THE BRYAN COLLECTION

BYZANTINE SCHOOL

NO.

SUBJECTS OF PAINTINGS.

ARTISTS.

B-1. Virgin and Child. (15X13.)

The Virgin, clothed in a rich crimson drapery which covers the head, holds the infant Christ on her right arm. The child has a gilt globe in his hand. Over his head is seen the date of the picture, MXC. It was brought from the East by the celebrated artist, Papeti, who was sent to Greece by the French Government.

(Bryan Collection.)

B-2. Triptique. (8X20½.)

A very remarkable and elaborate work; and of the highest interest in the history of art.

(Bryan Collection.)

ITALIAN SCHOOL

B-3. A Virgin and Child, with four Saints. (77½X39½.) Guido of Siena.

This picture is in perfect condition, and is from the renowned collection of M. Artaud de Montor, in the account of which it was engraved. It is described in the work of Gault de St. Germain (p. 51).

(Bryan Collection.)

B-4. Virgin and Child, with Saints. (17X9.) Oval Top. Cimabue.

From the De Montor collection—engraved.

(Bryan Collection.)

B-5. Knights at a Tournament. (24X24.) Round. Giotto di Bondone.

The frame is as ancient as the picture itself, of which it forms a part. It bears the arms of the Medici family. From the De Montor collection—engraved.

(Bryan Collection.)

B-6. Virgin and Child. (12½X8½.) Simone Memmi.

The head of the Virgin presents the same type as that exhibited in the portrait of Petrarch's Laura, painted by Memmi, which is in the Library of the Vatican. From the De Montor collection—engraved.

(Bryan Collection.)

B-7. The Last Judgment. (12½X8½.) Simone Memmi.

"Christ, with the cruciform halo, and the elliptical aureola, bordered with cherubim, appears in the heavens. Above, two angels, strangely enough colored entirely blue, sound the trumpet; below, the Virgin and St. John kneel upon the ground, from which rises the cross, on which two angels are looking. On the left, the elect, wearing crowns of gold, mount towards the sky, under the protection of a pitying spirit; on the right, the damned, covered with blood, are delivered to the demons by a minister of divine vengeance. Jesus himself wears a terrible expression. Michael Angelo is, therefore, not the first to have given him this menacing aspect. The general color of the picture pleases the eye by its extreme fineness: the Virgin and St. John by the beauty of their types." To this just and graphic description from the pen of M. Michiels, which appeared in the Gazette de France, it is needless to add anything more. From the De Montor collection.

(Bryan Collection.)

B-8. The Crucifixion. (8X21.) Taddeo Gaddi.

From the De Montor collection.

(Bryan Collection.)

B-9. St. Jerome, St. Dominic, and St. Francis of Assisi. (15X10.) Oval Top. Taddeo Gaddi.

The three Saints stand side by side. There is dignity in the attitudes and the draperies, and harmony in the color of this picture. From the De Montor collection.

(Bryan Collection.)

B-10. Two Wings of a Tabernacle. (19X8½.) Lorenzo il Monaco.

From the De Montor collection.

(Bryan Collection.)

B-11. A Tabernacle. (24X22.) Giottino.

From the De Montor collection.

(Bryan Collection.)

B-12. St. Anthony. (12X9½.) Triangle. Giottino.

From the De Montor collection.

(Bryan Collection.)

B-3. A VIRGIN AND CHILD, WITH FOUR SAINTS.

GUIDO OF SIENNA.

(BRYAN COLLECTION)

B-13. St. Dominic. (12X9½.) Triangle. Giottino.

From the De Montor collection.

(Bryan Collection.)

B-14. Crucifixion. (Half of a Triptique.) (14X10.) Buonamico Buffalmacco.

From the De Montor collection.

(Bryan Collection.)

B-15. A Tabernacle. (21X20.) Buonamico Buffalmacco.

From the De Montor collection.

(Bryan Collection.)

SCHOOL OF THE TWELFTH CENTURY

B-16. A Tabernacle. (20½X18.)

The carved arabesque work indicates the period of this picture, which has been much injured by the hand of time.

From the De Montor collection.

(Bryan Collection.)

ANCIENT VENETIAN SCHOOL

B-17. Virgin adoring the Infant Jesus. (18½X11.)

The Virgin kneels before her Divine Son. Around are angels, and behind her is Joseph. Above is a company of angels; and, in the distant sky, one is seen appearing to the shepherds. The infant has a crimson, cruciform aureola. In this rudely-drawn picture the future glory of the Venetian School, its gorgeous color, is plainly indicated.

(Bryan Collection.)

B-18. The Birth of John the Baptist. (24X24.) Uccello.

From the De Montor collection.

(Bryan Collection.)

B-19. Christ in the Garden of Gethsemane. (3½X3½.) Castagno.

From the De Montor collection.

(Bryan Collection.)

B-20. Triumph of Julius Cæsar. (16X60½.) Antonio Dello.

From the De Montor collection.

(Bryan Collection.)

B-21. The Crucifixion. (15X11.) Botticelli.

From the De Montor collection.

(Bryan Collection.)

B-22. Adoration of the Infant Christ. (79½X5½.) Perugino. [Macrino d'Alba.]

The Virgin Mary, St. John the Baptist, St. Jerome, St. Joseph, St. Michael, and the Pope Julius II., are kneeling before the divine infant. Three small Angels, also kneeling, carry the nails and the Cross, emblems of the torture which the new-born should suffer. The Christ bears a striking resemblance to that of the little Jesus, so much admired, in a painting of the same artist, now placed in the Louvre, after having decorated the gallery of the King of Holland. St. Michael strikes the beholder by his noble air and his martial type. The head is evidently the portrait of Gaston de Foix, the model of the chivalry of the day. St. John is the lean prophet of the desert, the ascetic, and the eater of locusts and wild honey. At the top of the picture, three Angels play upon different instruments. In the background are seen the Capitol, the image of Roman power, and the vast ruins of the Coliseum. The head of Joseph, who stands behind St. John, must strike the considerate observer by its close resemblance to the type of Joseph which we find in the Holy Families of Raphael. In the Cherub who holds the Cross, we also find great similarity to the little Angel who occupies so prominent a position in the famous Madonna of Foglino, from the same divine pencil. From the collection Errard. Signed and dated 1509.

(Bryan Collection.)

B-23. St. John, Weeping. (20½X16½.) Leonardo da Vinci.

For the authenticity of this picture, we have the high authority of Mr. Woodburn.

(Bryan Collection.)

B-24. St. John. (13½X10½.) Oval. Leonardo da Vinci.

(Bryan Collection.)

B-25. The Birth and Resurrection of Christ. (11X19½.) Raphael.

In the centre of the upper compartment, Christ, draped in red, and bearing the emblematic banner of the Cross, rises from an open tomb. His hand is raised with an expression of command. On each side are two soldiers sleeping, and two starting away in fright. A slender tree also is seen upon each side of the tomb; in the distance is a large hill. In the lower compartment are eight figures, besides the infant Christ. Six kneel in a semicircle about the new-born Saviour, who lies in the middle of the foreground. Three of these, on the left, are shepherds. On the right are the Virgin mother and two Angels. Next to Mary sits Joseph; and on the extreme left, a fourth shepherd approaches. Two slender trees here also appear on each side of the composition. In the distance are heavily undulating hills.

B-5. KNIGHTS AT A TOURNAMENT.

GIOTTO DI BONDONE.

(BRYAN COLLECTION)

Very few Raphaels of this period exist. Those which are in the Vatican and the Louvre, show, in style and handling, an exact similarity to these pictures, which is absolutely conclusive. The donor wishes it to be understood, that, in his opinion, and in that of some of the accomplished and practised experts in Europe, there is not the slightest doubt of the authenticity of these pictures. Only the inexperienced and the uncultivated fail to trace in them the pencil of the divine Raphael.

(Bryan Collection.)

B-26. Madonna and Child. (28X21½.) Copy from Raphael.

An old and admirably executed copy of the Bridgewater Madonna.

(Bryan Collection.)

B-27. Dance of Cupids. (7X10.) Copy from Raphael.

Nine Cupids dance in a ring. On the left, one plays upon double pipes; on the right, another sits upon the ground. This copy is very fine, as it may well be, having been made by no less distinguished an artist than Sassoferrato himself.

(Bryan Collection.)

B-28. St. George, and St. Anthony of Padua. (47X22½.) Gaudenzio Ferrari.

(Bryan Collection.)

B-29. Martyrdom of St. Bartholomew. (17X28.) Fra Bartolomeo.

(Bryan Collection.)

B-30. The Repose in Egypt. (29½X35.) Giorgione.

No. B-17 is a specimen of the ancient Venetian style, which should be examined in connection with these productions of the glorious days of that school.

(Bryan Collection.)

B-31. Prince of Palermo—in Disguise. (22X17½.) Giorgione.

Similar to that in the Royal Gallery of Naples, it is distinguished by the Prince holding a flute, and not a staff, a ring on his finger and an amulet in his fur cap. From the collection of the Marquis Sommariva.

(Bryan Collection.)

B-32. A Concert. (31X37½.) Copy from Giorgione, by Watteau.

Two men and a naked female sit in the open air, diverting themselves with music. Another female figure peers at the group from the shrubbery, which is not in the original, but found only in Watteau's Pastiche, No. B-247.

(Bryan Collection.)

B-33. The Repose in Egypt. (32½X41½.) Titian.

This composition was repeated many times by Titian, and without great variation. This repetition is distinguished by the absence of some figures in the background, and the introduction of a rivulet in the foreground, and a butterfly upon a flower in the right corner. It has twice been found necessary to remove the picture from its canvas: the drapery of the Virgin has suffered somewhat from this and other causes; the other parts of the picture are somewhat injured.

(Bryan Collection.)

B-34. Portrait of a Lady. (43X40.) Style of Titian.

From the collection of R. W. Meade, of Philadelphia.

(Bryan Collection.)

B-35. St. Jerome, in his Study. (39X29.) School of Titian.

Probably a copy by Odvardo Fialetti, scholar of Tintoretto. This is a large copy of a print by Albrecht Dürer. Its color shows it evidently to be of the Venetian School.

(Bryan Collection.)

B-36. Virgin and Child. (43X36.) Oval. School of Titian.

This picture came from the Gallery of Louis Philippe, and on the back was written "Dans la Chambre du Prince."

(Bryan Collection.)

B-37. Portrait of a Presbyter. (20½X16½.) Tintoretto.

(Bryan Collection.)

B-38. St. Benedict. (91X54.) Oval Top. Francesco Zucco.

The Saint is prostrate before an altar, receiving the black stole from the Virgin: the head of the Saint is worthy the palette of Titian. Signed and dated. Found in New York, by the donor.

(Bryan Collection.)

B-39. Abraham discarding Hagar and Ishmael. (24½X19½.) Paul Veronese.

(Bryan Collection.)

B-40. Portrait of Charles, Constable de Bourbon. (23½X19.) Ludovico Brea.

From the collection of General D'Espinoy.

(Bryan Collection.)

B-18. THE BIRTH OF ST. JOHN THE BAPTIST.

UCCELLO.

(BRYAN COLLECTION)

B-41. Christ Shown to the Multitude. (45X40.) Sebastiano del Piombo.

This picture, which is in very fine condition, and the principal figure in which much resembles that in the famous picture of Christ looking into Hell, in the Royal Gallery of Madrid, was purchased by the donor in Rome.

(Bryan Collection.)

B-42. Virgin and Child, with Angels. (44X34½.) Andrea del Sarto.

(Bryan Collection.)

EARLY FLORENTINE SCHOOL

B-43. Virgin and Child, with St. John. (10X81.)

It will be noticed that gold is used freely in the halos, and upon the draperies, which fall in somewhat stiff but ample and not unpleasing folds. This picture is from the collection of the Abbé Genoude, known as the translator of the Bible, by which he accumulated a fortune.

(Bryan Collection.)

B-44. Adoration of the Shepherds. (35½X34.)

This picture is from the collection of the Sylvestre family, and was once improperly attributed to Raphael. It bears many of the marks of Garofalo's pencil.

(Bryan Collection.)

B-45. The Crucifixion. (33X23.) Andrea Mantegna.

Mr. Michiels, the distinguished critic employed by the Belgian Government to prepare a history of Flemish Art, says of this work: "The Christ has a nobility in his attitude which few painters have been able to give him; the expression of the good robber is also grave and dignified. The whole picture bears the impress of a serene imagination; the coloring is sombre; the attitudes are distinguished by an air of majesty. We feel that the artist had, at the commencement of his career, severely studied the ancients. Two cuirasses, and some of the draperies, are gilded; gold is mingled with the other costumes, in the form of traits, designating the folds. We are particular about these details, because they indicate the primitive epoch in which the picture was painted, and the manner in which they passed from the use of gold grounds to the entire abandonment of that metal."

It should be observed that the Jewish type is preserved in the heads of many of the figures, which is the case of the works of very few other masters. It will be observed that there are in this crowded canvas no two pieces of offensive or defensive armor alike. This is worthy of particular remark, as Squarcioni, the master of Man Tegna, had the largest and most varied collection of ancient arms which existed in his day.

Aside from its intrinsic merit, this picture is of the greatest interest when considered in connection with the St. Jerome (B-47) by Correggio, the disciple of Mantegna. In the peculiar mode of introducing gold in the lights of that noble painting, we notice an unmistakable similarity to Mantegna's use of the same material in the work before us; thus showing the direct connection between the manner of the two painters.

It is impossible to overrate the historical importance of the juxtaposition of this work of Mantegna with that of Correggio. There is afforded in no other gallery, public or private, in the world, a similar opportunity to study the master and scholar side by side in works of unquestionable authenticity and the highest intrinsic merit.

(Bryan Collection.)

B-46. Adoration of the Kings. (19X14.) Andrea Mantegna.

Found in Venice, 1859.

(Bryan Collection.)

B-47. The Virgin and Child, Mary Magdalen, and St. Jerome (known as the St. Jerome). (19X14.) Correggio.

Of this sketch M. Michiels remarks, that in it "burns in all its grace the talent of Correggio. Never has the Ecstasy of piety, or the fervor of religious affection, been better expressed."

This picture differs from the large one at Parma, in the absence of the emblematic lion which stands in that by the side of St. Jerome; and also in the color of some of the draperies, particularly in that of the canopy, which in this is striped, while in that it is of one color. In this, too, we find gold used in the halos and in the draperies, which is not the case in the other; a fact which points to the earlier production of this picture, and which also connects it in a remarkable manner with the Crucifixion by Mantegna (No. B-45).

There can be no doubt that this picture is the finished sketch for the well-known St. Jerome, at Parma. The marked differences already alluded to in minor points, prove incontestably that it could not be the work of a copyist, who would, of course, reproduce his original with all possible fidelity. It is from the collection of Marshal Sebastiani, it having been nailed firmly to the wall in his bed-chamber.

(Bryan Collection.)

B-48. Virgin and Child. (34X27.) Correggio.

In support of the authenticity of this picture, we have the first authority in England,—that of Mr. Woodburn. The donor thinks it may be Schidone.

(Bryan Collection.)

B-22. ADORATION OF THE INFANT CHRIST.

ATTRIBUTED TO PERUGINO

[MACRINO D'ALBA

]

B-49. Virgin and Child. (10X8.) Bernardino Luini.

(Bryan Collection.)

B-50. Virgin and Child, with St. John. (32X25½.) Giulio Romano.

This picture was attributed to Cæsari da Sesto, but is now believed by the donor to be by Giulio Romano. It is from the collection of Bishop Luscomb, Paris.

(Bryan Collection.)

B-51. Portrait of a Princess of Florence. (52X41½.) Agnolo Bronzino.

(Bryan Collection.)

B-52. Portrait of a Noble Florentine as St. Barbe. (35X30.) Agnolo Bronzino.

(Bryan Collection.)

B-53. Portrait of a Venetian Lady as Mary Magdalen. (42X30.) Copy from Palma. (Vecchio.)

(Bryan Collection.)

B-54. Charity. (9X6½.) Giuseppe Cesari d'Arpino.

(Bryan Collection.)

B-55. Virgin and Child. (8X6½.) Annibale Caracci.

(Bryan Collection.)

B-56. St. Joseph holding the Infant Jesus. (8X6½.) Annibale Caracci.

(Bryan Collection.)

B-57. St. Paul borne to Heaven by Angels. (19½X15.) Domenichino.

"Three angels bear aloft the interpreter of the divine will: one has the form of infancy, another of youth, the third of adolescence. The minister of our Lord raises his hands to heaven, on which he gazes with an expression of burning hope. How he seeks to discover the first rays of the eternal light! How he longs for the moment in which he shall appear before the Almighty! What enthusiasm animates his countenance! I doubt if the ardor of faith could be better shown. The little angel has those brilliant eyes, and that expressive visage, which this master knew so well how to paint; it is certainly not inferior to those which we admire in the grand salon of the Louvre. The angel of the second age charms the eye by a grace and an easiness of attitude extremely remarkable; upon his countenance burn the veneration and the love with which the Apostle inspires him. The entire group seems actually to mount in the air. Mr. Bryan had the good taste to purchase it at the sale of M. Forbin-Janson."

To this just and graphic description, from the pen of M. Michiels, which appeared in the Gazette de France, it is needless to add anything more.

This picture was formerly in the gallery of the Cardinal Lambruschini, and afterwards in the collection of M. Forbin-Janson, Director of the Louvre, at whose sale it was purchased by the donor.

(Bryan Collection.)

B-58. Christ Crowned with Thorns. (24½X20.) Guido.

If not original, it is the best copy ever seen by the donor.

(Bryan Collection.)

B-59. Magdalen in a Trance. (46½X36.) School of Guido.

This picture is from the collection of Louis Philippe. The head of the Magdalen is evidently a reminiscence of the Niobe discovered at Rome at the epoch of the painter.

(Bryan Collection.)

B-60. The Young Bacchus. (33X24.) Oval. School of Carlo Dolci.

(Bryan Collection.)

B-61. Lucretia. (33X24.) Oval. School of Carlo Dolci.

(Bryan Collection.)

B-62. Magdalen. (34X28.) Oval. School of Carlo Dolci.

(Bryan Collection.)

B-63. St. Dorothea. (34X28.) Oval. School of Carlo Dolci.

(Bryan Collection.)

B-64. Christ disputing with the Doctors. (39X54.) Gentileschi.

(Bryan Collection.)

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.)

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.)

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'œuvre. 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.)

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.)

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. Rœhn, 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.)

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.)

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.)

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.

(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. (23½X19.) Murillo.

(Bryan Collection.)

B-214. St. Joseph. (65½X47.) Murillo.

St. Joseph is bearing Christ 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. (70X50½.) 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.)

FRENCH SCHOOL

B-218. The Entombment of Christ. (27X9.)

(Bryan Collection.)

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

(Bryan Collection.)

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 de lis is prominent. Upon the edge is an inscription, 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 adoration to some devout Catholic.

(Bryan Collection.)

B-221. Diana of Poictiers, as Judith with the Head of Holofernes. (39X27.) Martin Freminet.

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. (36½X30.) Nicholas Poussin.

The attitude of the Virgin is 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. (25½X29.) 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 statuesqueness.

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. (29X36½.) Nicholas Poussin.

(Bryan Collection.)

B-225. Diana and her Nymphs bathing. (44½X56.) Nicholas Poussin.

This is an unfinished sketch.

(Bryan Collection.)

B-226. Portrait of Duchesnois, the Flemish Sculptor. (27½X23.) Nicholas Poussin.

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

(Bryan Collection.)

B-227. Landscape. (9½X7½.) Guaspre Poussin.

(Bryan Collection.)

B-228. Landscape. (9½X7½.) Guaspre Poussin.

(Bryan Collection.)

B-229. Grand Landscape: Hagar in the Desert. (37½X50½.) 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 of Marshal Sebastiani.

(Bryan Collection.)

B-230. Landscape, with Figures. (39½X50½.) School of Claude Lorraine.

The peasants in the foreground are designed after Domenichino; 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 representing 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. (15½X15½.) Round. School of Claude Lorraine.

(Bryan Collection.)

B-234. Portrait of a Lady at her Toilet. (40½X32½.) Oval. Pierre Mignard.

(Bryan Collection.)

B-235. Holy Family. (14X12.) Pierre Mignard.

(Bryan Collection.)

B-236. The dead Christ supported by the Virgin. (18X17.) Eustache le Sueur.

From the collection of the Abbé Genoud.

(Bryan Collection.)

B-237. Portrait. (19X15.) Charles Le Brun.

From the Parant Collection.

(Bryan Collection.)

B-238. Battle-Piece. (9X19.) Jacques Courtois.

(Bryan Collection.)

B-239. Battle-Piece. (9X19.) Jacques Courtois.

(Bryan Collection.)

B-240. Christ in the Wilderness, ministered to by Angels. (36X46.) Charles de la Fosse.

This picture was formerly in the collection of Cardinal Fesch. After its arrival in Paris, in the possession of the donor, it was solicited for the Gallery of the Louvre.

(Bryan Collection.)

B-241, B-242. Scenes from the Life of St. Charles de Borromeo. (25X38½.) Jean Jouvenet.

(Bryan Collection.)

B-243. Portraits of two Ladies. (57X44½.) Nicholas de Largillière.

This picture was also sought from the donor for the Gallery of the Louvre.

(Bryan Collection.)

B-244. Portrait of a Marshal of France. (32X25½.) Oval. Hyacinthe Rigaud.

From the Collection Vien. It is a very fine specimen of the Master. Our own Stuart thought the Portraits of Rigaud's two sisters, by him, the most natural and true he ever saw.

(Bryan Collection.)

B-243. PORTRAITS OF TWO LADIES.

NICHOLAS DE LARGILLIERE.

(BRYAN COLLECTION)

B-245. Musicians. (18X15.) Antoine Watteau.

This picture is evidently cut from a large and important work.

(Bryan Collection.)

B-246. A Venetian Fête, or Ball, by day. (25½X31½.) Antoine Watteau.

A composition unrivalled for picturesqueness of design and richness of color.

(Bryan Collection.)

B-247. Landscape, with Figures. (18X22.) Antoine Watteau.

This is but a sketch, in the style of Giorgione. (See No. B-32.)

(Bryan Collection.)

B-248. Landscape, with Figures. (17½X22.) Jean Baptiste Pater.

(Bryan Collection.)

B-249. Portrait of the Cardinal de Rochechouart. (53½X39.) Pompeo Battoni.

From the Chateau Courcelle, the seat of the Cardinal's family.

(Bryan Collection.)

B-250. Head of a Boy. (11½X9.) Pompeo Battoni.

(Bryan Collection.)

B-251. Still Life. (16X24.) Jean B. S. Chardin.

The viands for a jour maigre under the rule of the Church.

(Bryan Collection.)

B-252. Portrait of Louis XVII., Dauphin. (22½X17½.) School of Greuze.

He is represented as seven or eight years old. He wears a blue scarf indicating his rank. From the collection of M. de Mont Louis, a devoted legitimist, who died at a very advanced age, in 1850. It bears much resemblance to the works of Chardin.

(Bryan Collection.)

B-253. Park of St. Cloud. (13X29.) Hubert Robert.

(Bryan Collection.)

B-254. Portrait of Dr. Ambroise Paré, the Father of French Surgery. (14½X11.) Peter Porbus.

(Bryan Collection.)

B-255. Italian Scenery, with Figures. (31½X45.) Joseph Vernet.

Painted by the artist for his friend, Balthazar, the architect, from whose collection it came. It is a fair specimen of the Master.

(Bryan Collection.)

B-256. The Bay of Baia, an effect of Moonlight. (14½X25½.) Joseph Vernet.

(Bryan Collection.)

B-257. A Seaport. (39X53.) Joseph Vernet.

(Bryan Collection.)

B-258. Landscape, painted for a Snuff-Box. (5X5.) Round. Joseph Vernet.

(Bryan Collection.)

B-259. Portrait of a Receiver-General. (18½X14.) Robert Tourniere.

(Bryan Collection.)

B-260. A Nymph of Diana. (42X53.) Jean Baptiste Greuze.

(Bryan Collection.)

B-261. A Repetition of the L'Aveugle Dupé. (24X19.) Jean Baptiste Greuze.

An early production. Bought in New York city.

(Bryan Collection.)

B-262. Portrait of the Duc de Choiseul. (24X19½.) Jean Baptiste Greuze.

From the collection of Parant, who painted, on porcelain, the heads of the celebrities of France. This head was probably procured for that purpose.

(Bryan Collection.)

B-263. Head of a Young Girl. (17X14.) Oval. Jean Baptiste Greuze.

(Bryan Collection.)

B-264. Virginie. (A study.) (18X15.) Jean Baptiste Greuze.

(Bryan Collection.)

B-265. Sketch of a Female Head. (18X15.) Jean Baptiste Greuze.

The celebrated miniature-painter Saint purchased this sketch at the sale of Greuze's own collection after his death.

(Bryan Collection.)

B-266. The Sister. (18X15.) Nicholas Bernard Lepicié.

(Bryan Collection.)

B-267. France Triumphant after the Restoration of Louis XVIII. (54X33½.) Pierre Paul Prud'hon.

This picture is the finished sketch of a plafond now at Dijon, the birth-place of the painter. It is from the collection of M. Vien, artist. It was sought of the donor by the Director of the Louvre, for that Gallery.

(Bryan Collection.)

B-268. Napoleon at Charleroi. (13X16.) Horace Vernet.

The accessories and the horse are portraits. This little picture ornamented the private study of Louis Philippe.

(Bryan Collection.)

B-269. The Duke of Orleans. (21X31.) Horace Vernet.

The Duke is giving orders to his groom. He is attended by a negro-page and two greyhounds. In the background are a "cabriolet" and horse. This is a very early picture of the Master. It was rescued from the Chateau and Park de Monceau, on their destruction.

(Bryan Collection.)

B-270. Attack repulsed at Constantine, Africa. (18½X15.) Bellangé.

Death of Richepanse.

(Bryan Collection.)

B-271. Fox-Chase. (14X18.) J. B. Descamps.

(Bryan Collection.)

B-272. Snipe-Shooting. (14X18.) J. B. Descamps.

(Bryan Collection.)

B-273. Duck-Shooting. (13X16.) J. B. Descamps.

(Bryan Collection.)

B-274. Nymphs and Cupids. (9½X12.) Vallin.

(Bryan Collection.)

B-275. Portrait of a Lady, as a Water-Nymph. (33½X23.) L. J. Schaal.

It has been engraved as La Belle Source, and is supposed to be the portrait of the wife of a revolutionary character of some note, named Source. From the Collection Parant.

(Bryan Collection.)

B-276. A Voluptuary. (22X18.) Oval. François Boucher.

(Bryan Collection.)

B-277. Winter-Scene. (25X30.) François Boucher.

(Bryan Collection.)

B-278. Landscape. (9½X12.) Georges Michel.

The figures, by Swebach, are very spirited.

(Bryan Collection.)

B-279. Landscape. (14X18.) Frederic M. Kruseman.

(Bryan Collection.)

B-280. The Inheritance. (17X21.) Felix Van der Eycken.

Painted for the donor.

(Bryan Collection.)

B-281. Student Travellers, Regaling at a Hostelry in Flanders. (22X29.) Felix Van der Eycken.

Bought in New York city.

(Bryan Collection.)

B-282. Landscape, with Sheep. (17½X15.) Balthasar Ommeganck.

(Bryan Collection.)

B-283. Catechism before Marriage, according to Belgian Law, being necessary for State and Matrimonial Security. (37½X48.) Jean Henri de Coene.

(Bryan Collection.)

B-284. Portrait of an Old Man. (9½X7½.) M. Dykemans.

(Bryan Collection.)

B-285. Portrait of the Artist, (1737-1815.) (36X30.) John Singleton Copley.

(Bryan Collection.)

B-286. Portrait of Guy Bryan, (1755-1829.) (36½X28.) Thomas Sully.

This portrait of the father of the donor of the Bryan Collection was considered by Dunlap one of the happiest efforts of Mr. Sully.

(Bryan Collection.)

B-285. JOHN SINGLETON COPLEY

BY HIMSELF.

(BRYAN COLLECTION)

B-287. The Confessional. (35X28.) William E. West.

Mr. West is well known by his having painted the best portrait of Lord Byron. This picture was a favorite of the late Washington Irving.

(Bryan Collection.)

B-288. Landscape. (48½X64.) George L. Brown.

This view is from Nature, in the Island of Capri, Vesuvius being seen in the distance.

(Bryan Collection.)

B-289. A Midnight Conversation. (25X32.) William Hogarth.

Engraved as the frontispiece of Ireland's Hogarth. In Walpole's anecdotes of painters a catalogue is given professing to contain a complete list of all of Hogarth's paintings and their then owners. This painting appears in that list, but the owner's name is not given.

(Bryan Collection.)

B-290. The Harlot's Progress. (25X31½.) Copy from William Hogarth.

This copy is by Horremans, of Vienna, and is one of the famous series of the "Harlot's Progress." The copyist has seen fit to make some variations from the print.

(Bryan Collection.)

B-291. Portrait. (48X39.) Sir Joshua Reynolds.

In his early style.

(Bryan Collection.)

B-292. Pallas Appearing to Achilles, after the Death of Patroclus. (17½X14.) Benjamin West.

This is a sketch for a large picture.

(Bryan Collection.)

B-293. Portrait of Charles Wilson Peale, (1741-1827.) (28X23.) Benjamin West.

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-294. View of Genesee Falls, New York. (9½X13.) Count Beaujolais.

This sketch is quite faithful as a representation of the locality. Its chief interest, however, consists in its having been made by the brother of Louis Philippe, when the two princes were on their visit to this country, after the first French Revolution. Collection Louis Philippe.

(Bryan Collection.)

B-295. Landscape. (17½X24.) Joseph Vollmering.

(Bryan Collection.)

B-296. Winter-Scene. (10½X13½.) Joseph Vollmering.

(Bryan Collection.)

B-297. Murillo Sketching the Beggar-Boy. (17X21.) Edwin White.

(Bryan Collection.)

B-298. Family Group. (56X89.) Charles Wilson Peale.

This composition contains portraits of the artist and his brothers, St. George and James Peale; his sister, Margaret J. Ramsey; his wife, Rachel Brewer Peale; his cousin, Margaret Durgan; his sister, Elizabeth Digby Peale Polk; his mother, Margaret Peale; his children, Titian R. and Rembrandt Peale; also the old dog Argus, so well known to the frequenters of the Museum. The following inscription is on the picture: "C. W. Peale painted these portraits of his family in 1773—wishing to finish every work he had undertaken—completed this picture in 1809."

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-299. Portrait of George Washington, (1732-1799.) (29X24.) Charles Wilson Peale.

(Bryan Collection.)

B-300. Portrait of John Beale Bordley, (1727-1804.) (23X20.) Charles Wilson Peale.

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-301. Portrait of Pieter Johan Van Berckel, (1725-1800.) (23X20.) Charles Wilson Peale.

Minister Plenipotentiary from the Netherlands to the United States of America, 1782—being the first Minister sent and recognized.

(Bryan Collection.)

B-302. Portrait of Gilbert C. Stuart, (1755-1828.) (23X20.) Charles Wilson and Rembrandt Peale.

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-303. Portrait of George Washington, (1732-1799.) (30½X24½.) Gilbert C. Stuart.

(Bryan Collection.)

B-293. CHARLES WILSON PEALE.

BENJAMIN WEST.

(BRYAN COLLECTION)

B-304. Portrait of John Adams, (1735-1826.) (20X22½.) Gilbert C. Stuart.

(Bryan Collection.)

B-305. Portrait of Alexander Hamilton, (1757-1804.) (30X25½.)

From the American Museum Collection, 1863.

(Bryan Collection.)

B-306. Portrait of Thomas Jefferson, (1743-1826.) (29X24.) Rembrandt Peale.

Painted in 1805.

(Bryan Collection.)

B-307. Portrait of Dr. Joseph Priestley, (1733-1804.) (23X20.) Rembrandt Peale.

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-308. Portrait of Mrs. James Madison, (1772-1849.) (30X24½.) Rembrandt Peale.

From the American Museum Collection, 1863.

(Bryan Collection.)

B-309. Portrait of Stephen Decatur, U. S. N., (1751-1808.) (28½X23.) Rembrandt Peale.

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-310. Portrait of Jacob Jones, U. S. N., (1768-1850.) (28½X23.) Rembrandt Peale.

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-311. Portrait of William Bainbridge, U. S. N., (1774-1833.) (28½X23.) Rembrandt Peale.

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-312. Portrait of Oliver H. Perry, U. S. N., (1785-1819.) (28½X23.) Rembrandt Peale.

From the Peale Gallery, Phila., 1854.

(Bryan Collection.)

B-313. Portrait of William Handy, M.D. (30X25.) Edward Savage.

From the American Museum Collection, 1863.

(Bryan Collection.)

B-314. Portrait of the Seneca Chief, Corn Plant, or Ki-on-twog-ky. (30X25.) F. Bartoli.

This portrait was painted at New York city, in the year 1796, and is engraved in McKenney's History of the Indian Tribes, Vol. I., page 85.

(Bryan Collection.)

B-315. Portrait of Jean Parisot de la Valette. (29X24.)

Grand Master of the Knights of Malta, 1565. A modern copy of this picture is in the Gallery at Versailles.

(Bryan Collection.)

B-316. Portrait of Cadwallader D. Colden, (1769-1834.) (35X28½.) John Wesley Jarvis.

First Vice President of the Society, 1821.

From the American Museum Collection, 1863.

(Bryan Collection.)

B-317. Portrait of William Tilghman, (1756-1827.) (21X17.) Rembrandt Peale.

Chief Justice of Pennsylvania.

From the American Museum Collection, 1863.

(Bryan Collection.)

B-318. A Presentation at the Temple. (30X38.) Spanish School.

(Bryan Collection.)

B-319. St. Cecilia. In the Style of Correggio. (47X66.)

(Bryan Collection.)

B-320. Fête Champêtre. (30X39½.) Gonzales Coques.

(Bryan Collection.)

B-321. Female Head. (18½X14½.) School of Correggio.

(Bryan Collection.)

B-322. St. Paul restored to Sight. (18½X14½.) Copy from Domenichino.

(Bryan Collection.)

B-323. Adoration of the Shepherds. (16X11½.) Copy from Spagnoletto.

(Bryan Collection.)

B-324. Female Head. (19X15.) Copy from Greuze.

Original in the Lichtenstein Gallery.

(Bryan Collection.)

B-325. Family Group, of the Artist, Wife and Children. (39X36½.) Michael Van Musscher.

(Bryan Collection.)

B-326. Æneas and his son Ascanius visiting Dido. (25X21.) Constantine Netscher.

(Bryan Collection.)

B-327. Portrait of Orelia Doria. (49X29.) Italian School.

(Bryan Collection.)

B-328. Portrait of Madalena Doria. (49X29.) Italian School.

(Bryan Collection.)

B-329. German Baron and his Family. (21X27½.) Bartholomew Vander Helst.

(Bryan Collection.)

B-330. Virgin and Child. (17X11½.)

(Bryan Collection.)

B-331. Christ appearing to the Magdalen. (23X19.) Fra Bartolomeo.

(Bryan Collection.)

B-332. Virgin and Child. (22½X16.) Bernardo Zenale.

From the Collection of Du Bluisel, Paris, 1870.

(Bryan Collection.)

B-333. Triptique. (18X32.)

(Bryan Collection.)

B-334. Landscape, with Figures. (28½X42.) Adam Pynaker.

(Bryan Collection.)

B-335. Family Fête. (33X39.) Jan Steen.

From the Collection of Comtesse de Vergez, Paris, 1870.

(Bryan Collection.)

B-336. Landscape, with Figures. (37X51.) William de Buytenweg.

(Bryan Collection.)

B-337. Bacchanal. (21X32.) Sebastien Bourdon.

From the Olmade Collection, Paris, 1868.

(Bryan Collection.)

B-338. Landscape, with Figures. (25½X30.) Cornelius Huysmans.

(Bryan Collection.)

B-339. Landscape. (22X32½.) Minderhout Hobbema.

(Bryan Collection.)

B-340. The Fortune Teller. (23½X21.) Antoine Watteau.

(Bryan Collection.)

B-341. Snow Scene. (8X10.) Philip Wouwermans.

From the Gaudinot Collection, Paris, 1839.

(Bryan Collection.)

B-342. Dutch Interior. (23X21.) Renier Brakenburg.

From the Olmade Collection, Paris, 1868.

(Bryan Collection.)

B-343. Portrait of Margerethea De Bije. (19X14½.) Constantine Netscher.

Wife of François Meerman, Recorder of the City of Leyden. She died December 12, 1712.

(Bryan Collection.)

B-344. Interior of a Cottage. (14X11.)

(Bryan Collection.)

B-345. Portrait of a Dog. (29X42.) John B. Weenix.

(Bryan Collection.)

B-346. The Artist. (5X4.) Godfrey Schalcken.

(Bryan Collection.)

B-347. Landscape with Cattle. (16X22.) Albert Cuyp.

(Bryan Collection.)

B-348. Italian Landscape. (18½X25.) Jan Hackaert.

(Bryan Collection.)

B-349. Still Life. (19½X24.) J. B. Simeon Chardin.

(Bryan Collection.)

B-350. The Sacrifice. (17½X23.) Leonard Bramer.

From the Olmade Collection, Paris, 1868.

(Bryan Collection.)

B-351. The Village Fête. (11½X14½.) Renier Brakenburg.

(Bryan Collection.)

B-352. Flemish Interior. (15½X19½.) Renier Brakenburg.

(Bryan Collection.)

B-353. Portrait. (25X21¾.) J. B. Simeon Chardin.

(Bryan Collection.)

B-354. Landscape. (15X22.) Adam Pynaker.

(Bryan Collection.)

B-355. Pleasure Party. (19X15½.) Antoine Watteau.

(Bryan Collection.)

B-356. Interior. (15X12.) Egbert van Hemskerk.

(Bryan Collection.)

B-357. The Virgin and the Infant Jesus crushing the Serpent. (50X23.) Pietro Berretini da Cortona.

From the Olmade Collection, Paris, 1868.

(Bryan Collection.)

B-358. Landscape. (9X12.) Dutch School.

From the Olmade Collection, Paris, 1868.

(Bryan Collection.)

B-359. Entrance to a Park. (25X19½.) Isaac Moucheron and John Lingelbach.

(Bryan Collection.)

B-360. Marine View. (15½X24.)

(Bryan Collection.)

B-361. Portrait. (23X18.) Francis Hals.

(Bryan Collection.)

B-362. Winter Scene. (14X18½.) Egbert Vander Poel.

(Bryan Collection.)

B-363. Portrait. (32½X26.) Mlle. Ledoux.

(Bryan Collection.)

B-364. Landscape. (9½X11.) Isaac Moucheron.

(Bryan Collection.)

B-365. Portrait of a Gentleman. (18X15.) Gerard Terburg.

(Bryan Collection.)

B-366. Portrait of a Lady. (18X15.) Gerard Terburg.

(Bryan Collection.)

B-367. Temptation of St. Anthony. (15X11½.) Matthew Van Helmont.

From the Olmade Collection, Paris, 1868.

(Bryan Collection.)

B-368. The Frozen Canal. (14X21.) Hendrik Van Avercamp.

From the Olmade Collection, Paris, 1868.

(Bryan Collection.)

B-369. Portrait of a Lady. (22X18.) Thomas Gainsborough.

(Bryan Collection.)

B-370. Landscape. (28X24½.) Adam Pynaker.

(Bryan Collection.)

B-371. The Lovers. (10X8½.)

(Bryan Collection.)

B-372. Interior. (9½X13½.) Adrian Van Ostade.

(Bryan Collection.)

B-373. St. Jerome at Prayer. (15½X12½.) Lodovico Mazzolino.

(Bryan Collection.)

B-374. Family Group. (14X41½.) Henry Goltzius.

(Bryan Collection.)

B-375. Virgin and Child. (13X9½.)

(Bryan Collection.)

B-376. The Flight into Egypt. (12X8½.) Oval Top.

(Bryan Collection.)

B-377. Virgin and Child. (7X6.) Bernard Van Orley.

(Bryan Collection.)

B-378. Scene from "M. de Pourceaugnac." (9X15.) Antoine Watteau.

From the Collection of Comtesse de Vergez, Paris, 1870.

(Bryan Collection.)

B-379. The Fatigues of War. (9X13.) Antoine Watteau.

(Bryan Collection.)

B-380. The Relaxations of War. (9X13.) Antoine Watteau.

(Bryan Collection.)

B-381. The Lover's Present. (12X15.) S. Freudenberger.

Water-color of a lady receiving a present of a spaniel dog. Signed and dated Paris, 1770.

(Bryan Collection.)

The following described Pictures were STOLEN from the Bryan Collection before it was received by the Society.

Cupid discharging an Arrow. In the style of Correggio.

Cupid after the discharge of the Arrow—with finger raised constraining silence. In the style of Correggio.

Adoration of the Magi. Leonard Bramer.

The Virgin, with the infant Christ and Joseph, sits in front of a ruined building. Around them the Magi are grouped in adoration. The distribution of the light in this little picture is truly grand, and the color is rich and harmonious. The influence of Rembrandt is apparent in every touch.

Vision of St. Louis. Anthony van Dyck.

The sainted King starts from a canopied couch to gaze upon the apparition of Pope Gregory IV., who appears before him, cloud-borne, and surrounded by angels. In the background is a sentinel. This little picture is noble in style and harmonious in color. The action of the figures is remarkably free and vigorous.

A Lace-Worker. Peter De Hooghe.

A young woman sits by an open window, with her hands resting upon the cushion on which is her work. The light falls in a broad mass upon one side of her face and figure, while the other is in the half-shadow of reflected light. This little sketch, so unobtrusive in subject and treatment, will impress the close observer with a sense of great power and thorough knowledge—knowledge which is content to know without seeming learned.

Miniature Portrait. Balthazar Denner.

An old man, wearing a cap, and a breastplate over a rich doublet. This head is painted with an elaborateness of detail worthy of Gerard Douw, while at the same time it is modelled with a free and learned hand.

(Collection of General Count Turenne.)

THE DURR COLLECTION

WITH ADDITIONS PURCHASED BY THE

DURR GALLERY FUND