No. 122.

PAUL POTTER.

A CATTLE PIECE.

In the Old Gallery.

THIS artist received instructions in the art of painting from his father, and before he had attained his fifteenth year, he was regarded as a prodigy of genius. At the Hague, where he resided, his pictures were in such request, and sold at such high prices, that the unremitting industry of the painter was not sufficient to keep pace with the demands of the public. He generally painted on a small scale, yet it has been asserted by some of his biographers, that he was not less successful when employed on subjects the size of life. In Maurice Prince of Orange he had a most zealous admirer and patron, and he is said to have painted for the Prince a picture the size of life, of a Herdsman and Cattle, a performance which afterwards found its way to the Gallery of the Louvre. He fell a victim to intense application to his profession in his twenty-ninth year.

On Wood. 10 inches in height, by 11 inches in width.

No. 123.

ADRIAN VANDEVELDE.

A WOMAN MILKING A COW.

In the Small Room of the Old Gallery.

THE talents of this celebrated Dutch painter began to disclose themselves by his covering the walls of his father's house with sketches during the intervals of his attending school. The great merit of these performances led to his being placed under the care of Wynants, who was considered to be the best landscape painter of his time. While he was under the direction of this master, every study he made was from nature, it being usual for him to spend his days in the fields, and his nights in drawing from the model at home. His attention to drawing of the figure at so early a time of life, and without the instructions or example of a preceptor, shews what may be done by an early attention to drawing, and to this practice may be attributed the excellence he displayed in the figures which are introduced into his pictures. Wynants had hitherto received assistance from Wouwermans, Linglebach, and others; but the extraordinary merits of his pupil supplied every deficiency of the master. Although the education of this artist did not qualify him for the higher branch of the art, yet, such was the strength and extent of his genius, that he painted several historical pictures which were remarkable for correctness of design and beauty of colouring. His pictures are held in universal estimation, and have at all times been sold at very high prices; and notwithstanding he died in his thirty-third year, the many proofs of his talents which he has left behind him, all highly wrought, afford evidence of the wonderful facility of his execution. On Wood. 5 inches in height, by 64 inches in width.

No. 124.

JACOB RUYSDAEL.

A FOREST SCENE.

In the Old Gallery.

THIS is a charming little picture, and in Ruysdael's best manner. The composition is excellent, and the masses of light and shadow are managed with great skill. The broken trunk of a tree, which has fallen in an oblique direction into the river, connects the light upon the bank with that upon the rippling water, with admirable effect.

On Canvass. 1 foot 6 inches in height, by 2 feet ths of an inch in width.

No. 125.

JACOB RUYSDAEL.

A VIEW OF THE OLD GATE OF AMSTERDAM.
In the Old Gallery.

This picture is interesting from its being a faithful portrait of the former entrance to a great commercial city. It is well painted, and highly finished, though in somewhat a hard manner.

On Canvass. 2 feet 1 inch in height, by 2 feet 6 inches in width.

The reader is requested to observe that the subject by TERBURGH, of "A Gentleman paying his Addresses to a Lady," should, in the letter-press, be numbered 126, and the following subjects down to No. 136, in regular numerical succession.

GERARD TERBURGH.

UN GENTILHOMME FAISANT SA COUR A UNE DAMÉ.

Dans la Petite Chambre de l'Ancienne Galerie.

On s'apperçoit facilement que les prétensions du fils de Mars ne sont pas désagréables. La figure de l'homme est dessinée avec grace et correction.

Terburgh reçut les premières instructions dans l'art de son père, qui séjourna plusieurs années avec lui, à Rome. Après avoir quitté la maison paternelle, il voyageoit en Italie, en l'Allemagne, et en France, où les fruits de ses talens étoient plus que suffisans pour couvrir toutes ses dépenses. En Espagne il fut protégé par le roi, qui le combla de riches présens, et le fit Chevalier. Ses sujets sont des conversations, des personnes occupées à des jeux de cartes, et autres, ou jouant d'instrumens de musique; et ils ont quelque chose de ce raffinement, qu'on peut attendre d'un artiste, qui avoit vu les ouvrages des écoles Italienne et Espagnole. La principale figure de femme, dans ses tableaux, est habillée pour la plupart, en satin blanc, qu'il peignoit supérieurement bien. Il étoit observateur attentif et exact des caractères, et ses têtes sont dessinées avec une grande précision. Ceci lui donnoit un grand avantage dans ses portraits, dont plusieurs comptent parmi ses meilleurs ouvrages.

Sur Toile. Hauteur, 2 pieds 6 pouces. Largeur, 2 pieds 22 pouces.

No. 126.

G. V. ECKHOUT.

DES MESSIEURS JOUANT AU TRICTRAC.

Dans la Petite Chambre de l'Ancienne Galerie.

LE bel effet de lumière et d'ombre dans ce tableau, indique le peintre comme un élève éminent de Rembrandt, dont il imitoit avec tant de fidélité la touche, le coloris, et la force, qu'on distingue difficilement quelques-uns de ces meilleurs ouvrages, de ceux de son maître. Ses portraits sont estimés en général ce qu'il a fait de mieux; mais quand il quittoit sa route ordinaire, ses essais de composition historique démontrent qu'il n'étoit inférieur qu'au grand artiste dont il se reconnoissoit l'imitateur.

Sur Toile. Hauteur, 1 pied 44 pouces. Largeur, 1 pied 44 pouces.

No. 127.

H. M. ZORGH.

L'INTERIEUR D'UN CABARET.

Dans la Petite Chambre de l'Ancienne Galerie.

On a remarqué de ce tableau que la société a l'air un peu abbattu. Si l'artiste avoit consulté les ouvrages de Teniers, de Brauwer, et autres de l'école Hollandoise, il se seroit apperçu qu'un peu d'enjouement est nécessaire pour rendre ces sujets agréables.

Cet artiste étoit fils d'un patron de paquebot, allant de Dort à Amsterdam, qui par sa conduite honnête et obligéante avoit mérité le sobriquet de Zorg ou attentif; par lequel son fils le peintre étoit connue dans la suite. Comme il avoit manifesté de bonne heure une disposition pour la peinture, son père le plaça, sous David Teniers le jeune, à Anvers; et ses tableaux en général font preuve d'un grand talent.

Sur Bois. Hauteur, 1 pied 4 pouces. Largeur, 2 pieds 14 pouce.

No. 125.

GERARD TERBURGH.

A GENTLEMAN PAYING HIS ADDRESSES TO A LADY.

In the Small Room, Old Gallery.

It is not difficult to perceive that the son of Mars is a favoured suitor. The figure of the gentleman is gracefully and correctly designed, and it may be presumed, that he found both his models in his travels in Italy and France; and he has added a little refinement to the arts of his country.

Terburgh was instructed in the first principles of his art by his father, who resided with him for several years at Rome. When he left his paternal roof, he travelled through Italy, Germany, and France, where his expenses were amply provided by his professional studies. In Spain he was patronized by the King, who loaded him with handsome presents, and conferred upon him the honour of knighthood. His subjects are Conversations, persons engaged at games, or performing on musical instruments: the principal female figure in his compositions is usually dressed in white satin, in the painting of which he excelled. He was an accurate and close observer of character, and his heads are drawn and marked with great precision. This gave him a very decided advantage when he painted portraits, many of which rank with the best of his works. On Canvass. 2 feet 6 inches in height, by 2 feet 24 inches in width.

No. 126.

G. V. EECKHOUT.

GENTLEMEN PLAYING AT BACKGAMMON.

In the Small Room, Old Gallery.

THE beautiful effect of light and shadow in this picture points out the painter to have been an eminent scholar of Rembrandt. It is difficult to distinguish some of his best performances from those of his master, so correct is his imitation of touch, colour, and force. His portraits are generally esteemed to be the best of his works; but, when he deviated from his usual pursuits, his efforts in historical painting were such as proved him to be inferior only to the great artist, of whose style he professed himself to be an imitator.

On Canvass. 1 foot 4 inches in height, by 1 foot 44 inches in width.

No. 127.

H. M. ZORGH.

THE INTERIOR OF AN ALEHOUSE.

In the Small Room, Old Gallery.

It has been remarked of this picture that the company appear to be "a cup too low." If the artist had consulted the works of Teniers, Brauwer, and others of the Dutch school, he would have found that a degree of humour was required to make these subjects pleasing.

This artist was the son of the master of a Rotterdam and Dort passage boat, whose correct conduct and obliging manners obtained for him the appellation of Zorg, or Careful, by which name his son the artist was afterwards known. Discovering at an early period a predilection for painting, his father placed him under the care of Teniers the younger, at Antwerp. In his choice of subjects, he has followed the taste of his master, and his pictures generally evince the possession of very considerable talents.

On Wood. 1 foot 4 inches in height, by 2 feet 14 inch in width.