New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-01-22
THE ENRICH COLLEC1ION.
D1rrCr AND FLEMISH PICTURES.

oeen o" =, dspersed tonight ana
,omorrow night. II is coinpo' , u r,hr,
ra Flemish works which MI ''' .,
Gathered together some yea, .uoro .1
for a time IN the art CALLER! r,u,,ro j., ,his
,l..a6 IN view IN the Fine N'S """''' " ,,
P'' 49,, Nv Enrich is sangune IN ms
.,a, -, b,s unetv-four pictures ne "'''o"'N
- ,.So,,, ,ositaion TO various sreal ha'h'Y'
and I'm .sunnort Of his asc''P"''' "
zach ,vor, the ample guar '''.' ~, ~ a., "
hoo, Quoted at length in Inc ''.'u'' - W, ",
p'o" ,antng IS disputed. he says Ivy
'norsmP % outholfty II is rcturnable within
co''fc'''' E tho date OF sale plus interest at the
'''' yea" 80 cont Mr. Ehrichs sincerity must be
s,.d His enthusiasm may he a"Hre"' Out
IeSpo' - ceary 10 follow him in all the declara-
t,ons Of his catalogue
10 denied some of them are charming
I'o' w., io,decapc by Peter Molyn. No S. called
- rr,,oe is n delightful example Of the minor
,>.,h school OF tho seventeenth century. FER
r,ain Flemish swing and richness. The sonre sub
-, nv Van Herr. No. %, The Carouse." Is much
~ ~ Admired and kindred qualities equally
.,ripp viii hc found in that street scene called
I'll scaling Ladder" which is given TO Jon Mel.
g. .,lo Nv side with appreciation OF the merits
=, ,b,e collection there goes inevitably legitimate
,t,ic,en, Of its authenticity in this or that In
s,,nce and or this score there Is a great deal on
a,icb ve find Il; impossible to agree with MIR.
cror.,ng 10 Rubens the picture catalogued under
~ = As The Village Dance" referring TO the
-s,on ~ this subject by Rubcns which figures in
~, praao ne adds in quotation from Max
pooscs that among the paintings left by Rubens
,b.re p.as a second Dance Of Italian Peasants. not
,,.r,iored n the catalogue which was coded TO
rIoloro Fourmcnt" Fortified by this note. Mr..
tt,.h ,~occcds 10 say that There is every prob
.hi,i.v discriminating certainty. that that was
tho very example now offered in this collection.
md he prints the sentence in italics. glance
., the nainting suffces to suggest 1.-THE probability
communicating certainty" that it is not by any
,nears The counterpart o. the Madrid Village
nance" II il is. then where is the fluent pre-
cision the delicate touch OF that masterpiece. one
of the few really fascinating designs Rubens ever
,roGuced? Where Is the full rich tone OF the span
ish examyle? Where is that ease OF execution
combined with force and clearness when makes
the picture in Madrid unit of design as well as OF
color n study OF movement as spontaneous ana as
graceful as the movement itself? Look to the
technical and coloristic elements OF the picture now
rntoyn and il will be admitted that II is no more
10 he mentioned with the great Ronde OF ''e
prado than the Study. Male Head, also cata-
|ogued in this collection belonging to Rubens Is
10 be grouped with the Fleming's undoubted WORKS
This latter picture OF Mr.. Ehrch's strikes us as
entirely unworthy OF Rubens. He was often
coarse PAINTER but never crude one, ana TINS
holly colored study Illustrates a style which re-
calls no phase in the whole range OF his long ana
splendid Development
The portrait first attributed 10 Halls by Mr.
Enrich and later given to Rembrandt. No. -.
Head Of Young Man" also leaves some confusion
in the mind 4 note TO the catalogue announces
that 1.-THE original. genuine signature OF lem
brandt has been discovered on the painting
In spite Of this the effect of the WORK i
detrimental to Mr.. Ehrich's theory II may
he granted that It is a fine bit of seven
haS
brandt's touch The shoulders and the big dark hal
fan detach themselves from the bacKgrounn S Ss
they would in typical work by nm. nor Is s me
background Itself the pure Transparent spave Ina, md
he would make it, The Work ABOUT tht nPs , anp
Rsmbrsndt has and most eloquent OF all. the
hair is quite without the glinting elastic character
smoothly handled but dull With Rembrandt i, It
would have more solidity and treshht h nnlies 81
Rembrandt's first period the vigor and Ineiowhess
Deacient as il is in manner, IT is also lacking
in fire in the energy which RsmorandI n ,bis
Quality Of inner animation is unmstakab ana
we should have thought that NJ EnIich W ,hn
Rembrandt or Halls 1t reflects practically nothing
of the latter facie MASTER me ea heinr in
Sufficient 10 outweigh the testimony OF other more
mP9Tisn' ,6 den o. the pnlnes the capable
but quite unremarkahir mode ls; lhe iliet'S,p,'
in the relcs OF the black nat and shoulders me
failure % ne ana 10 ~ fnr the surmise that
lower nvs Of Halls. possibly by OF his pupils To
Halls himself It is not 10 be attIhute1 un,eSs rhe
small picturc cataloguc1 as his NO a., Inc
Toner is also TO be attributed to him. and that;
we believe. would hardly be the case IN any rigld
With few further illustrations We VIII leave his
In the big cattle piece No i6. which he credits to
paul Potter we 10 not see at all the close r.,
semblance OF the treatment OF the animals and
to that in he famous YSu1 1gs E eon
trary the disparity between the two works Is enor-
nous. Compared with the picture in Holland. TINS
the cattle study it, FOR example. about the shout
ders), and the textures which are so importan; ana
marvellous In the canvas at the Hague are IN MT
Ehrch's specimen far below Potters high STANDARD
There is nothing here 10 show his minute coinma I
over the very curl and thickness OF beasts mar.
In atmosphere also this picture Is sadly TO t seeK
when Poters masierpece is be,er tonch
stone than anything else for the analysis OF NJ.
hhFGhs P"'ed With ca,te is very
cellent performance. but observe the nerta WIN
Of fresh, convincing air even more than the alb
OF distinguished style VIII prove the MAJ a
Enrich makes it, There pictures here given to
Van Goyen wouyermans Van Der Neer and Van
entirely without Justification as to the origin
claimed for them Yet they one and all fall snort OF
associated with the farest fame Of those names
Mr Enrich insists upon 20 a%u hs trI IN his
collection than it Is likely TO inspire In every critic
tiaIi,y Ne cannot believe thai Roger Van Der
Wey ,'i painted no %. The Holy Family not
while his name Is affixed to the superb designs or
the Prado and the Louvre We cannot bring the
lifeless perfunctory Portrait Of II Divine" said
10 be by Gerard Tefburgh. into line with the best
European survIvals OF that rare painters art II
has not his depth Of exquisite transparent tone. 1t
has not his unique. indefinaDle charm, and these
structures might be repeated almost word for word
IN referring 70 the interior here ascred TO Gonzales
Coques. Ard 50 IL goes With none " those tudS
ments pronounced by Mr.. Enrich and resulting IN
Dou and other names of renown in his collection
and catalogue DO We find ourselves at all in har-
mony. We have called his collection interesting
and reterate the favorab bic opinion mus expressed
The pictures are interesting because they are IN
many well painted and revive extremely
pleasant memories OF early schools in the lowlands
me portrait attributed TO Rembrandt, the land
sctpes We have slgnalized. the group by Van Herp.
ana several other productions. have merits which II
Wouo Dc idle 10 deny. Iint the impression LETT by
the coiiection as a whole. however. Is that II is
OF minor pictures rendered 20 nOncc imposing