Part 5
B-65. Portrait of Galileo Galilei. (30½X24½.) _Justus Sustermans._
From the collection of Louis Philippe.
(_Bryan Collection._)
B-66. Virgin and Child. (18½X15½.) _Sassoferrato._
Found at Rome.
(_Bryan Collection._)
B-67. Landscape, with Historical Figures. (48X79.) _Salvator Rosa._
(_Bryan Collection._)
[Illustration: B-45. THE CRUCIFIXION.
_ANDREA MANTEGNA._
(BRYAN COLLECTION)]
B-68. Landscape. (38½X46.) _School of Salvator Rosa._
(_Bryan Collection._)
B-69. Landscape. (24X38.) _School of Salvator Rosa._
(_Bryan Collection._)
B-70. Landscape. (24X38.) _School of Salvator Rosa._
(_Bryan Collection._)
B-71. Marine View, with Architecture. (34X50½.) _Canaletto._
Figures by TIEPOLO.
(_Bryan Collection._)
B-72. Autumn. (18½X24½.)
Purchased of Mr. TERRY, artist, Rome.
(_Bryan Collection._)
B-73. Philip IV. of Spain. (26X21½.)
Bought at Sienna.
(_Bryan Collection._)
B-74. Don John of Austria. (26X21½.)
Bought at Sienna.
(_Bryan Collection._)
B-75. A Theologian Decorated with the Order of the Golden Fleece. (26X21½.)
Bought at Sienna.
(_Bryan Collection._)
B-76. Portrait. (29X24.)
Bought at Sienna.
(_Bryan Collection._)
B-77. Portrait. (29X24.)
Bought at Sienna.
(_Bryan Collection._)
FLEMISH AND DUTCH SCHOOLS
B-78. Landscape. (25½X33.) _Jacobus van Artois._
From the collection of Marshal Oudinot.
(_Bryan Collection._)
B-79. Landscape. (12½X17.) _Jan Asselyn._
(_Bryan Collection._)
B-80. Landscape. (19½X15½.) _School of Asselyn._
(_Bryan Collection._)
B-81. Marine View. (16½X24.) _Ludolf Bakhuysen._
(_Bryan Collection._)
B-82. A large Marine View. (60X54.) _School of Bakhuysen._
(_Bryan Collection._)
B-83. Marine View. (24X31.) _School of Bakhuysen._
(_Bryan Collection._)
B-84. Winter Scene. (35½X52.) _Jan Beerestraten._
This is the finest specimen of the Master ever seen by the donor. It graced the collection of Cardinal Fesch.
(_Bryan Collection._)
B-85. Boors Regaling. (29X24.) _Cornelius Bega._
(_Bryan Collection._)
B-86. Landscape. (33X44.) _Dirk van Bergen._
This is not a remarkable, though it is an authentic, specimen of the Master, and is signed.
(_Bryan Collection._)
B-87. Italian Scenery, and Figures in Italian Costume. (16X20.) _Nicholas Berghem._
Dated and signed "BERCHEM," his true signature, and a superb specimen of this Master.
(_Bryan Collection._)
B-88. Landscape, with Oxen at the Plough. (15X20½.) _Copy of Nicholas Berghem._
This picture was considered a BERGHEM by the Comte de Turenne, in the catalogue of his collection.
(_Bryan Collection._)
B-89. Cattle and Herdsmen. (13½X11.) _Nicholas Berghem._
This little picture, though much injured, is unquestionably authentic.
(_Bryan Collection._)
B-90. Cattle Market. (29X38½.) _Petrus van Bloemen._
The ruined buildings near which the cattle are grouped, are the remains of the Palace of the Cæsars, Rome.
(_Bryan Collection._)
[Illustration: B-101. PORTRAIT OF A JANSENIST.
_PHILLIPPE DE CHAMPAGNE._
(BRYAN COLLECTION)]
B-91. Halt of Soldiers. (29X38½.) _Petrus van Bloemen._
These two pictures were engraved as the works of DE LAER, by an English engraver, in 1769; an error of names but not of appreciation at that time, when DE LAER was rated with WOUWERMANS.
(_Bryan Collection._)
B-92. Halt of Cavaliers. (10X11.) _Petrus van Bloemen._
This is in his Flemish style.
(_Bryan Collection._)
B-93. Landscape. (18½X24.) _Jan Both._
(_Bryan Collection._)
B-94. Landscape. (15X12½.) _Jan Both._
(_Bryan Collection._)
B-95. Italian Landscape: Sunrise. (21X27½.) _Jan Both._
(_Bryan Collection._)
B-96. Italian Landscape: Sunset. (21X27.) _Jan Both._
B-95 and B-96 are companion pictures: the spirited figures are by LINGELBACH.
(_Bryan Collection._)
B-97. Interior of a Tavern. (15½X13.) _Renier Brakenburg._
It is signed both by BRAKENBURG and JAN STEEN, and bears everywhere marks of the careful assistance of the latter.
(_Bryan Collection._)
B-98. A Presentation to the Temple. (28X22½.) _Leonard Bramer._
Signed and dated. Bought from J. Vollmering in New York city. It is as fine as REMBRANDT'S best works. The senior of REMBRANDT, he appears to have led the way for him in his shades.
(_Bryan Collection._)
B-99. Robber examining Coin by Day-light. (9X6.) _Adrian Brower._
This Master was much respected by RUBENS.
(_Bryan Collection._)
B-100. Robber examining Coin by Candle-light. (8X6½.) _Adrian Brower._
(_Bryan Collection._)
B-101. Portrait of a Jansenist. (41½X41½.) Round. _Phillippe de Champagne._
This picture is an excellent specimen of the Master. Collection of Mr. VIEN, artist.
(_Bryan Collection._)
B-102. St. Paul. (20X16.) _Phillippe de Champagne._
(_Bryan Collection._)
B-103. Cattle in a Landscape. (15X13½.) _Albert Klomp._
(_Bryan Collection._)
B-104. An Equestrian Portrait. (19X16.) _Gonzales Coques._
The picture gives but a feeble idea of the merit of the painter.
(_Bryan Collection._)
B-105. Cattle and Figures in a Landscape. (22X26½.) _Albert Cuyp._
(_Bryan Collection._)
B-106. Portraits of the Burgomaster d'Eyselyhn of Rotterdam, and his family. (41X59.) _Jacob G. Cuyp._
The landscape is probably not by CUYP.
(_Bryan Collection._)
B-107. Landscape, with Figures. (24X20½.) _Guillam Dubois._
The similarity of many parts of this picture to the works of RUYSDAEL is so great, that some dealer, more keen than honest, had placed his signature over that of the actual painter. Upon cleaning the picture, the fictitious signature, of course, disappeared, and that of DUBOIS, with the date, 1652, was brought to light; and hence results the unmerited obscurity of a landscape painter of no mean powers who preceded RUYSDAEL, and whose works are important in the history of art, as showing the origin of that Master's style of treating foliage.
(_Bryan Collection._)
B-108. Landscape. (15½X21.) _John Renier de Vries._
(_Bryan Collection._)
B-109. The Presentation at the Temple. (31X25½.) _Christian W. E. Dietrich._
This is the first picture bought by the donor, in Europe.
(_Bryan Collection._)
B-110. Abraham discarding Hagar. (28½X24.) _Christian W. E. Dietrich._
(_Bryan Collection._)
B-111. The Crucifixion. (31½X20½.) _Anthony van Dyck._
(_Bryan Collection._)
B-112. Portrait of a Lady. (42½X35½.) _Anthony van Dyck._
This picture belonged to General D'Espinoy's large and famous collection of portraits. It was covered with the dust of time; and the Cupid, which the donor found in perfect preservation, had been painted out by some sacrilegious hand.
(_Bryan Collection._)
B-113. Portrait of Charles I. (30½X39.) _Anthony van Dyck._
The monarch is represented on the same canvas in front, profile, and three-quarter view. The object in presenting such a picture was, as the reader will remember, to enable the Italian sculptor, BERNINI, who had not seen Charles, to model a bust.
(_Bryan Collection._)
B-114. The Artist in his Atelier. (12X15.) _Gerard Douw._
(_Bryan Collection._)
B-115. The Continence of Scipio. (52X67.) _Gerbrandt vanden Eeckhout._
This is the most celebrated of the Master's compositions, and is cited by Descamps as his _chef d'oeuvre_. His pictures having been frequently changed into REMBRANDTS by picture-dealers, this specimen is the finest and purest which the donor has met with.
(_Bryan Collection._)
B-116. The Crucifixion. (15X14½.) _Jan van Eyck._
The cross upon which the dead CHRIST is suspended occupies the middle of the composition. On the left, ST. JOHN sustains the fainting Virgin, behind whom kneels the churchman for whom the picture was painted. His name, _Fr(ater) Aurelius de Emael_, is written in German-text across his figure. Behind him is a weeping female figure; on the left is a group of dignitaries and soldiers. A landscape, in which the towers of a distant city appear, closes the scene. Underneath the left arm of the cross appears the legend, _Vere Filius Dei erat iste_, in Roman characters of the epoch, which ceased to be used after the time when the painting in oil commenced. The forms in the CHRIST are somewhat meagre, but the anatomy is remarkably correct and particular. The expression in the faces of the several figures is marked. Modern art rarely shows us finer expression. The picture is slightly but admirably restored in the left arm of the cross, and a portion of the legend. It is of unquestionable authenticity and the extremest rarity.
(_Bryan Collection._)
B-117. Landscape, with Figures. (22X36.) _Jacques Fouquières._
(_Bryan Collection._)
B-118. Landscape. (26X39½.) _Jan Glauber._
It is unrivalled by any production of the Master known to the donor, and is worthy of CLAUDE, to whom it has been attributed by some of the most distinguished experts of Europe. The figures are by GERARD DE LAIRESSE.
(_Bryan Collection._)
B-119. Castle and Seaport. (14X23.) _John van Goyen._
Bought in New York city.
(_Bryan Collection._)
B-120. Dogs and Game. (16X21.) _Anthony Griff._
This little picture is a fair specimen of the Master.
(_Bryan Collection._)
B-121. The Marriage of St. Catherine. (36X27½.) Oval Top. _Jan Memling._
The picture is in remarkably fine condition, and, aside from its intrinsic merit, is important in the history of Art. When purchased by the donor, its beauties were hidden beneath the accumulated blackness of ages; otherwise a private American fortune would have failed to obtain it, as the Director of the National Academy of Brussels, partly suspecting its value, was a competitor for its possession. It was purchased at the sale of the well-known _Collection Quedeville_.
(_Bryan Collection._)
B-122. The Annunciation. (17X17.) _Copy from Jan Memling._
This picture, as well as the preceding, is from the _Collection Quedeville_, and was supposed, for a long time, by some, to be an original; but a comparison of it with the "Marriage of St. Catherine," just noticed, will soon convince even the least practised eye of the error of this belief.
(_Bryan Collection._)
B-123. View of an old City on the Rhine. (18½X25.) _Jan van der Heyden._
(_Bryan Collection._)
B-124. Landscape. (25X32½.) _School of Mindert Hobbema._
(_Bryan Collection._)
[Illustration: B-116. THE CRUCIFIXION.
_JAN VAN EYCK._
(BRYAN COLLECTION)]
B-125. Landscape. (25½X30.) _Cornelius Huysmans, of Mechlin._
This is the finest easel-picture of this Master known to the donor. One inferior to it in every respect was placed by the side of a HOBBEMA at the exhibition of the British Institution, 1851, and sustained itself.
(_Bryan Collection._)
B-126. Portrait. (25X20.) _Karl du Jardin._
Portraits by this Master are very rare.
(_Bryan Collection._)
B-127. Landscape, with Figures. (24X21.) _Karl du Jardin._
The signature is in script, _K. du Jardin_; an unusual one for the Master, who almost always signed in Roman letters.
(_Bryan Collection._)
B-128. Landscape: Cattle and Figures. (14X21.) _Jan Kobell._
Purchased in New York city.
(_Bryan Collection._)
B-129. Portrait. (48½X39½.) _Sir Peter Lely._
This is the portrait of a sister to the Duke whose portrait, representing him holding an orange, is in the Louvre, and which was long attributed to VANDYKE; and the donor, with due deference, declares both portraits to be painted by the same artist--Sir PETER LELY. It is from the collection of DROLLING, artist.
(_Bryan Collection._)
B-130. Portrait. (17X13.) _Nicholas Maas._
(_Bryan Collection._)
B-131. Virgin and Child, with Cherubs. (13½X10.) Oval Top. _Jan de Mabuse._
(_Bryan Collection._)
B-132. Virgin and Child. (27½X22.) _Jan de Mabuse._
This picture in its composition and expression shows the influence of the painter's study in Italy.
(_Bryan Collection._)
B-133. A Triptique. (28X39½.) _Quintin Matsys._
Bodily rather than mental suffering is portrayed in this picture by a painter who sought expression alone. His Misers, in the English Queen's collection, is the connecting link between the early and the more modern Flemish art.
(_Bryan Collection._)
B-134. Boors regaling. (12½X9½.) _Jan Molenaer._
(_Bryan Collection._)
B-135. Winter Scene. (31X44½.) _Nicholas Molenaer._
(_Bryan Collection._)
B-136. Landscape. (14X18½.) _Frederick Moucheron._
This picture is signed by the artist.
(_Bryan Collection._)
B-137. Landscape. (18X21½.) _Frederick Moucheron._
Bought in New York City.
(_Bryan Collection._)
B-138. Portrait. (12X11.) _Jan van Neck._
This picture is from the gallery of Cardinal Fesch, at the sale of which it was purchased,--but not by the donor,--as by NETSCHER, the true signature being covered by the false one of NETSCHER.
(_Bryan Collection._)
B-139. Landscape by Moonlight. (24½X35.) _Arnold van der Neer._
(_Bryan Collection._)
B-140. The Interior of a Cathedral. (14X18.) _Peter Neefs._
The figures are by Franck and the picture is signed by both masters.
(_Bryan Collection._)
B-141. Portrait of Madame de Montespan. (19½X15.) _Caspar Netscher._
The Duchess sits near a small table, playing upon the harp; at her feet sits her son, the Duc de Maine. The artist has intended to represent the lady as St. Cecilia. The anvil, hammers, and balance, introduced into the painter's design, are allusions to the discovery of the musical octave by Pythagoras, and also her sitting upon a celestial globe typical of the music of the spheres.
(_Bryan Collection._)
B-142. A Carnival Scene. Twelfth Night. (66½X92.) _Jacob van Oost._
(_Bryan Collection._)
B-143. A Lady playing with a Dog. (37X30.) _Jacob van Ochterveldt._
(_Bryan Collection._)
[Illustration: B-152. PORTRAIT.
_PAUL REMBRANDT._
(BRYAN COLLECTION)]
B-144. Portraits of the Painter's Wife and Child. (11½X10.) _Adrian Van Ostade._
From the collection of Cardinal Fesch.
(_Bryan Collection._)
B-145. Head of a Boor. (5X4½.) _School of Ostade._
(_Bryan Collection._)
B-146. A Dutch School. (13X16.) _Isaac van Ostade._
From the Da Costa Collection.
(_Bryan Collection._)
B-147. Landscape, with Figures. (6X7½.) _Cornelius Poelemburg._
(_Bryan Collection._)
B-148. Portrait of Henri IV. (15X9½.) _Francis Porbus._
(_Bryan Collection._)
B-149. A Nobleman and Lady. (14X11.) _Francis Porbus._
Leaving a chateau, to promenade in the garden.
(_Bryan Collection._)
B-150. A Waggoner, Horse, and Greyhound. (8X15½.) _School of Paul Potter._
(_Bryan Collection._)
B-151. Battle-Piece. (20X23.) _Augustus Querfurt._
The group of Hercules and the Lion standing upon a Pedestal near the middle of the picture will remind one of RUBENS. (No. B-161).
(_Bryan Collection._)
B-152. Portrait. (27X21.) _Paul Rembrandt._
This portrait is signed with the R., the early signature of the Master. It was bought at the sale of the celebrated miniature painter SAINT, to whom it belonged, by Mr. Roehn, the celebrated connoisseur, and was sold by him as REMBRANDT'S to Mr. Jecker, the same who left his important collection of prints to the _Bibliothèque National_ at Paris.
(_Bryan Collection._)
B-153. Tobit and the Angel. (18X13.) _Copy from Paul Rembrandt._
Copied by SCHUERMAN from the original in the Louvre.
(_Bryan Collection._)
B-154. Holy Family. (15X12½.) _Copy from Paul Rembrandt._
The copy is also by SCHUERMAN, who died in 1847.
(_Bryan Collection._)
B-155. Portrait of an Abbé. (20X17.) _School of Paul Rembrandt._
(_Bryan Collection._)
B-156. St. John preaching. (29½X42.) _Theodore Rombouts._
In a former catalogue this picture was classed among unknown artists. The donor has since discovered it to be by ROMBOUTS. From the collection of General Desport.
(_Bryan Collection._)
B-157. View of a Windmill on a Canal. (10½X12½.) _Theodore Rombouts._
Signed by the artist. Bought in New York city.
(_Bryan Collection._)
B-158. St. Catherine. (38½X28½.) _Peter Paul Rubens._
There are but six pictures of this quality of color by RUBENS, known to the donor. Three are in the Louvre, one is over the painter's tomb, one is the famous _Chapeau de Paille_, and the other is before us. It was brought from a church in the neighborhood of Brussels, by NIEUWEN-HUYSEN, the elder, and sold to the Count Perregeau.
(_Bryan Collection._)
B-159. Christ bearing the Cross. (59X24½.) _Peter Paul Rubens._
This picture is especially valuable for historical considerations, as being the only one which RUBENS is known to have painted on cedar panel. It formed one compartment of a triptique in the Cathedral of Antwerp. The centre compartment represented the Flagellation of Christ.
The donor has the authority of Mr. HERIS for the authenticity of this picture, and the locality from which it was stolen.
(_Bryan Collection._)
B-160. Portrait of a Knight of the Order of the Golden Fleece. (44X33.) _Peter Paul Rubens._
This picture is from the collection of Louis Philippe, King of the French, and was supposed to be by VANDYKE.
(_Bryan Collection._)
[Illustration: B-160. PORTRAIT OF A KNIGHT OF THE ORDER OF THE GOLDEN FLEECE.
_PETER PAUL RUBENS._
(BRYAN COLLECTION)]
B-161. Hercules strangling the Nemean Lion. (80X67.) _Peter Paul Rubens._
Several persons, whose opinions the donor highly respects, have denied the authenticity of this picture; but he thinks 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 Belvidere 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. (12X16½.) _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 POELEMBURG.
(_Bryan Collection._)
B-164. Group of Christ, St. John, and two Angels. (10X11½.) _Copy from Peter Paul Rubens._
(_Bryan Collection._)
B-165. Satyr and Nymphs. (13X18½.) _School of Rubens._
(_Bryan Collection._)
B-166. Effect of Candle-light. (40½X31.) _School of Rubens._
Copied from a well-known etching of RUBENS.
(_Bryan Collection._)
B-167. Distant View of Haarlem. (19X27½.) _Jacob Ruysdael._
The figures in the foreground are by VANDEVELDE.
(_Bryan Collection._)
B-168. Marine View. (30½X43.) _Jacob Ruysdael._
The figures are by VANDEVELDE.
(_Bryan Collection._)
B-169. Landscape, with Cattle. (22X17.) _School of Ruysdael._
(_Bryan Collection._)
B-170. Landscape. (14X21½.) _Solomon Ruysdael._
(_Bryan Collection._)
B-171. Dogs Worrying a Cat. (55X72.) _Francis Snyders._
The landscape by WILDENS, the cat by OUDRY, 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._
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 Louvre, was purchased from the Gallery of the Count De Turenne, the last of the family of the celebrated Marshal.
(_Bryan Collection._)
B-174. Landscape and Figures. (11½X14½.) _Jan Steen._
Signed by the artist, and bought in New York city.
(_Bryan Collection._)
B-175. Incantation Scene. (14½X20.) _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. Collection Sylvestre.
(_Bryan Collection._)
B-176. Village Fête. (18½X28½.) _David Teniers the Younger._
Collection Marshal Sebastiani.
(_Bryan Collection._)
B-177. Village Fête. (17½X20.) _David Teniers the Younger._
A picture similar in subject but inferior in treatment to the preceding; probably executed in old age.
(_Bryan Collection._)
[Illustration: B-182. WILLIAM, PRINCE OF ORANGE, (WILLIAM III.)
_GERARD TERBURG._
(BRYAN COLLECTION)]
B-178. Boors Regaling, and playing at Skittles. (11X14½.) _David Teniers the Younger._
Collection Duc 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 bearing 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. (9½X13½.) _David Teniers the Younger._
A wonderful effect, and familiarly styled by painters as the "après déjeuner" manner. Bought in New York city.
(_Bryan Collection._)
B-182. Portrait of William, Prince of Orange, (William III.) (30½X23.) _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 signature of the Master.
(_Bryan Collection._)
B-183. Marine View. (25X29.) _William van de Velde._
(_Bryan Collection._)
B-184. Marine View. (12½X14.) _William van de Velde._
From Collection Giroud, Paris.
(_Bryan Collection._)
B-185. Marine View. (9½X12½.) _William van de Velde._
Bought in Philadelphia.
(_Bryan Collection._)
B-186. Landscape, with Animals. (9X11½.) _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 by RUBENS (No. B-162), is from an old chateau in 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 of figures, by LINGELBACH, is almost worthy of WOUWERMANS.
(_Bryan Collection._)
B-188. The Three Graces. (19X15½.) _Chevalier van der Werf._
From Hunter's collection, New York.
(_Bryan Collection._)
B-189. Ruins, with Figures. (22X17½.) _Jan Baptist Weenix._
In the opinion of the donor, this picture, though striking 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. (43X51½.) _Philip Wouwermans._
The largest picture in size and manner which the donor has seen by this Master. From the Meert collection, sold in New York, Dec., 1865.
(_Bryan Collection._)
[Illustration: B-199. ST. GEORGE AND THE DRAGON.
_ALBRECHT DÜRER._
(BRYAN COLLECTION)]
B-192. The Burning and Sacking of a Town. (21X19.) _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. (8X10½.) _Jan Wynants._
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. (7¾X10¼.) _Henry Martin Rokes._
It, as well as the "Sorcery Scene," by TENIERS, ornamented 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. (19½X13.) _Lucas Cranach._
(_Bryan Collection._)
B-197. Portrait of a Lady. (28X22.) _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. (20½X17.) _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. (16½X13.) _Albrecht Dürer._
(_Bryan Collection._)
B-200. Triumph of Christianity. (26½X38.) _School of Dürer._
This picture is from the collection Quedeville.
(_Bryan Collection._)
B-201. Interior of a Private Chapel. (33½X25.) _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 Collection._)
B-202. Portrait of a Professor. (30½X23½.) _Hans Holbein._
(_Bryan Collection._)
B-203. The Judgment of Paris. (6½X9.) _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. (11½X16½.) _Valkenburg._
(_Bryan Collection._)
B-206. Landscape. (13X20.) _Valkenburg._
These pictures possess great interest, in being historically 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 Quedeville.
(_Bryan Collection._)
SPANISH SCHOOL
B-207. Philip IV. of Spain, as David with Goliath's Head. (74½X43.) _Diego Velasquez._
From the collection of Marshal Sebastiani.
(_Bryan Collection._)
B-208. Landscape. (37X43½.) _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._)
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. (27½X76.) _Diego Velasquez._
Preparation for an _olla podrida_, from the collection of R. W. Meade.
(_Bryan Collection._)
B-211. Adoration of the Magi. (42X64½.) _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.