DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0061
THE QUEEN’S GALLERY.
17
17 The Ford.—In a mountainous landscape, a shepherdess 5
carrying a kid, and accompanied by a goat and a dog, is
wading through a clear stream, in which two cows are
standing; a horse is seen ascending a hill, the rider has
been obliterated by some restorer, or omitted by the painter.
An elegant little picture in effect and execution; dated 1650.
Holderness and Baring collections. C. 1 ft. 1] in. by 1 ft. in.
(Smith’s Cat. 225.)
18a Landscape—divided by a river, the distance closed 6
by blue mountains. In the foreground, a traveller seated
with Iris dog; beyond, a female peasant on horseback, a
drover, and some cows. Charming for the clear, cool,
morning effect.
Baring collection. P. 10 in. by 12j in. (Smith’s Cat. 228.)
BOTH (Jan), b. 1618; d. 1656.
[One of the famous Dutch landscape painters. He painted the
scenery of Italy, in which country he resided, generally with the
warm, glowing effect of a summer sunset. The word romantic comes
into the mind when looking at Both’s landscapes, which are frequently
mannered in colour, and laboured and finical in execution; but when
really fine, are very fine. He is characterized at length in the Cata-
logue of the National Gallery, First Series, p. 95.]
19 St. Philip baptizing the Eunuch.—The incident 1
is represented in a grand mountainous landscape. The
saint is seen standing on the bank of a noble river, while
queen Candace’s chamberlain receives from him the rite of
baptism. The impasto is particularly rich and free for Both;
the effect is (as usual) that of a glowing sunset, in which
the warm, vapoury light of a sultry summer evening is
perfectly expressed. Bought from the collection of Smeth
van Alpen, in 1810; sold to George IV. by the picture-
dealer, La Fontaine, for 1550Z.
C. 4 ft. 2 in. by 5 ft. 2 in. (Smith’s Cat. 47.)
CUYP (Albert), b. at Dort, 1606 ; d. about 1672.
[A landscape and cattle painter of consummate ability, and the
truest, purest feeling for nature. To come upon one of Cuyp’s pic-
tures after looking at Berghem and Both, is like opening a door and
17
17 The Ford.—In a mountainous landscape, a shepherdess 5
carrying a kid, and accompanied by a goat and a dog, is
wading through a clear stream, in which two cows are
standing; a horse is seen ascending a hill, the rider has
been obliterated by some restorer, or omitted by the painter.
An elegant little picture in effect and execution; dated 1650.
Holderness and Baring collections. C. 1 ft. 1] in. by 1 ft. in.
(Smith’s Cat. 225.)
18a Landscape—divided by a river, the distance closed 6
by blue mountains. In the foreground, a traveller seated
with Iris dog; beyond, a female peasant on horseback, a
drover, and some cows. Charming for the clear, cool,
morning effect.
Baring collection. P. 10 in. by 12j in. (Smith’s Cat. 228.)
BOTH (Jan), b. 1618; d. 1656.
[One of the famous Dutch landscape painters. He painted the
scenery of Italy, in which country he resided, generally with the
warm, glowing effect of a summer sunset. The word romantic comes
into the mind when looking at Both’s landscapes, which are frequently
mannered in colour, and laboured and finical in execution; but when
really fine, are very fine. He is characterized at length in the Cata-
logue of the National Gallery, First Series, p. 95.]
19 St. Philip baptizing the Eunuch.—The incident 1
is represented in a grand mountainous landscape. The
saint is seen standing on the bank of a noble river, while
queen Candace’s chamberlain receives from him the rite of
baptism. The impasto is particularly rich and free for Both;
the effect is (as usual) that of a glowing sunset, in which
the warm, vapoury light of a sultry summer evening is
perfectly expressed. Bought from the collection of Smeth
van Alpen, in 1810; sold to George IV. by the picture-
dealer, La Fontaine, for 1550Z.
C. 4 ft. 2 in. by 5 ft. 2 in. (Smith’s Cat. 47.)
CUYP (Albert), b. at Dort, 1606 ; d. about 1672.
[A landscape and cattle painter of consummate ability, and the
truest, purest feeling for nature. To come upon one of Cuyp’s pic-
tures after looking at Berghem and Both, is like opening a door and