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Catalogue of the gallery of art of
the New York historical society

New-York Historical
Society. IVIuseum and Gallery of Artie



EXCHANGE




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CATALOGUE



OF THE



GALLERY OF ART



OF



THE NEW YORK HISTORICAL SOCIETY



NEW YORK

PRINTED FOR THE SOCIETY

1915



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^i



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• •• • •

• • • • •

• • ••



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-r



OFFICERS OF THE SOCIETY



PRESIDENT,

JOHN ABEEL WEEKES.

FIRST VICE-PRESIDENT,

WILLIAM MILLIGAN SLOANE.

SECOND VICE-PRESIDENT,

WALTER LISPENARD SUYDAM.

THIRD VICE-PRESIDENT,

GERARD BEEKMAN.

FOURTH VICE-PRESIDENT,

FRANCIS ROBERT SCHELL.

FOREIGN CORRESPONDING SECRETARY,

ARCHER MILTON HUNTINGTON.

DOMESTIC CORRESPONDING SECRETARY,

JAMES BENEDICT.

RECORDING SECRETARY,

FANCHER NICOLL.

TREASURER,

FREDERIC DELANO WEEKES.

LIBRARIAN,

ROBERT HENDRE KELBY.



32 JL360 Digitized by GoOgk



EXECUTIVE COMMITTEE



FIRST CLASS — FOB ONE TBAK, XNDING 1916.

ACOSTA NICHOLS, STANLEY W. DEXTER.

FREDERICK TREVOR HILL.



SECOND CLASS — FOB TWO TEABS, ENDING 1917.

FREDERIC DELANO WEEKES, PAUL R. TOWNE,

R. HORACE GALLATIN.



THIRD CLASS — FOB THBEE TEABS, ENDING 1918.

RICHARD HENRY GREENE, JAMES BENEDICT,

ARCHER M. HUNTINGTON.

FOITBTH CLASS — FOB FOUB YEABS, ENDING 1919.

BENJAMIN W. B. BROWN, J. ARCHIBALD MURRAY.
JAMES BENEDICT, Chairman.
ROBERT H. KELBY, Secretary.



[The President, Vice-Presidents, Recording Secretary, Treas-
urer, and Librarian are members of the Executive Committee.]

vi



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PREFACE



This catalogue describes the paintings in the Gallery of
Art of The New York Historical Society, with two hundred
and eighty-six miniatures, comprising the Mari6 Collection
and seventy-six objects of Sculpture.

The New York Gallery of Fine Arts, presented to the
Society in 1858, with paintings donated to the Society at
various times, are niunbered 1 to 488 inclusive. Any notice
of this collection would be deficient which should fail to
commemorate the name of Luman Reed, Patron of American
Art. In this connection the Society was chiefly indebted to
the liberality and cordial cooperation of one of their most
valued members, who was himself the chief promoter of the
original design of the New York Gallery of Fine Arts, Mr.
Jonathan Sturges.

The Bryan Collection, presented to the Society in 1867
by the late Thomas J. Bryan, numbers three hundred and
eighty-one paintings and are designated by the letter B.
before each number.

The Durr Collection, presented to the Society in 1882
by the executors of the late Louis Durr, numbers, with sub-
sequent additions, one himdred and eighty-one paintings,
which are designated by the letter D. before each number.

Short biographical sketches of deceased artists represented
in the above collections have been added, together with in-
dexes to Artists, portraits and donors.

The Mari^ Collection of miniatures is arranged alpha-
betically by subjects and is not included in the index of
portraits.

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CONTENTS



PAGES

Officers of the Society v

ExECUnVB COMiaTTBB vi

Pbefacb vii

List of Illustrations xi

Sketch of Luman Reed 2

New York Gallery of Fine Arts and Reed Collection with

Paintings Donated to the Gallery of the Society . 3-53

Sketch of Thomas 3. Bryan .56

Bryan Collection of Paintings 57-100

Sketch of Louis Durr 102

DuRR Collection of Paintings 103-118

Peter Marii6 Collection of Miniatures 121-138

Sculpture 141-148

Biographical Sketches of Artists 151-205

Index of Portraits 209-213

Index of Sculpture ' . 214

Index of Artists 215-220

Index of Donors 221-223

Presidents of the Society 224



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ILLUSTRATIONS



FACING PAGE

Portrait op Ashbr B. Durand, by Himself 42

Portrait op TnoBiAS J. Bryan, by W. O. Stone 56

A Virgin and Child, with Four Saints, by Guido of Sienna . . . f 8

Knights at a Tournament, by Giotto di Bondone 60

The Birth op St. John the Baptist, by Uccello 62

Adoration op the Infant Christ, by Macrino D'Alba . . .« . 64

The Crucifixion, by Andrea Mantegna 66

Portrait of a Jansenist, by Phillippe De Champagne .... 68

The Crucifixion, by Jan Van Eyck 72

Portrait, by Paul Rembrandt 74

Portrait op a Knight of the Order of the Golden Fleece, by

Rubens 76

William, Prince op Orange (William III), by Gerard Terburg . 78

St. George and the Dragon, by Albert Durer 80

Portraits of Two Ladies, by LargiUiere 86

Portrait op John Singleton Copley, by Himself 90

Portrait op Charles Wilson Pealb, by Benjamin West ... 92

Bust op Louis Durr, by Baerer 102

The Three Marys, by Luini 116



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THE NEW YORK GALLERY OF FINE ARTS

AND

REED COLLECTION

WITH PAINTINGS DONATED TO THE GALLERY OF THE SOCIETY



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LUMAN REED

Luman Reed was bom in Green River, Columbia County,
N. Y., in 1785, and died in 1836. He removed when a boy
to Coxsackie, N. Y., where he was educated in an ordinary
school at the expense of an imcle. Later he was employed
in a coimtry store and subsequently became the partner and
brother-in-law of his employer.

He made frequent trips to New York City on a sloop
called the "Shakespeare," belonging to the firm, selling prod-
uce of the farms around Coxsackie and purchasing goods in
New York for his country store. Later he became a mer-
chant in New York and between the years 1815 and 1832
he gained a fortime. It was then that he began to gratify
other instincts and art attracted his attention. He became
the patron of American Art and sought the acquaintance of
artists, interesting himself in their labors, giving them many
commissions for work.

Mr. Reed lived at 13 Greenwich Street, this city, the third
story of which building he used as a picture gallery, to which
visitors were admitted one day each week. This room was
also a meeting place for the artists and literary men of the
time. The paintings after Mr. Reed's death were purchased
by his friends and subsequently constituted the New York
Gallery of Fine Arts which, after an imcertain existence of
about twelve years, was forced to close its affairs. Eighty
of these paintings, presented in 1858, are now in the posses-
sion of this Society and known as the New York Gallery of
Fine Arts.

The death of Mr. Reed was greatly lamented by the artists
of his time and his name has come down to this generation
as the Patron of American Art.



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CATALOGUE

OF THE

GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

1-5. The Course of Empire. Thomas Cole.

A series of five pictures, illustrating a nation's rise,
progress, greatness, decline, and fall, and the consequent
changes in the same landscape.

Note. — ^The isolated rock, crowning a precipitous hill, in the
distance, identifies the scenes in each of the series; but the observer's
position varies in the. several pictures.

** First freedom, and then glory, when that fails,
Wealth, vice, oorruptioD."

(Reed CoUectipn.)
(New York Gailery of Fine Arts.)

[first of the series.]

1. The *' Savage State," or '* Commencement of

Empire." (61ix39.)

The sun is rising from the sea, over a wild scene of
rocks, forests, and mountains, dissipating the clouds and
darkness of night. Man, attired in skins, is seen engaged
in the wild dance and the chase — the characteristic occu-
pations of the savage life. In the picture, we have the
first rudiments of society. Men have banded together for
mutual aid. The useful arts have commenced in the con-
struction of the canoe, the weapon, and the hut; and we
may imagine the germs of two of the fine arts, music and
poetry, in the singing usually accompan3dng the dance of
the savage. The empire is asserted, to a Umited extent,
over sea, land, and the animal kingdom. It is the season
of Spring — ^the morning of the nation's existence.

[second of the series.]

2. "The Arcadian," or '* Pastoral State."

(62ix39.)

Ages have passed; a change has been wrought in the
scene — man has subjugated "the untracked and rude."
We now see the shepherd and his flocks; the ploughman
upturning the soil, and the wafting sail; by the shore a
village, and on the hill the ascendmg smoke of sacrifice.
In this pictiu-e we have agriculture, commerce, and re-
. ligion. In the aged man describing the mathematical
figure, the rude attempt of the boy in drawing; in the
female fi^re with the distaff, the vessel on the stocks;
in the primitive temple, and the dance of the peasants to
the music of the pipe, we have evidence of tne advance
made in science, m the useful and the fine arts.

It is early Summer, and the sun has ascended midway
to the meridian.

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GALLERY OF ART



no. subjects of paintinq8. artistb.

[thibd of thb series.]

3. "The Consummation of Empire." (75x60^.)

The rude village has become a magnificent city. From
the bay — ^now a capacious harbor, with phari at the en-
trance, and thronged with war-galleys, and barks with
silken sails — ascendpiles of architecture, temples, domes,
and colonnades. Tne massive bridge, the streets ana
squares, lined with palaces and adorned with statuary,
clustered colunms, and sparkling fountains, are crowded
with gorgeous pageants and triumphal processions. It is
a day of triumph — man has conqu^^ man — ^nations have
been subjugated. By wealth and power, knowledge, art,
and taste, man has achieved the summit of human
grandeur.

The sun is near the meridian.

[fourth of the series.]

4. "Destruction." (62^x38^.)

Ages have passed away since the scene of glory. Luxury
has enervated, vice has debased, and the strength of the
mighty nation has consumed away. A barbarous enemy
sacks the city. The heavens are darkened by a tempest,
and the storm of war rages beneath, amid falling walls and
colonnades, and the flames of temples and palaces.



[fifth of the series.]

5. '' Desolation." (61x39*.)

The moon ascends the twilight sky, near where the
sun rose in the first picture. The last rays of the departed
sun illumine a lonely column of the once proud city, on
whose capital the heron has built her nest. The shades
of evening steal over shattered and ivy-grown ruins. The
steep promontory, with its insulated rock, still rears against
the sky, unmoved, unchanged; but violence and time have
crumbled the works of man, and art is again resolving
into elemental nature. The gorgeous pajgeant has passed ;
the roar of battle has ceased; the multitude has sunk in
the dust; the empire is extinct.

6. Portrait of John Adams, (1735-1826.)

(25x30.) A. B. Durand.

From the original by Stuart.

(Reed Collection.)
(New York GaUery of Fine Arts,)

7. Portrait of John Quincy Adams, (1767-1848.)

(25 X30.) A. B. Durand.

Taken from life, in 1834.

(Reed Collection,)

(New York Gallery of Fine Arts.)



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GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

8. Portrait of James Monroe, (1758-1831.)

(25X30.) A. B. Durand.

From the original by Stuart.

(Reed Collection.)
(New York Gallery of Fine Arts.)

9. Portrait of Thomas Jeflferson, (1743-1826.)

(25x30.) A. B. Durand.

From the original by Stuart.

(Reed Collection.)
(New York Gallery of Fine Arts.)

10. Portrait of James Madison, (1751-1836.)

(25x30.) A.B. Durcmd.

From the original, by Stuart, at Bowdoin College, Maine.

(Reed Collection.)

(New York Gallery of Fine Arts.)

11. Portrait of Andrew Jackson, (1767-1845.)

(25x30.) A.B. Durand.

Painted from life, in 1835.

(Reed Collection.)

(New York Gallery of Fine Arts.)

12. The Chess-Players— Check Mate. (56x44.)

George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

13. Marine View. (36x25.) Thomas Birch.

(Reed Collection.)
(New York Gallery of Fine Arts.)

14. View from Froster Hill, Gloucestershire, Eng-

land. (24 X 18.) Andrew Richardson. "

(Reed Collection.)
(New York Gallery of Fine Arts.)

15. The Goblet and Lemon. (27 X32.) W. Van AelsL

(Reed Collection.)
(New York Gallery of Fine Arts.)



16. Falstaflf enacting Henry IV. (29x36.)



George W. Flagg.



Prince Henry. — Do thou stand for my father, and examine me
upon the particulars of my life.

FaUtaff. — Shall I? Content: — this chair shall be my state, this
dagger my sceptre, and this cushion my crown.

King Henry IV., Part i., Act ii., Scene 4.

(Reed Collection.)
(New York Gallery of Fine Arts.)



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GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

17. An Allegory — Death and Immortality —

Antique. (18JX14J.) Italian School.

{Reed CoUedion.)
(New York Gallery of Fine Arts.) •

18. Madonna and Infant. (16^x22^.) German School.

(Reed CoUedion.)
(New York Gallery of Fine Arts.)

19. Landscape — Composition — Italian Scenery.

(54x37.) Thomas Cole.

"O, Italy! how beautiful thou art!
Yet I could weep, for thou art lying, alas!
Low in the dust, and they who come, admire thee
As we admire the beautiful in death."

Rogers* Italy.

(Reed Collection.)
(New York Gallery of Fine Arts.)

20. Sleeping Female. (19 X24.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

21. The Little Savoyard. (18x22.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

22. Rebecca. (16x20.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

23. The Truant Gamblers. (30x24.) William S. Mount.

(Reed Collection.)
(New York Gallery of Fine Arts.)

24. Interior — Dutch Apothecary Shop.

(24§ X 18.) Roelof Pietersz.

(Reed Collection.)
(New York Gallery of Fine Arts.)

25. Pan and Midas. (24x28.) Hubert Goltzius.

(Reed Collection.)
(New York Gallery of Fine Arts.)

26. The Pedlar displaying his Wares. (34x24.)

(Reed Collection.) A. B. Durand.

(New York Gallery of Fine Arts.)

27. The Woodchopper's Boy. (25x30.) George W. Flagg.

(Reed CoUedion.)
(New York Gallery of Fine Arts.)



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GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

28. Wrath of Peter Stuyvesant on learning the

capture, by treachery, of Fort Casimir.

(30X24.) A.B.Durand.

"On receiving these direful tidings, the valiant Peter
started from his seat — dashed the pipe he was smoking
against the back of the chimney — ^thrust a prodigious quid
of tobacco into his left cheek — ^pulled up his gaUigaskins,
and strode up and down the room, humming, as was cus-
tomary with him when in a passion, a hideous northwest
ditty J ^-r Knickerbocker's New York, Book vi. chap. 2.

(Reed Collection.)
(New York Gallery of Fine Arts.)

29. Madonna, Infant, and St. Ann. (29x28.)

Italian School.

(Reed Collection.)
(New York Gallery of Fine Arts.)

30. The Match-Girl, (London.) (25x30.)

George W. Flagg.

(Reed Collection.)
(^ew York Gallery of Fine Arts.)

31. MoonUght. (32x241.) Thomas Cole.

(Reed Collection.)
(New York Gallery of Fine Arts.)

32. Portrait of George Washington, (1732-1799.)

(25X30.) A. B. Durand.

From the standard original, by Stuart, in the gallery
of the Boston Athenaeum.

(Reed Collection.)
(New York Gallery of Fine Arts.)

33. Lady and Parrot. (29x36.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

34. The Nun. (24x30.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

35. Wreath of Flowers, encircling Coat-of-Arms

and Miniature of the Duke of Austria, 1658.
(33x46.) J. Marvel.

(Reed Collection.)
(New York Gallery of Fine Arts.)



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GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

36. Lady Jane Grey preparing for execution.

(45 X56.) Gecyrge W. Flagg.

"After uttering these words, she caused herself to be
disrobed by her women; and with a steady^ serene counte-
nance submitted herself to the executioner." — Hume. chap,
xxxvi.

{Reed Collection.)
(New York Gallery of Fine Arts.)

37. Assumption of the Virgin. (25x19.) Anmbale Caracci.

(Reed Collection.)
(New York Gallery of Fine Arts.)

38. Portrait of Martha Washington, (1732-1802.)

(22x26.) A. B. Durand.

From the original, by Stuart, in the Boston Athenaeum.

(Reed Collection.)

(New York Gallery of Fine Arts.)

39. Portrait of a Young Lady, taken in 1608.

(27x33.) Flemish School

(Reed Collection.)
(New York Gallery of Fine Arts.)

40. The Huntsman's Tent — Game and Dogs

after a Hunt. (50x64.) John Fyt.

(Reed Collection.)
(New York Gallery of Fine Arts.)

41. Mother Child, and Butterfly. (24x30.)

(Reed Collection.) ^^^^S^ ^' ^^^9^

(New York Gallery of Fine Arts.)

42. Autumn Scene — Conway Peak, White Moun-

tains, N. H. (19JX14.) Thomas Cole.

(Reed Collection.)
(New York Gallery of Fine Arts.)

43. Dogs Fighting. (20^X16.) George Morland.

(Reed Collection.)
(New York Gallery of Fine Arts.)

44. View on Catskill Creek. (24x16.) Thomas Cole.

(Reed Collection.)
(New York Gallery of Fine Arts.)

45. Landscape. (13x10.) Dutch School.

(Reed Collection.)
(New York Gallery of Fine Arts.)



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GALLERY OF ART



9



NO. SUBJECTS OP PAINTINGS. ARTISTS.

46. Summer Sunset. (19^x14.) Thomas Cole.

(Reed Colleclion.)
{New York GaUery of Fine Arts.)

47. Old English Sportsman. (24x19.) George Marland.

{Reed CoUeciion.)
{New York Gallery of Fine Arts.)

48- Murder of the Princes. (44 X56.) George W. Flagg.

ENTER TTRRELL.

**Tyr. — The tyrannous and bloody act is done:
The most arch deed of piteous massacre
That ever yet this land was guilty of.
Dighton and Forrest whom I did suborn
To do this piece of ruthless butchery,
Albeit they were flesh'd villains, bloody dogs.
Melting with tenderness and mild compassion.
Wept like two children in their death's sad story.
O thus, quoth Dighton, lay the gentle babes.
Which once, quoth Forrest, girdling one another
Within their alabaster innocent arms;
Their lips were four red roses on a stalk.
Which in their summer beauty, kiss'd each other.
A book of prayers on their pillow lay:
Which once, quoth Forrest, almost changed my mind:
But O, the Devil, — there the villain stopp'd."

{Reed Collection.)
(New York Gallery of Fine Arts.)

49. Miniature. (3x2^.) Dutch Enamel. A. B. Durand.

{Reed Collection.)
{New York Gallery of Fine Arts.)



50. Boors Gambling. (10x7.)

{Reed Collection.)
{New York Gallery of Fine Arts.)



After Tenters.



51. Wreath of Flowers, encircling Holy Family —

Antique. (11x12.) Italian School.

{Reed Collection.)
{New York GaUery of Fine Arts.)



52. The Old Fiddler. (10x8.)

{Reed Collection.)
{New York Gallery of Fine Arts.)



After Tenters.



53. Miniature. (3ix2J.) Dutch Enamel.

{Reed Collection.)
{New York Gallery of Fine Arts.)



Italian School.



54. A Magdalen. (18x14.)

{Reed Collection.)
{New York Gallery of Fine Arts.)



After Correggio.



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10 GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

55. View near Bridgeport, Connecticut. (19x13.)

Andrew Richardson.

(Reed Collection.)
(New York Gallery of Fine Arts.)

56. Portrait of Luman Reed, (1785-1836.)

(25X30.) A.B.Durand.

Patron of American Art.

Presented by the Artist.

(New York Gallery of Fine Arts.)

57. The Fortune-Teller. (52x42.) William S. Mount.

The figures in this picture are portraits of Mrs. Amelia
Longbotham, as fortune-teller, and the young girl, Edna
Bostwick.

Presented by the Artist.
(New York Gallery of Fine Arts.)

58. Landscape. (36x26.) C. P. Cranch.

(New York Gallery of Fine Arts.)

59. Bargaining for a Horse. (30x24.) William S. Mount.

"Seth suspended for a moment the whittling his twig,
and there seemed a crisis in the argument — a silent pause
— ^when a shrill voice from the front gate adjourned the
meeting instanter. It was the voice of Aunt Nabby her-
self, breathing authority and hospitality: — Joshv/iy come
to dinner y and bring the folks cdong with you.^' — Jack
Dovming's Jour.y N. Y. Gazette^ Oct. 28, 1835.
(New York Gallery of Fine Arts.)

60. Portrait of Sir Charles L. Eastlake, Artist,

(1793-1865.) (44x56.) Daniel Huntington.

(New York Gallery of Fine Arts.)

61. Flora. (17|x22i.) Jean Raoux.

Presented by S. M. Chester.
(New York Gallery of Fine Arts.)

62. The Vale and Temple of Segestae, Sicily.

(65ix44.) Thomas Cole.

"Midway between Palermo and Segestae, the broad
slopes of an ample valley lie before the traveller. In the
depth is a river meandering among fragrant oleanders;
on the left the valley is intersected by a range of distant
mountains; on the right is a beautiful bay of the Mediter-
ranean. Across the valley, the mountains form a green
amphitheatre, and high in a remote part is seen the Temple
of Segestae." — Notes of the Artist made on a Tour in Sicily.
Presented by the Artist.
(New York Gallery of Fine Arts.)



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GALLERY OF ART 11



NO. SUBJECTS OP PAINTINGS. ARTISTS.

63. A Venetian Senator. (25x30.) Cornelius Ver Bryck.

(New York Gallery of Fine Arts.)

64. The Black Plume. (29x36.) Charles C. Ingham.

Presented by the Artist.
(New York Gallery of Fine Arts.)

65. Portrait of Lafayette, (1757-1834.) (25x30.)

Charles C. Ingham,

Painted from life in 1825, and is the original head from
which was made the full-length portrait for the State,
now in the State Department, Albany.
Presented by the Artist.
(New York Gallery of Fine Arts.)

66. Landscape, Moonlight. (37x25.) Tempesta.


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