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Y January 31, 1952 Samuel H. Kress Foundation 221 West 57Th Street if /f iff/*) f'i/ *fy {</ a if// ■ (Ux/e fif Y ? <7f7 // 69 EAST 57th STREET N EW YORK 22, N. Y. TEL. PLaza 8-1298 January 31, 1952 Samuel H. Kress Foundation 221 West 57th Street New York, N. Y. Gentlemen: Please deliver to Messrs. Grosso one painting by Van Dalem & Wechlen Thanking you, I am Very truly yours, John P* Nicholson 69 EAST 57th STREET f <f N EW YORK 22, N. Y. TEL. PLaza 8-1298 February 4, 1952 Mr. Guy Emerson Samuel H. Kress Foundation 221 W. 57 St. New York, N. Y. Dear Mr. Emerson: I am enclosing an illustrated catalogue of my Exhibition opening February 9th, of Flemish, Dutch, English and French paintings, denoting stepping stones in art from FANTASY, through REALITY to IMPRESSIONISM. We are all familiar with the FANTASY used by BOSCH, BRUEGHEL and their contemporaries, and here you will find many interesting and rare examples of this type. For REALITY we come to the Ruisdaels with their beautiful landscapes and seascapes. We start IMPRESSIONISM with the large BONINGTON view of a town, and the three CONSTABLE paintings, important examples of artists who had such a great influence on the painters of the following generations, and last but not least the two lovely rare early examples by J.B.C. COROT. The EXHIBITION will be open from 9:30 A.M. to 5:30 P.M., daily, and I ¥/ould be very delighted to have you visit and to have the pleasure of personally showing you the paintings. Yours sincerely John P. Nicholson JPN:g Eno. EXHIBITION Stepping Stones in Art February through May FANTASY . REALITY • IMPRESSIONISM BOSCH BRUEGHEL RUYSDAEL to CONSTABLE BONINGTON and COROT Illustrated Catalogue JOHN NICHOLSON GALLERY Second Floor 69 East 57th Street, New York 22, N. Y. This Exhibition does not pretend to cover all fields of paint­ ing during the four centuries, but more to build this small 1. SCHOOL OF HIERONYMUS BOSCH house with the stones owned by or with the Flemish (15th Century) TEMPTATION OF ST. ANTHONY John Nicholson Gallery Canvas on panel: 45 x 54 inches These paintings are for sale, subject to prior commitments. 2. JAN MANDYN Flemish (1500-1560) TEMPTATION OF ST. ANTHONY Panel: 1214 x 16 inches 7 PETER BRUEGHEL the younger 3. JAN DE COCK Flemish (1564-1637) Flemish (1506-1527) KERMESSE ST. JEROME Panel: 14% x 24 inches Panel: Circle, 10 inches This original work of the artist’s early period is painted with ease and Collection: Stephan Von Auspitz freshness. The wonderful sense of movement, distance and perspective in Certified by: Dr. Max Friedlander the landscape makes this one of the finest examples of this rare Master that has appeared in recent years. 4. PAUL BRIL Flemish (1554-1626) FANTASTIC LANDSCAPE Panel: Circular, 12 inches 5. JOOS DE MOMPER Flemish (1564-1635) FANTASTIC LANDSCAPE WITH TRAVELLERS Panel: 20 x 26 inches 6. JAN BRUEGHEL Flemish (1568-1625) VIEW IN A FLEMISH VILLAGE 8. ABEL GRIMMER Panel: 8% x 11% inches Flemish (About 1577-1619) An exquisite small panel depicting life in a Flemish village in the 17th WINTER century. Panel: 12% x 16% inches 11. DAVID V1NCKEBOONS Flemish (1578-1629) FETE SCENE Copper: 141/2 x 20 inches Stamped by the plate maker, Peter Stas, 1608 Antwerp 12. HENRY VAN AVERCAMP Dutch (1585-1663) WINTER SKATING SCENE Panel: 8 x 13 inches 13. ROMBOUT TROIJEN Flemish (17th Century) 9. SEBASTIAN VRANCX TEMPTATION OF ST. ANTHONY Flemish (1578-1647) Copper: 7% x 9% inches WINTER VIEW OF THE CITY OF ANTWERP Panel: 18 x 42 inches 14. DAVID TENIERS the younger Signed with initials S V Flemish (1610-1694) TEMPTATION OF ST. ANTHONY Panel: 17% x 22 inches A variant of a favourite subject of the artist. 15. DAVID TENIERS the younger Flemish (1610-1694) THE ARCHERS Dated 1645 Canvas: 14% x 22 inches Collection : Sir Algernon Peyton, Bt. 16. FRANZ VAN MIERIS Dutch (1635-1681) PORTRAIT OF A YOUNG WOMAN Panel: 11 x 7% inches Private collection, Paris 17. ALESSANDRO MAGNASCO Summer Winter Genoese (1681-1749) 10. SEBASTIAN VRANCX MONKS WARMING THEIR FEET Panel: 11 x 16 inches (pair) Canvas: 26 x 20 inches 19. JACOB RUYSDAEL Dutch (1629-1682) LANDSCAPE WITH STREAM AND CORNFIELD Canvas: 22 x 25 inches Exhibited: Detroit Art Institute, 1939 Collections: Earl of Essex Frank Sabin Paul Bottenwieser Lillian Henkall Haas (Detroit) 18. SIR ANTHONY VAN DYCK Miss Trent McMath (Detroit) Flemish (1599-1642) Certified by: Dr. Jacob Rosenberg SIR ENDYMION POORTER Max J. Friedlander Panel: 16 x 13 inches Hofstede de Groot Collections: Duke of Cumberland Dr. W. R. Valentiner Robert S. McCormick, Chicago Recorded: Dr. Jacob Rosenberg, JACOB VAN RUISDAEL (Size incorrect) S. Katz, Dieren, Holland “Loan Exhibit of Dutch Landscape Painting” at The Detroit Institute Certified by: Dr. W. R. Valentiner of Arts, 1939, No. 30. 21. THOMAS STOTHARD, R. A. English (1755-1834) BATTLE SCENE Painted about 1799 Canvas: 23 x 25 inches Collection : Mrs. Martin Colnaghi Exhibited: Old Masters Exhibition, Stothard. William Blake and John Pettie, R.A., Royal Academy, 1894. 20. SOLOMON RUYSDAEL Dutch (1600-1678) CASTLE ON THE BANK OF A RIVER Signed and dated 1643 Canvas: 28 x 38^2 inches Recorded: Dr. Wolfgang Stechow, Solomon Van Ruysdael, 1938, No. 450 Collections: Polowtsoff in St. Petersburg Ch. Sedehneyer, Paris, 1902 P. A. B. Widener, Philadelphia 22. G. MORLAND J. Goedhart, Amsterdam English (1763-1804) P. de Boer, Amsterdam, 1937 THE GIANT’S HEAD Certified by: P. de Boer, 1937 Canvas: 15 x 19 inches Professor Dr. G. Pauli, Hamburg, 1938 An unusual example of an English artist painting a Fantastic landscape, Illustrated: Sedehneyer Cat. 1902, No. 42 which, when turned upright becomes the head of a Giant. 24. JOHN CONSTABLE, R. A. English (1776-1837) 23. JOHN CONSTABLE, R. A. THE RIPE CORNFIELD English (1776-1837) Panel: 12 x 18 inches THE RAINBOW, HAMPSTEAD HEATH From: Thos. Agnew & Sons, London, 1901 Canvas: 20 x 30 inches Exhibited: Wadsworth Atheneum Museum, Hartford, Conn. The Hon. Andrew Shirley in his hook on John Constable, R.A., writes: — Wesleyan University, Middletown, Conn., 1931 “To Constable the Rainbow was always a symbol of hope, for he took the William Rockhill Nelson Gallery of ART, Kansas City, Missouri, 1937 legend quite literally. In his representations of it he was almost always at his Marie Harriman Gallery, New York City, 1937 happiest. This painting stands high in the rainbow studies known to me.” Carnegie Institute, Pittsburgh, Pennsylvania, 1938, A Survey of British Painting, No. 51 Collections: T. Humphrey Ward, London Lockett Thomson, London Museum of Fine Arts, Boston, Mass., Works of Turner, Constable and Bonington, 1946, (too late for catalogue) Dudley Wallis, London Wesleyan University, Middletown, Conn., 1948, Neo-Classicism, Ro­ Illustrated: John Constable, R.A. by Hon. Andrew Shirley manticism and Realism Certified by : Sir Charles Holmes, Director of the National Gallery, London, A realistic observer of nature, Constable here depicts with a unique direct­ and author of Constable and His Influence on Landscape Painting. ness of visual expression, the rippling of the wind across an English corn field. 26. J. B. C. COROT French (1796-1875) VILLENEUVE-LEZ-AVIGNON —VUE PRISE DU MIDI EN REGARDANT LE VILLAGE Painted 1836 Canvas: 10^4 x 16 inches Collection: M. Dollfuss, Paris, 1912 Exhibited: Paul Rosenberg, New York, 1930 Bibliography: Robaut, No. 329 25. JOHN CONSTABLE, R. A. English (1776-1837) STOKE-by-NAYLAND Study for the large painting now at the Art Institute of Chicago. Canvas: 14 x18 inches Collections: M. Cheramy, Paris Baron Von Herczog, Budapest M. Meretey, Budapest Illustrated: Julius Meier-Graefe, Great English Painters, Leipzig, 1908 Julius Meier-Graefe and Klossowski, Cheramy Collection, No. 67 27. J. B. C. COROT French (1796-1875) “. a summer morning . July or August . after a light shower during LE TIBRE PRES DE ROME (ACQUA ACETOSA) the night, to enhance the deep in the shadowed part of the picture, under Painted 1826-1828 Panel: 9 x 13)/2 inches ‘hedge-row, elms, the hillocks green.’. .” This is what Constable told his Collections: M. Charles Daubigny, Paris friend William Parton (Feb. 6th, 1836) concerning the picture of Stoke-by- Durand Ruel, Paris Nayland which he was about to paint after carrying out a number of prepa­ Erwin Davis, Boston, 1892 ratory paintings and sketches. Bibliography: Robaut, No. 76 28. J. B. C. COROT French (1796-1875) LE MATIN AU BORD L’EAU Painted 1870-1873 Canvas: 15 x 22 inches Collection: M. A. Houssaye, Paris, 1874-1896 Bibliography: Robaut, No. 2360 30. R. P. BONINGTON English-French (1801-1828) IMPRESSIONISTIC VIEW OF A FRENCH TOWN Canvas: 34% x 44% inches 29. R. P. BONINGTON Eugene Delacroix has thus described the artist: — ‘7 knew Bonington English-French (1801-1828) well and loved him much, but no one in the modern school, perhaps no earlier TERRASSE A L’ORANGERIE, VERSAILLES artist possessed the ease of execution which makes his work in a certain Canvas: 9 x 15 inches sense, diamonds, by which the eye is pleased and fascinated 31. EUGENE ISABEY French (1803-1886) TEMPTATION OF ST. ANTHONY Canvas: 31 x 45 inches This picture was painted at a time when the artist, like Delacroix, was influenced by the fluidity and palette of Rubens. 32. J. F. MILLET French (1814-1875) LA RUE DE BARBIZON Collection: Alfred Reitlinger, Paris, 1911 Exhibited: Red Cross, Paris, 1911 Barbizon House, 1920 Illustrated: Masterpieces of 19th Century French Art WE ARE ALWAYS VERY INTERESTED IN PUR­ CHASING FINE PAINTINGS OF THE FLEM­ ISH, DUTCH, ENGLISH, AND FRENCH SCHOOLS. JOHN NICHOLSON GALLERY Second Floor 69 East 57th Street, New York 22 PLaza 8-1297 Publishers Printing Company, New York, N.
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