New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-03-10
A COLLECTION OF OLD MASTERS.
REMBRANDT. DER HOOGH AND RUYsDAEL

| REMBRANDT, DER HOOGH AND RCYSDAEL
Within the past few years several invaluable ex-
amples of the great masters Of the painters art
have been brought TO this country, but the exhibition
OF the little collection formed by Mcssrs. Cotter q
Co. will come surprise to our amateurs.
There is for establishment at the presence Of
three portraits by Rembrandt Picter de Ioogls
beautiful Courtyard in Delft and q thoroughly
Characteristic Ruysdael which have never been seen
| by our public. These pictures have been brought
TO us within the past few months by Messrs Cotter
a Coz and The Tribune is able to present them
to our public for the first time. Two Of the REM
brandts the portraits Of DR.. Tulp and his wife,
from the collection Of the Princess de sagan of Paris,
who inherited the collection of the Baron seliercs.
Rcmbrandt's portrait of himself was in the collection
of the Duke Of Hamilton sold in 1882 and 1t was
purchased By the present from Vienna
amateur The Pietcr de IIoogh was found in
private collection in Mddlehuner. Holland.
The fine Portrait Of Man. now owned by Mr..
j. W. Ellsworth purchased from the collection
which now yields to the portraits Of the Tulips.
The Ellsworth Rembrandt. was known for a time as
portrait Of DR.. Tulip but the title was Incorrect.
Curloisy enough the special students Of Rembrandt
show some uncertainty regarding the subjects OF
the pictures in the Cotter gallery II would seem that
a comparison with the central figure Of The Anatomy
Lesson would settle the question: but there is enough
difference in attitude and expression TO cause indc
csion. Vosmaer regards these portraits as PROB
ably those Of Tulip and his wife. Dutufs description
is portrait of supposed to be Nicholas Tulip
Yet the intrinsic and external evidence
Is sufficient 10 satisfy less exacting
amateurs that these pictures may be
accepted as portraits of the Tulips AS we know,
TULIP was one OF Rembrandt's first friends when the
painter to Amsterdam in 1890 ana IL was
through the formers kindly Offices that Rembrandt Cd
tanned the commission for painting Of the heads OF
The Surgeons, Child. Thus :" The Anatomy Lesson
/ In fyuild
professor Of anatomy and surgery from 1923 until
1853. II was natural that Rembrandt should desire
to paint separate and more personal portrait OF his
friend and henefactor. The personality presented In
this portrait has all the heartiness Of the old Dutch
blood This IS no clean, starved apothecary," but
a man Of health and substance and abundant
force The broad, strong face Is tnged with ford
color The brown eyes are kindly but attentive, and
even penetrating. There Is light, deity painted
mustache and thin beard. The brm Of the big black
hat stands mp in front in irregular folds. The white
ruff Is painted with even more breadth than usual
and the paint is heavily loaded on the panel at the
observers right. The ruff fits awkwardly over the
right shoulder as if the worthy surgeon had prepared
himself IN haste. Behind the figure tie background
is shadowcd below and a light olive above The face
is seen against the shadow and ITS detachment and
the finish Of the modelling are less conspicuous than
in the Van Beresteyn portraits There is the same
frmness the same command OF textures and the same
| eNdftNc>S
The bust with its black coat is made little or IN COM
harrison with some other portraits. For some OBJ
servers the charm Of this beautiful work VIII lie IN
the warm mellow flesh tones and their renei asahse
the grays and olive tones Of the background ah'
their setting Of rich soft black and brilliant wnite
Others will care most for the mastery technique ana
others still NAV be interested I'm the study of per-
.onalty. perhaps neither pTeeminently subtle nor
profound but certainly stawart, and moreover ho'
unSvmpathetic.
We can speculate in the same way regarding Madame
Tulp Was vanity or the painters preference respoh-
sbe for the suggestion Of smile, just enough 70 $40"
the charming dimplc in the left cheek perhaps the
sturdiness of her companion makes this face weaker
by comparison. This IS portrait Of woman WIN
clear pale complexion. blond hair, dark blue eyes
,i,h,lv ohlioua in their setting and
features too irregular 10 be strictly beautiful and
yet attractive and interesting. Tile nose IS arge'
almost coarse, and the cheek bones prominent Inc
rlddy lips. beautifully painted are parted even more
than is usual in Rembrandt's portraits. The SOW
blond hair curling slightly in front Is gathered together
behind and fastened by comb and pin, which CLEAN
I'm the shadow There is string Of pearls around
the throat falling ruff half the shoulders and
the points Of lace coarctc. exquisitely palnted eN-
tend in front Two gold chains are hung across the
breast and in the there is medallion or brooch
against the soft rich black of the dress The back
ground is dark behind the head and the observers
rirht and HIGHT upon the left Here even more than
in the other portrait the crisp, firm and COM
| paratively finished execution of the period. Ihe
modelling is solid and exact This was not REM
hrands period of splendid color but even for the time
tho cooring little cold. a comparative erect
probably due in part TO the cleaning. But in truth
Of construction solid execution, irmness Of modelling
and superb brush work these beautiful portraits
provc the distinction Of the master rcaist.
In these pictures the manner OF execution resembles
that Of the Van Beresteyn portraits but the portrait
~ Remhrad DIT exhibits freedom and looseness usually
regarded As characteristic Of a much later time. les
IN, picture regarded by Dutuit and by Bodle WHO
saw it jus, before it to this country, as probably
PAINTED in 1875. Perhaps the manner may be con-
sidcred perfectly natural for artist painting lot
simple love of the work under no constrant WIN ho
occasion for elaboration and free TO realize his enecs
quickly and forcibly This is bust portrait Ike 'No
Others 1t represents Rembrandt wearing nat darX
blue cap the dark relieved by the CLEAN OF gold
IN front and black coat cloak which Is trav-
erscd By two gold chains. Below, on the LETT,
the lining OF the cloak or the undercoat shows vivid
red. As in the other portraits the body Is slightly
turned but there nearly full front view of the face
This face. as we'll the execution, tends TO connrm
a doubt the early date of the picture. The ex-
| preston suggests the etching Rembrandt with the
Wild eyes ana the portrait OF Rembrandt IN old
age with his mapsticll III his hand The Keen fierce
eyes are strained in intent gaze The brow -
Iii hty coutr.,,tcd A. ii in anger The brown hair
e.,ap,, from The cap on either side. The gloved left
hand raised the breast. hlmblcs with gold cham.
| There j. light dcNtcrOu>ly rendered mustache Inc
left side of the face l. IN shadow Inc Dreduln
and spirit If the execution and the rich warm tones
and the life Of this admirable study VIII DC appiecl-
acd by the public well rs by artists.
We can that the idea suggested by this face -
that of impctuosity. rOughn~> due to hard expert
| ence and even violence. Yet AT the date assigned
the care, Of Rcmbrandts troubled life had hardly be-
gun. fhc year before he married o. Sa>ka. ana
the few years Immediately following were the nalp'st
which he knew other portraits of this time like inc
Rembrandt officer at the Hague and tie Ma
tional Gallery portrait, are very different IN their
personal character well their execution, and
perhaps later date may bc finally fixed upon for TINS
picture The same date l. assigned Ia the portrait ~
| Rembrandt which l. also ia this
country but there l. little similarity between the i'm.
petuous decisive. mastery panung of this lace ana
! the execution of the ether picture. Nor does TINS
face resemble the other Here the harsh.
strongly marked features, the irregular aud the
animated which although