i . 1634.)

The Gold-weigher, or Uijtenbogaerd. (Signed
Retxbrandt f., 1635.)

Ecce Homo. (Rembrandt f. 1636 cum privile.)

Joseph telling his Dreams. (Signed Rembrandt f.,
1638.)

Rembrandt etching a plate. (Signed Rembrandt/.,
1645.)

A nude Man seated, called the Prodigal Son.
(Signed Rembrandt f., 1648.)

St. Jerome. Unfinished.

A Peasant with Wife and Child. M. B.

BIBLIOGRAPHY.

C. Vosmaer, ' Rembrandt, sa vie et ses oeuvres ' (1877).
J. Burnet, * Rembrandt and his Works ' (1849, folio ;

1859, 8vo).

P. Sclisltettia, ' Redevoeriug over het leven en de ver-
diensten van Rembrandt van Riju.'

D. Daulby, ' A Catalogue of the Works of Rembrandt '
(1796).

E. F. Gersaint, ' Catalogue raisonne de toutes les es-
tampes qui forment 1'ceuvre de Rembrandt ' (last
edition, 1880).

J. Janitsch and A. Sichtioark, ' Stiche und Radirungen

von Rembrandt' (1885).
C. H. JUiildleton, ' A Description of the Etched Work

of Rembrandt van Rijn ' (1878).

F. Seymour Haden, ' The Etched Work of Rembrandt:
a monograph ' (1879).

Jf. E. Dutuit, ' L'oeuvre complet de Rembrandt : decrit,
et reproduit a 1'aide de 1'heliogravure ' (1881).

Ch. Blanc, ' L'oeuvre complet de Rembrandt, decrit et
commente, &c. (1873, 4to ; 1880, folio).

H. Dalton, ' Rembrandt und seine Gemalde in der
Kaiserlichen Eremitage zu Petersburg ' (1876).

' Catalogue of the Etched Work of Rembrandt ' (Bur-
lington Fine Arts Club, 1877).

llalcolm Bell, 'Rembrandt and his Work.' (Bells,
1899.)

Ditto, ' Rembrandt van Rijn.' (Bells, 1901.)

R1LEY, JOHN, born in London in 1646, received
instructions from Isaac Fuller and Gerard Zoust.
He was little noticed till after the death of Sir
Peter Lely, though he is justly described by
Walpole as one of the best native painters that
had then flourished in England. His talents were
obscured by the fame, rather than the merit, of Sir
Godfrey Kneller, and have been since depressed
through his best works being ascribed to Lely. Riley
was of an amiable and rather diffident character, and
was easily put out of conceit with his own works.
Charles II. sat to him, but almost frightened the
poor artist out of the profession by crying, when
he saw the picture, ' Is this like me ? Then,
odd's fish, I'm an ugly fellow.' James II. and his
queen also sat to him, as did their successors,
William and Mary, who appointed him their painter.
Among his portraits may also be named those
of Lord Keeper North and Bishop Saunderson.
Jonathan Richardson was married to a near relation
of Riley, and profited by his will. Riley died in
London in 1691, and was buried in Bishopsgate
Church. The following portraits by him are in the
National Portrait Gallery :

Bishop Burnet.

James II.

William, Lord Russell.



Edmund Waller.

Lord Crewe, Bishop of Durham.

EILLAERT, JAN VAN, the elder, painter, was a
native of Louvain, where he was working in 1528.
In 1547 he became painter to the corporation, and
director of the 'Omgang.' In 1549 he designed
the principal decorations for the ' Joyeuse Entree '
of Philip II., and he was also employed upon the
blazons for the funeral service of the Emperor
Charles V. In 1560 he decorated the sheriffs'
room in the town-hall. He also executed numerous
works for churches and convents in his native
town. He practised engraving, and several plates
still exist, engraved upon copper, and signed with
his initials. By his wife, Madeleine du Virier,
he had one son, Jan, q. v. He died in 1568.
Among his works are the following:
Louvaia. Hotel de Ville. Four Panels painted on both
sides as follows '

1. The Fall of Simon Magus.
Saint Margaret and the Dragon.

2. Defeat of the Mahometans.
The Deliverance of St. Peter.

3. The Miraculous Draught of
Fishes.

Christ bearing His Cross.

4. Decapitation of St. Catharine.
Calvary.

Louvain. Ch. of St. Pierre. Consecration of St. Evartius,

Bishop of Orleans.
Vienna. The Assumption.

RILLAERT, JAN VAN, the younger, was the eon
of the last-named, and probably his pupil. He
married a rich wife, Marie Claes, and after a
sojourn in Denmark returned to Louvain and
settled there. The dates of his birth and death
are uncertain. No mention of him occurs in the
town archives after 1591. In 1588 he was com-
missioned, jointly with the painter Leonard van
Marienbergh, to determine the value of the painting
by Mabuse, which the town of Louvain wished to
buy from the Augustine Order for presentation to
the King of Spain. In the church of St. Pierre, at
Louvain, there is a ' Resurrection ' by him.

RIMINALDI, GIROLAMO, painter, brother of
Orazio, practised at Pisa in the early part of the
17th century. He survived his brother, whose last
work he completed. As a painter he was greatly
inferior to Orazio.

RIMINALDI, ORAZIO, born at Pisa in 1598, was
first a scholar of Aurelio Lomi, but afterwards
studied at Rome under Orazio Lomi, called Gentil-
eschi. During a residence of some years at Rome,
he studied from the great Roman masters, and also
from the antique. On his return to Pisa he distin-
guished himself as one of the most promising artists
of his time. He followed, in the early part of his
life, the principles of Mic'hel-angelo Caravaggio,
which he soon after abandoned for those of
Domenichino. He painted several pictures for
the churches of Pisa, one of which, "The Martyr-
dom of St. Cecilia,' has since been placed in
the Florentine Gallery. In the cathedral are two
Scripture subjects by him, representing the
'Brazen Serpent,' and 'Samson destroying the
Philistines.' His last work was an 'Assumption of
the Virgin,' which he did not live to finish. Rimi-
naldi died of the plague in 1630.

RIMINI, PIETRO UA, lived in the early part of
the 14th century, and is the author of a ' Cruci-
fixion ' at Urbania, near Urbino. Paintings in S.
Maria Portofuori in Ravenna are attributed to
him.

245



A BIOGRAPHICAL DICTIONARY OF



RIMMER, ALFRED, black-and-white artist and
antiquary ; born August 9, 1829, at Liverpool ;
worked for some time in Canada; subsequently
settled in England (Chester) ; published a number
of illustrated works on English topography, such
as ' Ancient Streets and Homesteads of England,'
' Pleasant Spots about Oxford,' ' Rambles about
Eton and Harrow,' ' About England with Dickens,'
&c. He died at Chester, October 27, 1893.

RINALDO, DOMENICO, painter, called RINALDO
MANTOVANO, practised at Mantua, about 1550, and
was a pupil of Giulio Romano. His works show
great promise, but his career was cut short by a
premature death. At Vienna there is a ' Triumph
of Julius Caesar ' by him, and two pictures in the
National Gallery, 'The Capture of Carthagena and
Continence of Scipio,' and the ' Rape of the Sabine
Women, with the subsequent reconciliation between
the Romans and Sabines,' are now ascribed to him
instead of to his master.

RINALDI, SANTO, called ILTBOMBA, an excellent
painter of battles, landscapes, and architecture,
born at Florence about 1620, was a scholar of
Furini. Though he painted much, and was eminent
in his day, very little of his history is recorded.
It is supposed that he died in 1676.

RINCON, ANTONIO DEL. See DEL RINCON.

RINCON, FEKNANDO DEL. See DEL RINCON.

RING, HERMAN TOM, the son and pupil of
Ludwig Ring, the elder, born at Miinster in 1521.
Like his father, he is chiefly known by one work
a ' Resurrection of Lazarus,' which was painted in
1546 for the cathedral at Miinster; in it the traces
of Italian influence are plainly marked. It is good
in colour and highly finished. Of his other works
we may name : 'Christ on the Cross,' ' Christ heal-
ing the Sick,' ' Christ on the Cross, with Mary,
Joseph, and donors,' ' St. Luke and St. John,'
' Christ in Gethsemane,' ' Christ and the Apostles,'
which are in Miinster, and twelve Prophets and
Sibyls in the Gallery of Augsburg. He died in
1599.

RING, LUDGEP. TOM, the elder, the founder of a
fai. ily of Westphalian artists, who flourished in
the \6th century, was born at Miinster in 1496.
He is chiefly known by an ' Intercession of Christ
and the Virgin (with the donor by their side) for
the world, which is about to be destroyed by
God.' It is dated 1538, and executed in a simple
and dignified manner, in the style of the early
German painters. In the Museum at Miinster
there are also, ' A Man and his Wife,' a half-length
' Portrait of a Man,' and a ' Madonna.' He died in
1547.

RING, LUDGER TOM, called the younger, to dis-
tinguish him from his grandfather Ludwig Ring
the elder, born at Miinster in 1522, was the son
of Herman Ring, and painted homely domestic
subjects, but he has also left some portraits, and
in the Berlin Museum is a ' Marriage at Cana,'
dated 1562. Ring died in 1583.

RING, PIETER DE, an admirable painter of sub-
jects of still-life, flourished about the middle of
the 17th century. If not a native of Holland, he
practised his art there, as most of his pictures are,
or were, confined to that country, though the
Dutch writers seem to know nothing of his history.
In 1648-9 he was inscribed on the registers of the
Leyden guild of St. Luke, and was still painting in
that town in 1660. In the Museum at Amsterdam
there is a picture by him, representing a table
covered with blue velvet, on which are various

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kinds of fruit, oysters, and other shell-fish. He
was a successful follower of Jan D. de Heem. He
generally introduced a ring as his signature. In
the Berlin Museum there is a picture by him,
signed with his name and dated 1650, representing
a globe, a book in which is the picture of a man
blowing soap-bubbles, an hour-glass, dice, musical
instruments, &c.

RINGE, CHHISTOFH GOTTFRIED, painter, born at
Bernburg, 1713. He died mad in 1797. His
pictures, which are rare, betray his mental dis-
ease.

RINGLY, GOTTHARD, or GOTTFRIED, (RINGGLI,)
painter and engraver, was born at Zurich in 1575.
All that is known of his life is, that he was employed
by the authorities of Berne to paint some pictures
relative to the history of that city, and that the
Painters' Guild ineffectually attempted to prevent
him painting. Of his etchings, ' David playing the



Online LibraryMichael BryanBryan's dictionary of painters and engravers (Volume 4) → online text (page 65 of 82)