B-40. Portrait of Charles, Constable de Bourbon. (23½X19.) _Ludovico
Brea._
From the collection of General D'Espinoy.
(_Bryan Collection._)
[Illustration: 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._)
[Illustration: 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._)
[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._)