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Catalogue of Paintings

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Catalogue of Paintings pi lliliiill, COLLEGE OF ARCHITECTURE LIBRARY Cornell University Library N 610.A65 1920 Catalogue of paintings / 3 1924 020 595 173 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020595173 THE METROPOLITAN MUSEUM OF ART CATALOGUE OF PAINTINGS MCMXX CATALOGUE OF PAINTINGS VIRGIN ENTHRONED WITH SAINTS BY RAPHAEL THE METROPOLITAM MUSEUM OF ART CATALOGUE OF PAINTINGS BY BRYSON BURROUGHS CURATOR , DEPARTMENT OF PAINTINGS FIFTH EDITION NEW YORK M C M X X hr 33^t| FIRST EDITION, COPYRIGHT, FEBRUARY, I9I4 SECOND EDITION, COPYRIGHT, FEBRUARY, I916 THIRD EDITION, COPYRIGHT, JUNE, I917 FOURTH EDITION, COPYRIGHT, MARCH, I919 FIFTH EDITION, COPYRIGHT, JUNE, I92O BY THE METROPOLITAN MUSEUM OF ART PREFACE alphabetical arrangement by the names of artists, or by AN schools where the artists are unknown, is followed in this . book. In the attempt to solve the problem of number- ^ ing a rapidly growing collection of paintings, the experi- ment has been made here of adapting the C. A. Cutter system, long in use in libraries. To use the catalogue it is not necessary to be familiar with the system of numbering, but for those who may be interested an explanation follows. It consists of a combination of letters and numbers, composed of the initial letter of the author's name followed by numbers that represent the succeeding letters of the same, so that additional entries can be inserted without disturbing the sequence of the letters or the numerals. By this system the number, instead of being an arbitrary tag affixed to the picture, has a logical connection with it and its place in the catalogue, and the usual finding list is done away with. The plan has the advantage of being thoroughly logical and flexible, and the com- pilers of this catalogue believe that it will be considered an improve- ment over the prevailing methods, at least for the purpose of this collection. The C. A. Cutter Two-Figure Author Table, which has been used in numbering this collection, calls for one letter for names be- ginning with a consonant (except S) and two for names beginning with vowels or S. Thus Abi is Abbey and R28 is Rembrandt. When it is necessary to make a close classification an additional number is used. Thus M61 is Millais, J. E.; M61 1 JVIiller, C. H.; M612 Miller, R. E.; JVI613 Millet, F. D.; M614 Millet, J. F. The number after the dash indicates the order of acquisition of works by an artist. Thus R28-1 is the first painting by Rembrandt acquired by the Museum; R28-2 is the second; and so on. Works lent begin with 5 1 after the dash. Thus, following the nine paintings by Stuart owned by the Museum come the Stuarts lent, which begin with St9-5i. To indicate that a picture is the work of an unknown artist of a certain school, a capital S is added. Thus R28S is School . PREFACE of Rembrandt; Am3S is American School; the Italian School has been further subdivided to indicate particular sections of Italy; thus ItsS is Italian School and ItsS-Fa is Florentine, second picture acquired. The gallery number, given immediately below the number of the picture, shows its location at the time of the publication of the catalogue. When no gallery number is given, it indicates that the painting is not on exhibition. The information about each picture is arranged in three para- graphs: 1 Biographical note of the artist. 2. Title; biographical note if a portrait, or historical note if an event is depicted; description. The words right and left, when not otherwise stated, r«fer to the right and left of the spectator. Doubtful attributions and changes in attributions are noted; in the case «f works lent to the Museum, the owner's attribution has generally been retained. 3. Height and width of the picture, without frame, given in inches; material on which it is painted; when not painted in oil, then the medium, such as water color or pastel; the signature in capitals or capitals and small capitals if the artist has written it thus, otherwise in capitals and small letters; reference to the monthly Bvi-LETiN of the Metrc^itan JVIuseum of Art if the picture has been described or illustrated therein; the fund through which it was purchased or the name of the donor if it is a gift or a bequest; year of acquisition. TABLE OF CONTENTS PAGE Preface . V Table of Contents . vii List of Illustrations ix Introduction . xi Catalogue I Appendix 345 A. Artists Represented, Arranged by Schools 343 B. A List of Portraits Arranged by Subjects 356 C. Classification by Galleries 361 vti LIST OF ILLUSTRATIONS FACING PACE Virgin and Child Enthroned with Saints, by Raphael Title Joan OF Arc, by Jules Bastien-Lepage 12 Three Miracles of Saint Zenobius, by Botticelli ... 13 Meditation on the Passion, by Vittore Carpaccio ... 20 The Aegean Sea, by Frederic E, Church 21 The Sleep of Diana, by Jean Baptiste Camilla Corot . 52 PietA, by Carlo Crivelli 53 The Abduction of Rebecca, by Eugfene Delacroix ... 76 Paradise, by Giovanni di Paolo 77 Portrait of a Woman, by Frans Hals 1 14 The Merry Company, by Frans Hals 115 Margaret Wyatt, Lady Lee, by Hans Holbein .... 126 Northeaster, by Winslow Homer 127 Peace and Plenty, by George Inness 136 Boy with a Sword, by Edouard Manet 137 Harp of the Winds; a View on the Seine, by Homer D. Martin 152 Adoration of the Kings, by Quentin Massys . 153 Betrothal of Saint Catherine, by Hans Memling . 196 Madonna and Child Enthroned with Angels, by Pietro di Domenico da Montepulciano 197 Portrait of a Man, by Rembrandt 220 OldWomanCuttingHerNails, by Rembrandt . .221 ix LIST OF ILLUSTRATIONS FACING PAGE Portrait of t.he Artist, by Rembrandt 236 Madame Charpentier and Her Children, by Pierre Augusta Renoir . 237 Hon. Henry Fane with His Guardians, Inigo Jones and Charles Blair, by Sir Joshua Reynolds 244 Wolf and Fox Hunt, by Peter Paul Rubens ... 245 Henry G. Marquand, by John S. Sargent 360 George Washington (Gibbs-Channing-Avery Portrait), by Gilbert Stuart ... 261 Saltash, by Joseph Mallord William Turner 384 James Stuart, Duke of Lennox, by Anthony Van Dyck . 285 Philip IV of Spain, by Velazquez 302 Young Woman with a Water Jug, by Johannes Vermeer . 303 and Mars Venus United by Love, by Paolo Veronese . 306 Arrangement in Flesh Color and Black; Theodore Duret, by James A. McNeill Whistler 307 Floor Plan 362 INTRODUCTION beginning of the Museum's coHection of pictures THEdates from 1871 when 174 paintings of the seventeenth and eighteenth centuries became its property. These were bought the year previous in Europe by William T. Blodgett, a Trustee of the Museum, who held them until the Museum was able to make the purchase. One hundred of the number belonged to the Comte Cornit de Ways Ruart de VanSch and were acquired in Brussels through £tienne Le Roy, the official expert of the Royal Museum of Belgium; fifteen others were ac- quired through M. Le Roy; and the remaining fifty-nine were pur- chased in Paris, Many excellent pictures were included in these collections: The Old Fiddler by van Ostade, Dutch Kermesse by Jan Steen, Drawing the Eel by S. Ruysdael, Hille Babbe by Frans Hals, three works by Tiepolo, and two by Guardi, to name only a few. A building at 681 Fifth Avenue was prepared for the exhibi- tion of this collection, and, as stated in the first catalogue, published in 1872, the results led the Trustees to believe that their institution was permanently established upon a sure basis and would "become a most important agent in developing a taste and knowledge of art in this community." The second great accretion of pictures, and the most important event in the history of the Department of Paintings, occurred in 1888 when Henry G. Marquand gave 53 pictures which placed the collection immediately in a position of considerable prominence. The Van Dycks, the three Hals, the Rembrandts, the Vermeer, the- strange and beautiful work ascribed to Lucas van Leyden, the double portrait of the early Florentine school, the variant of Van Eyck's Madonna of the Fountain, Saltash by Turner, these and the others of the donation fix the Marquand gift among the most notable benefactions ever made to pubtic collections. The effect of the gift on the growth of the Museum and on the development of culture in America has been incalculable. In com- memoration of Mr. Marquand's services and munificence, Gal- xi 1 INTRODUCTION lery ii at the head of the great staircase was set apart in 191 for the exhibition of distinguished paintings of any school, and was called by his name. Several of the pictures included in his gift are shown in the Marquand Gallery, but the quality of the works he gave, whether exhibited here or distributed in the other rooms, is the real reminder of his connoisseurship and generosity. Other gifts were received. Cornelius Vanderbilt gave the fresco of Saint Christopher by PoUaiuolo in 1880; Junius S. Morgan, the large portraits of the Hon. Henry Fane and His Guardians by Reynolds in 1887; and in the same year the Catharine Lorillard Wolfe Bequest, consisting of a collection of 148 modern paintings and a fund for its maintenance and increase, became the property of the Museum. Her collection included pictures of worth and out of the Wolfe Fund have been bought many of the best modern pictures now shown—Turner's Whale Ship, Delacroix's L' Enlevement de Rebecca, Corot's Sleep of Diana, and Renoir's Charpentier Family among the number.
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