There are but six pictures of this quality of color by
RUBENS, known to the donor. Three are in the Louvre, one is
over the painter's tomb, one is the famous _Chapeau de Paille_,
and the other is before us. It was brought from a church in the
neighborhood of Brussels, by NIEUWEN-HUYSEN, the elder, and sold to
the Count Perregeau.
(_Bryan Collection._)
B-159. Christ bearing the Cross. (59X24½.) _Peter Paul Rubens._
This picture is especially valuable for historical
considerations, as being the only one which RUBENS is known to have
painted on cedar panel. It formed one compartment of a triptique in
the Cathedral of Antwerp. The centre compartment represented the
Flagellation of Christ.
The donor has the authority of Mr. HERIS for the authenticity
of this picture, and the locality from which it was stolen.
(_Bryan Collection._)
B-160. Portrait of a Knight of the Order of the Golden Fleece. (44X33.)
_Peter Paul Rubens._
This picture is from the collection of Louis Philippe, King of
the French, and was supposed to be by VANDYKE.
(_Bryan Collection._)
[Illustration: B-160. PORTRAIT OF A KNIGHT OF THE ORDER OF THE GOLDEN
FLEECE.
_PETER PAUL RUBENS._
(BRYAN COLLECTION)]
B-161. Hercules strangling the Nemean Lion. (80X67.) _Peter Paul Rubens._
Several persons, whose opinions the donor highly respects,
have denied the authenticity of this picture; but he thinks that,
on a careful examination, its wonderful energy and muscular
movement can be attributed to no other hand, no other head, than
that of RUBENS. It is the Belvidere Torso--that only acknowledged
Master of MICHAEL ANGELO--put into action, and was doubtless
painted in Italy. It is known that _Rubens_ attempted to draw the
lion from nature, when he was irritated by his keeper. He made but
a hasty sketch.
(_Bryan Collection._)
B-162. Landscape, with Figures. (12X16½.) _Peter Paul Rubens._
From an old chateau in Normandy.
(_Bryan Collection._)
B-163. Ascension of the Virgin. (10X8.) Oval. _Copy from Peter Paul
Rubens._
This copy was made by CORNELIUS POELEMBURG.
(_Bryan Collection._)
B-164. Group of Christ, St. John, and two Angels. (10X11½.) _Copy from
Peter Paul Rubens._
(_Bryan Collection._)
B-165. Satyr and Nymphs. (13X18½.) _School of Rubens._
(_Bryan Collection._)
B-166. Effect of Candle-light. (40½X31.) _School of Rubens._
Copied from a well-known etching of RUBENS.
(_Bryan Collection._)
B-167. Distant View of Haarlem. (19X27½.) _Jacob Ruysdael._
The figures in the foreground are by VANDEVELDE.
(_Bryan Collection._)
B-168. Marine View. (30½X43.) _Jacob Ruysdael._
The figures are by VANDEVELDE.
(_Bryan Collection._)
B-169. Landscape, with Cattle. (22X17.) _School of Ruysdael._
(_Bryan Collection._)
B-170. Landscape. (14X21½.) _Solomon Ruysdael._
(_Bryan Collection._)
B-171. Dogs Worrying a Cat. (55X72.) _Francis Snyders._
The landscape by WILDENS, the cat by OUDRY, by whom it was
added, and to whom the picture belonged. From the collection of
DROLLING, the artist.
(_Bryan Collection._)
B-172. Still Life. (44X64.) _Francis Snyders._
Collection of Marshal Oudinot.
(_Bryan Collection._)
B-173. Interior: Family Scene. (29X37.) _Jan Steen._
The patient is the painter's own wife; on the right are the
VAN GOYENS, (her father and mother,) and JAN STEEN himself stands
on her left, regarding the operation with interest.
This picture, which is superior to the only specimen of the
Master in the Louvre, was purchased from the Gallery of the Count
De Turenne, the last of the family of the celebrated Marshal.
(_Bryan Collection._)
B-174. Landscape and Figures. (11½X14½.) _Jan Steen._
Signed by the artist, and bought in New York city.
(_Bryan Collection._)
B-175. Incantation Scene. (14½X20.) _David Teniers the Younger._
This picture is unsurpassed by any other of the Master; and
if ever equalled, it is only by one in the Gallery of Madrid,
representing TENIERS himself, painting the portrait of the Grand
Duke Leopold and his family; a picture which makes painters wonder
and despair. Collection Sylvestre.
(_Bryan Collection._)
B-176. Village Fête. (18½X28½.) _David Teniers the Younger._
Collection Marshal Sebastiani.
(_Bryan Collection._)
B-177. Village Fête. (17½X20.) _David Teniers the Younger._
A picture similar in subject but inferior in treatment to the
preceding; probably executed in old age.
(_Bryan Collection._)
[Illustration: B-182. WILLIAM, PRINCE OF ORANGE, (WILLIAM III.)
_GERARD TERBURG._
(BRYAN COLLECTION)]
B-178. Boors Regaling, and playing at Skittles. (11X14½.) _David Teniers
the Younger._
Collection Duc de Berri.
(_Bryan Collection._)
B-179. Charles V. leaving the town of Dort. (23X39.) _David Teniers the
Younger._
The Emperor, in full armor, is about to descend the steps of
a large building. The Archbishop gives him his blessing. Persons
of dignity, in church and state, are grouped on all sides. In the
background is the ship in which the Emperor is about to embark.
This composition is filled with portraits; among which, in the
figure bearing the standard on the extreme right, we recognize that
of the Painter himself. Collection D'Espinoy.
(_Bryan Collection._)
B-180. Parable of the Laborer who received a Penny. (22X17.) _David
Teniers the Younger._
In which is introduced the portrait of RUBENS in his medal
chain, also the portraits of REMBRANDT and other artists and two
children of TENIERS. From the collection of Louis Philippe.
(_Bryan Collection._)
B-181. Landscape and Figures. (9½X13½.) _David Teniers the Younger._
A wonderful effect, and familiarly styled by painters as the
"après déjeuner" manner. Bought in New York city.
(_Bryan Collection._)
B-182. Portrait of William, Prince of Orange, (William III.) (30½X23.)
_Gerard Terburg._
This was supposed to be the portrait cited by Descamp as the
one which William insisted that the artist should paint; he being
a burgomaster devoted to the Prince's cause. It is signed "G.
TERBORCH," the only genuine signature of the Master.
(_Bryan Collection._)
B-183. Marine View. (25X29.) _William van de Velde._
(_Bryan Collection._)
B-184. Marine View. (12½X14.) _William van de Velde._
From Collection Giroud, Paris.
(_Bryan Collection._)
B-185. Marine View. (9½X12½.) _William van de Velde._
Bought in Philadelphia.
(_Bryan Collection._)
B-186. Landscape, with Animals. (9X11½.) _Adrian van de Velde._
This picture, though small, gives a just idea of the power
of the Master, from whose pencil the donor has never seen a
feeble work; though ADRIAN may have adorned with his figures the
compositions of inferior masters. This picture, together with the
small landscape by RUBENS (No. B-162), is from an old chateau in
Normandy.
(_Bryan Collection._)
B-187. Landscape, with Figures. (25X33.) _Abraham Verboom._
So fine a specimen of the Master is rarely to be found. The
group of figures, by LINGELBACH, is almost worthy of WOUWERMANS.
(_Bryan Collection._)
B-188. The Three Graces. (19X15½.) _Chevalier van der Werf._
From Hunter's collection, New York.
(_Bryan Collection._)
B-189. Ruins, with Figures. (22X17½.) _Jan Baptist Weenix._
In the opinion of the donor, this picture, though striking at
first, is extremely false in everything, like most others of this
painter's works. It is from the collection of Cardinal Fesch.
(_Bryan Collection._)
B-190. Travellers, by a River-side. (12X16.) _Philip Wouwermans._
This picture has, unfortunately, been much injured in many
places; but in the head and shoulders of the white horse may
be found a specimen of the Master's style of painting; and the
signature is unquestionably genuine.
(_Bryan Collection._)
B-191. Departure of a Hawking Party of Nobles from a Baronial Castle.
(43X51½.) _Philip Wouwermans._
The largest picture in size and manner which the donor has
seen by this Master. From the Meert collection, sold in New York,
Dec., 1865.
(_Bryan Collection._)
[Illustration: B-199. ST. GEORGE AND THE DRAGON.
_ALBRECHT DÜRER._
(BRYAN COLLECTION)]
B-192. The Burning and Sacking of a Town. (21X19.) _Philip Wouwermans._
If not a copy, it is an early picture of the Master, and
though meritorious, gives no idea of the fullness of his powers.
(_Bryan Collection._)
B-193. Landscape. (8X10½.) _Jan Wynants._
The equestrians and beggar in the foreground are by BARENT
GAAL. It is a fair specimen of the Master. Collection Giroud, Paris.
(_Bryan Collection._)
B-194. Still Life. (7¾X10¼.) _Henry Martin Rokes._
It, as well as the "Sorcery Scene," by TENIERS, ornamented
the collection of Mons. Sylvestre, whose ancestors have been
either artists or connected with art since the year 1490. A noble
pedigree. This artist inherited the name of _Zorg_ (careful) from
his father.
(_Bryan Collection._)
B-195. Ruins, with Figures. (20X26.) _Flemish School._
(_Bryan Collection._)
GERMAN SCHOOL
B-196. Venus and Cupid. (19½X13.) _Lucas Cranach._
(_Bryan Collection._)
B-197. Portrait of a Lady. (28X22.) _Lucas Cranach._
It is from this painter's pencil that we have the only known
or recognized portrait of Martin Luther. Collection D'Espinoy.
(_Bryan Collection._)
B-198. Portrait. (20½X17.) _Balthazar Denner._
An old Lady, with a silk hood. The marks of age are given with
great accuracy and truthfulness.
(_Bryan Collection._)
B-199. St. George and the Dragon. (16½X13.) _Albrecht Dürer._
(_Bryan Collection._)
B-200. Triumph of Christianity. (26½X38.) _School of Dürer._
This picture is from the collection Quedeville.
(_Bryan Collection._)
B-201. Interior of a Private Chapel. (33½X25.) _Hans Holbein._
The family of Count Valkeniers are at prayers--the father and
the two eldest sons being in armor, ready to depart for war.
From the collection of Joseph M. Meert de Domberg, New York.
(_Bryan Collection._)
B-202. Portrait of a Professor. (30½X23½.) _Hans Holbein._
(_Bryan Collection._)
B-203. The Judgment of Paris. (6½X9.) _Joachim Uytenwael._
(_Bryan Collection._)
B-204. Adoration. (43X32.) _Martin Schoen._
On the right will be seen a Priest, holding a book, and
supposed, by General D'Espinoy, from whose collection it came, to
be a portrait of Luther, in his youth.
(_Bryan Collection._)
B-205. Landscape, with Figures. (11½X16½.) _Valkenburg._
(_Bryan Collection._)
B-206. Landscape. (13X20.) _Valkenburg._
These pictures possess great interest, in being historically
known as the earliest landscapes painted otherwise than as a mere
accessory to some historical, religious, or other subject. Both of
them are from the collection Quedeville.
(_Bryan Collection._)
SPANISH SCHOOL
B-207. Philip IV. of Spain, as David with Goliath's Head. (74½X43.)
_Diego Velasquez._
From the collection of Marshal Sebastiani.
(_Bryan Collection._)
B-208. Landscape. (37X43½.) _Diego Velasquez._
Found at Rome. A picture of a similar style--the only one
ever seen by the donor--is in the possession of Mr. Madrazo, the
Director of the Royal Gallery of Madrid.
(_Bryan Collection._)
B-209. Portrait of the Infanta Margarita of Spain. (28X24.) _Diego
Velasquez._
From the collection of R. W. Meade, U. S. Consul at Cadiz.
1808.
(_Bryan Collection._)
B-210. Still Life. (27½X76.) _Diego Velasquez._
Preparation for an _olla podrida_, from the collection of R.
W. Meade.
(_Bryan Collection._)
B-211. Adoration of the Magi. (42X64½.) _Murillo._
In the style and color of the three pictures now in the
Vatican--a late gift to his Holiness by the Ex-Queen of Spain.
(_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._)
[Illustration: 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._)
[Illustration: 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._