Copyright
New York historical society. Museum and gallery of.

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

. (page 6 of 15)
Online LibraryNew York historical society. Museum and gallery ofCatalogue of the gallery of art of the New York historical society → online text (page 6 of 15)
Font size
QR-code for this ebook


of Europe. The figures are by Gerard de Lairesse.
(Bryan Collection.)

B-119. Castle and Seaport. (14x23. ) John van Goy en.

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. (36x27^.)

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 pos-
session. 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 Quedeidlley 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.

(18^ X25.) Jan van der Heyden.

(Bryan Collection.)

B-124. Landscape. (25x32|.) School of Mindert Hobbema.

(Bryan Collection.)



Digitized by



Google



B.116. THE CRUCIFIXION.

JAN VAN EYCK.

(BRYAN COLLECTION)



Digitized by



Google



Digitized by



Google



GALLERY OF ART 73



NO. SUBJECTS OF PAINTINGS. AHTISTS.

B-125w Landscape. (25ix30.)

Cornelius Huysmans, of Mechlin.

This is the finest easel-picture of this Master known
to the donor. One inferior to it in everv 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 Jar din.

Portraits by this Master are very rare.

(Bryan Collection.)

B-127. Landscape, with Figures. (24x2L) 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. (14x2L)

Jan Kobell.

Purchased in New York city.
(Bryan Collection.)

B-129. Portrait. (481x39^.) 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 Pbter Lelt. 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. (13^X10.)

Oval Top. Jan de Mabuse.

(Bryan Collection.)

B-132. Virgin and Child. (27ix22.) Jan de Mabuse.

This picture in its composition and expression shows
the influence of the painter's study in Italy.
(Bryan Collection.)

B-133. ATriptique. (28x39§.) 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.)



Digitized by



Google



74 GALLERY OF ART



NO. SUBJECTS OP PAINTINGS. ARTISTS.

B-134. Boors regaling. (12Jx9i.) Jan Molenaer,

{Bryan Collection,)

B-135. Winter Scene. (31 X44i.) Nicholas Molenaer.

(Bryan Collection.)

B-136. Landscape. (14 X ISJ.) Frederick Momheron.

This picture is signed by the artist.
ifiryan Collection.)

B-137. Landscape. (18x21^.) Frederick Moucher on.

Bought in New York City.
{Bryan Collection.)

B-138. Portrait. (12x11.) Jan van Neck.

This picture ia 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. (24^X35.)

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.

(19JXl5.) Caspar Netscher.

The Duchess sits near a small table, playing upon the
harp; at her feet sits her son, the Due 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 Colkciion.)

B-142. A Carnival Scene. Twelfth Night.

(66| X92.) Jacob van Oost.

(Bryan Collection.)

B-143. A Lady playing with a Dog. (37 X30.)

Jacob van Ochterveldt.

(Bryan Collection.)






Digitized by



Google



B.I52. PORTRAIT.

PAUL REMBRANDT

(BRYAN COLLECTION)



Digitized by



Google



Digitized by



Google



GALLERY OF ART 75



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-144. Portraits of the Painter's Wife and Child.

(11 § X 10.) Adrian van Ostade.

From the collection of Cardinal Fesch.
{Bryan Collection.)

B-145. Head of a Boor. (5x4i.) School of Ostade.

{Bryan Collection.)

B-146. A Dutch School. (13 Xl6.) Isaac van Ostade.

From the Da Costa Collection.
{Bryan Collection.)

B-147. Landscape, with Figures. (6x7^.)

Cornelius Poelemburg.

{Bryan Collection.)

B-148. Portrait of Henri IV. (15x9i.) 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. (8 X 15|.)

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 cele-
brated 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 Bibliotheqne 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.)



Digitized by



Google



76



NO.



B-154.



GALLERY OF ART



SUBJECTS OF PAINTINGS.



ARTISTS.



Holy Family. (15x12^.) Copy from Paul Rembrandt.

The copy is also by Schuerman, who died in 1847.
(Bryan CoUectian.)



\



B-155. Portrait of an Abb6. (20x17.)

School of Paul Rembrandt.

(Bryan Collection.)



Theodore Rombouts.



B-156. St. John preaching. (29i X42.)

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. (lOJ X 12^.)

Theodore Rombouts.

Signed by the artist. Bought in New York city.
(Bryan Collection.)



Peter Paul Rubens.



B-158. St. Catherine. (38§X28|.)

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 Ckapeau
de Pailley 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.



(59x24i.)



Peter Paul Rubens.



This picture is especially valuable for historical con-
siderations, as being the only one which Rubens is known
to have painted on cedar panel. It formed one compart-
ment 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. (44 X33.) 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.)



Digitized by



Google



B.160. PORTRAIT OF A KNIGHT OF THE ORDER OF THE GOLDEN FLEECE.
PETER PAUL RUBENS.
(BRYAN COLLECTION)



Digitized by



Google



Digitized by



Google



GALLERY OF ART 77



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-161. Hercules strangling the Nemean Lion.

(80X67.) Peter Paul Rubens.

Several persons, whose opinions the donor highly re-
filpects, have denied the authenticity of this picture : but he
tninks that, on a careful examination, its wonderful energy
and muscular movement can be attributed to no other
hand, no other head, than that of Rubens. It is the Bel-
videre Torso — that only acknowledged Master of Michael
Angelo — put into action, and was doubtless painted in
Italy. It IS known that Rubens attempted to draw the
lion from nature, when he was irritated by his keeper.
He made but a hasty sketch.

{Bryan Collection.)

B-162. Landscape, with Figures. (12x16^)

Peter Paul Rubens.

From an old chateau in Normandy.
(Bryan Collection.)

B-163. Ascension of the Virgin. (10x8.) Oval.

Copy from Peter Paul Rubens.
This copy was made by Cornelius Poelemburq.
(Bryan Collection.)

B-164. Group of Christ, St. John, and two Angels.

(10 X 1 1 i.) Copy from Peter Paul Rubens.

(Bryan Collection.)

B-165. Satyr and Nymphs. (I3xl8§.) School of Rubens.

(Bryan Collection.)

B-166. Effect of Candle-light. (40ix31.) School of Rubens.

Copied from a well-known etching of Rubens.
(Bryan Collection.)

B-167. Distant View of Haarlem. (19x27f)

Jacob Ruysdael.

The figures in the foreground are by Vandevelde.
(Bryan Collection.)

B-168. Marine View. (30^X43.) Jacob Ruysdael.

The figures are by Vandevelde.
(Bryan Collection.)

B-169. Landscape, withCattle. (22x17.) School of Ruysdael

(Bryan Collection.)



Digitized by



Google



78 GALLERY OF ART y



\



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-170. Landscape. (14x21 J.) Solomon Ruysdael.

(Bryan Collection.)

B-171. Dogs Worrying a Cat. (55x72.) Francis Snyders.

The landscape by Wildens, the cat by Oudrt, by
whom it was added, and to whom the picture belonged.
From the collection of Drolling, the artist. '

(Bryan Collection.) ,

B-172. Still Life. (44x64.) Francis Snyders. I

Collection of Marshal Oudinot.

(Bryan Collection.^ ^

B-173. Interior: Family Scene. (29x37.) Jan Steen.

The patient is the painter's own wife; on the right
are the Van Goyens, (her father and mother,) and Jan
Steen himself stands on her left, regarding the operation
with interest.

This picture, which is superior to the only specimen
of the Master in the Louvte, was purchased from the Gal-
lery ot the Count De Turenne, the last of the family of the
celebrated Marshal. j

(Bryan Collection.) K

B-174. Landscape and Figures. (11JX14J.) Jan Steen.

Signed by the artist, and bought in New York city.
(Bryan Collection.)

B-175. Incantation Scene. (14^x20.)

David Teniers the Younger.

This picture is unsurpassed by any other of the Master;
and if ever equalled, it is only by one in the Gallery of
Madrid, representing Teniers himself, painting the
portrait of the Grand Duke Leopold and his family; a
picture which makes painters wonder and despair. Col-
lection Sylvestre.

(Bryan Collection.)

B-176. Village Fete. (18^x28*.)

David Teniers the Younger.

Collection Marshal Sebastiani.
(Bryan Collection.)

B-177. Village Fgte. (17 J X 20.)

David Teniers the Younger.

A picture similar in subject but inferior in treatment
to the preceding; probably executed In old age.

(Bryan Collection.) j



Digitized by



Google



Digitized by



Google



Digitized by



Google



GALLERY OF ART 79



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-178. Boors Regaling, and playing at Skittles.

(llXl4§.) David Teniers the Younger.

Collection Due de Berri.
(Bryan Collection,)

B-179. Charles V. leaving the town of Dort.

(23x39.) David Teniers the Younger.

The Emperor, in full armor, is about to descend the
steps of a large building. The Archbishop gives him his
blessing. Persons of dignity, in church and state, are
grouped on all sides. In the background is the ship in
which the Emperor is about to embark. This composition
is filled with portraits; among which, in the figure bear-
ing the standard on the extreme right, we recognize that
of the Painter himself. Collection D'Espinoy.

(Bryan Collection,)

B-180. Parable of the Laborer who received a

Penny. (22x17.) David Teniers the Younger.

In which is introduced the portrait of Rubens in his
medal chain, also the portraits of Rembrandt and other
artists and two children of Teniers. From the collection
of Louis Philippe.

(Bryan Collection.)

B-181. Landscape and Figures. (9|Xl3|.)

David Teniers the Younger.

A wonderful effect, and familiarly styled by painters .
as the "apres dejeuner" manner. Bought in New York
city.

(Bryan Collection,)

B-182. Portrait of William, Prince of Orange,

(William III.) (30ix23.) Gerard Terburg.

This was supposed to be the portrait cited by Descamp
as the one which William insisted that the artist should
paint; he being a burgomaster devoted to the Prince's
cause. It is signed ** G. Terborch," the only genuine sig-
nature of the Master.

(Bryan Collection.)

B-183. Marine View. (25x29.) William van de Velde.

(Bryan Collection,)

B-184. Marme View. (12$Xl4.) William van de Velde.

From Collection Giroud, Paris.
(Bryan Collection.)



Digitized by



Google



80 GALLERY OF ART



i



NO. BUBJECTB OF PAINTINGS. ARTISTS.

B-185. Marine View. (9^X121.) WiUiam van de Velde.

Bought in Philadelphia. I

{Bryan Collection.) '

B-186. Landscape, with Animals. (9x11^.) I

Adrian van de Velde. '

This picture, though small, gives a just idea of the
power of the Master, from whose pencil the donor has
never seen a feeble work; though Adrian may have
adorned with his figures the - compositions of inferior
masters. This picture, together with the small landscape

bv Rubens (No. B-162), is from an old chateau in i

Normandy. |

{Bryan Collection,)

B-187. Landscape, with Figures. (25x33.) |

Abraham Verboom. ■

So fine a specimen of the Master is rarely to be found.
The group oi figures, by Lingelbach, is almost worthy i

of WOUWERMANS. I

{Bryan Collection.)

B-188. The Three Graces. (19xl5i.) J

Chevalier van der Werf. ^

From Hunter's collection, New York. 1

{Bryan Collection,) I

B-189. Ruins, with Figures. (22x17^.)

Jan Baptist Weeninx.

In the opinion of the donor, this picture, though strik-
ing at first, is extremely false in everything, like most
others of this painter's works. It is from the collection
of Cardinal Fesch.

{Bryan Collection.)

.B-190. Travellers, by a River-side. (12x16.)

Philip Wouwermans.

This picture has, unfortunately, been much injured

in many places; but in the head and shoulders of the

white horse may be found a specimen of the Master's style

of painting; and the signature is unquestionably genuine.

{Bryan Collection.)

B-191. Departure of a Hawking Party of Nobles
from a Baronial Castle. (43 X51|.)

Philip Wouwermans.

The largest picture in size and manner which the
donor has seen by this Master. From the Meert collec-
tion, sold in New York, Dec, 1865.

{Bryan Collection.)



Digitized by



Google



B.I99. ST. GEORGE AND THE DRAGON.

ALBERT DURER,

(BRYAN COLLECTION)



Digitized by



Google



Digitized by



Google



GALLERY OF ART 81



NO. SUBJECTS OP PAINTINGS. ARTISTS.

B-192. The Burning and Sacking of a Town.

(21 X 19.) Philip Wouwermans.

If not a copy, it is an early picture of the Master, and
though meritorious, gives no idea of the fullness of his
powers.

(Bryan Collection,)

B-193. Landscape. (8x10 J.) JanWynants.

The equestrians and beggar in the foreground are by
Barent Gaal. It is a fair specimen of the Master.
Collection Giroud, Paris.

(Bryan Collection.)

B-194. Still Life. (TfXlOi.) Henry Martin Rokes.

It, as well as the "Sorcery Scene," by Teniers, orna-
mented the collection of Mons. Sylvestre, whose ancestors
have been either artists or connected with art since the
year 1490. A noble pedigree. This artist inherited the
name of Zorg (careful) from his father.
(Bryan Collection.)

B-195. Ruins, with Figures. (20x26.) Flemish School.

(Bryan Collection.)



GERMAN SCHOOL

B-196. Venus and Cupid. (19^x13.) Lucas Cranach.

(Bryan Collection.)

B-197. Portrait of a Lady. (28 X22.) Lucas Cranach.

It is from this painter's pencil that we have the only
known or recognized portrait of Martin Luther. Collection
D'Espinoy.

(Bryan Collection.)

B-198. Portrait. (20iXl7.) Balthazar Denner.

An old Lady, with a silk hood. The marks of age
are given with great accuracy and truthfulness.
(Bryan Collection.)

B-199. St. George and the Dragon. (16jxl3.)

Albert Durer.

(Bryan Collection.)

B-200. Triumph of Christianity. (26Jx38.)

School of Durer.
This picture is from the collection Quedeville.
(Bryan Collection,)



Digitized by



Google



S2 GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-201. Interior of a Private Chapel. (33|x25.)

Hans Holbein.

The family of Count Valkeniers are at prayers — the
father and the two eldest sons being in armor, ready to
depart for war.

From the collection of Joseph M. Meert de Domberg,
New York.

(Bryan CoUedion.)

B.202. Portrait of a Professor. (30J X23i.) Hans Holbein.

(Bryan Collection.)

B-203. The Judgment of Paris. (6^X9.) Joachim Uytenwael.

(Bryan Collection,)

B-204. Adoration. (43x32.) Martin Schoen.

On the right will be seen a Priest, holding a book^ and
supposed, by General D'Espinoy, from whose collection it
came, to be a portrait of Luther, in his youth.

(Bryan Collection.)

B-205. Landscape, with Figures. (Ilixl6§.) Valkenburg.

(Bryan Collection.)

B-206. Landscape. (13x20.) Valkenburg.

These pictures possess great interest, in being histori-
cally known as the earliest landscapes painted otherwise
than as a mere accessory to some historical, religious, or
other subject. Both of them are from the collection Quede-
ville,

(Bryan Collection.)



<



SPANISH SCHOOL

B-207. Philip IV. of Spain, as David with Goliath's

Head. (74^x43.) Diego Velasquez.

From the collection of Marshal Sebastiani.
(Bryan Collection.)

B-208. Landscape. (37x43|.) Diego Velasquez.

Found at Rome. A picture of a similar style — the only
one ever seen by the donor — is in the possession of Mr.
Madrazo, the Director of the Royal Gallery of Madrid.
(Bryan Collection,)



Digitized by



Google



GALLERY OF ART 83



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-209. Portrait of the Infanta Margarita of Spain.

(28x24.) Diego Velasquez.

From the collection of R. W. Meade, U. S. Consul at
Cadiz. 1808.

(Bryan Collection.)

B-210. Still Life. (27^x76.) Diego Velasquez.

Preparation for an olla podrida^ from the collection of
R. W. Meade.

{Bryan Collection.)

B-211. Adoration of the Magi. (42x64^.) Murillo.

In the style and color of the three pictures now in the
Vatican — a late gift to his Holiness by the Ex-Queen of
Spain.

(Bryan Collection.)

B-212. Adoration of the Shepherds. (57x80.) Murillo.

From the Gallery of Marshal Soult.
(Bryan Collection.)

B-213. The Vision of St. Francis. (23§Xl9.) Murillo.

(Bryan Collection.)

B-214. St. Joseph. (65Jx47.) Murillo.

St. Joseph is bearing Clirist in his arms, who is looking
at the Carpenter's tools. From the collection of R. W.
Meade.

(Bryan Collection.)

B-215. The Entombment of Christ. (78x92.)

Sebastian Llanos y Valdes.

From the Gallery of Marshal Soult.
(Bryan Collection.)

B-216. Christ borne to the Tomb. (70x50|.)

Spanish School.

A repetition of a Spanish picture in the Church of St.
Pietro, in Montorio, Rome.

(Bryan Collection.)

B-217. Portrait of a Queen of Spain. (29x23.)

Spanish School.

Imitation of Velasquez.
(Bryan Collection.)



Digitized by



Google



84 GALLERY OF ART



FRENCH SCHOOL

NO. SUBJECTS OF PAINTINOS. iLRIISTS.

B-218. The Entombment of Christ. (27x9.)

{Bryan CoUeclion.)

B-219. The Resurrection. (27 X9.)

(Bryan CoUeclion.)

B-220. Head of Christ. (15x11.)

It is upon leather, which was stamped and gilded so as
to form around it a strange quadrangular halo, in which
fleur delis ia prominent. Upon the edge is an inscrip-
tion, of which only Adoro — Redentor, I. H. S., is
legible. It is probably not older than the latter part of the
fourteenth century, and was, doubtless, an object of adora-
tion to some devout Catholic.

{Bryan Collection.)

B-221. Diana of Poictiers, as Judith with the Head

of Holof ernes. (39x27.) Martin FremineL

The ornaments in gold, and precious stones, are from
the compositions of the celebrated Benvenuto Cellini,
and have been copied by modern jewelers.
(Bryan Collection.)

B-222. The Repose in Egypt. (36^X30.) Nicholas Poussin.

The attitude of the Virgin \a remarkable, not only for
its graceful dignity, but for its perfect expression of the
fact that she is listening calmly but intently to the narrative
which Joseph is evidently relating. The landscape,
though not highly finished, is grandly composed; and upon
it the twilight of dawn is made to fall with sweet solemnity.
(Bryan Collection.)

B-223. The Daughter of Pharaoh about to bathe

in the Nile. (25^ X29.) Nicholas Poussin.

Two attendants are about to disrobe the Princess; a
third kneels at her feet with a vase of anointing oil. Before
her is a figure emblematic of the river. The group is finely
composed, and the forms and attitudes are simple and
chaste almost to statuesofueness.

Both these pictures display the knowledge of form,
the classical taste, and the color which are characteristic
of this Master, recognized as the Peintre des Gens d* Esprit.
This sketch is in the best manner of Poussin, and was
formerly in the collection of M. de St. Aubin.
(Bryan Collection.)

B-224. Classic Landscape. (29x36 J.) Nicholas Poussin.

(Bryan Collection.)



Digitized by



Google



GALLERY OF ART 85



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-225. Diana and her Nymphs bathing. (44 J X 56.)

Nicholas Poussin.
This is an unfinished sketch.
(Bryan Collection.)

B-226. Portrait of Duchesnois, the Flemish Sculptor.

(27§ X23.) Nicholas Poussin.

Duchesnois lived with Poussin in Rome. From the
collection of Gen, D'Espinoy.

(Bryan Collection.)

B-227. Landscape. (9§x7i.) Guaspre Poussin.

(Bryan Collection,)

B-228. Landscape. (9^X7^.) Guaspre Poussin.

(Bryan Collection.)

B-229* Grand Landscape: Hagar in the Desert.

(37i X50J.) Guaspre Poussin.

This picture, which has been engraved, is in the finest
manner of the Master. The figures are by Philippe
Lauri. It is from the collection oiMarshal Sebastiani.
(Bryan Collection.)

B-230. Landscape, with Figures. (39ix50§.)

School of Claude Lorraine.

The peasants in the foreground are designed after Do-
MENicHiNo; but the figure who leans against a tree, in the
shadow on the left, and plays upon a pipe, is like Claude.
Claude was so conscious of the want of merit in his
pictures, he used to say that he sold his landscapes and
gave away the people in them. Collection of Marshal
Sebastiani.

(Bryan Collection.)

B-231. A Grand Landscape, Marine View, and
Figures, an Ancient Group in marble rep-
resenting Echo punished. (46x59.)

School of Claude Lorraine.

This picture belonged to M. Forbin-Janson, Director
of the Louvre; it was believed by him to be an original.
(Bryan Collection.)

B-232. Landscape, with a Sea-View. (14x17.)

School of Claude Lorraine.

(Bryan Collection.)

B-233. Landscape. (15§Xl5i.) Round.

School of Claude Lorraine,

(Bryan Collection.)



Digitized by



Google



86



GALLERY OF ART



NO. SUBJECTS OF PAINTINGS.

B-234. Portrait of a Lady at her Toilet.
(40iX32i.) Oval.

(Bryan Collection.)

B-235. HolyFamUy. (14x12.)

(Bryan Collection.)



ARTISTS.



Pierre Mignard.
Pierre Mignard.



B-236. The dead Christ supported by the Virgin.

(18X17.) Eustache le Sueur.

From the collection of the Abb^ Genoud.
(Bryan Collection.)

B-237. Portrait. (19x15.) Charles le Brun.


1 2 3 4 6 8 9 10 11 12 13 14 15

Online LibraryNew York historical society. Museum and gallery ofCatalogue of the gallery of art of the New York historical society → online text (page 6 of 15)