ALBERT  Cuvi (162o-1691), the son of See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob Gerritsz by Grietche Dierichsdochter (Dierich's daughter), was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• DORDRECHT (abbreviated Dordt, or Dort)

Dordrecht . He married in 1658 See also:

• CORNELIA (end cent. Bc.)

Cornelia Bosnian, a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich widow, by whom he had an only daughter . By right of his possessions at Dordwyck, See also:

• CUYP

Cuyp was a See also:

• VASSAL (Fr. vassal, vassaut, vassault, &c,)

vassal of the See also:

• COUNTY (through Norm. Fr. comae, cf. O. Fr. cunte, conk', Mod. Fr. comae, from Lat. comitatus, cf. Ital. comitato, Prov. comtat; see COUNT)

county of See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland, and privileged to sit in the high See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of the See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province . As a See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen he was sufficiently well known to be placed on the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of those from whom See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William III., See also:

• STADTHOLDER (Du. stadhouder, a delegate or representative)

stadtholder of the See also:

• NETHERLANDS

Netherlands, See also:

• CHOSE (Fr. for " thing ")

chose the regency of Dordrecht in 1672 . His See also:

• DEATH

death, and his See also:

• BURIAL

burial on the 7th of See also:

• NOVEMBER (Lat. novem, nine)

November 1691 in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of the Augustines of Dordrecht, are historically proved . But otherwise the known facts concerning his See also:

• LIFE

life are few . He seldom See also:

• DATES

dates his pictures, but it appears probable that he ceased to paint about 1675 . It has been said that Albert was the See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of his See also:

• FATHER

father . The scanty See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of Dutch See also:

• ANNALISTS (from Lat. annas, year; hence annales, sc. libri, annual records)

annalists to this effect seems confirmed by a certain coincidence in the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and treatment of father and son . That he was a pupil of See also:

• VAN

van See also:

• GOYEN, JAN JOSEPHSZOON VAN (1596-1656)

Goyen has been surmised on the strength of the style of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• WORKS

works . It has been likewise stated that Albert was skilled, not only in the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of portraits, landscapes and herds, but in the See also:

• REPRESENTATION

representation of still life . His works are supposed to be divisible into such as See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the distinctive marks C. or A .

C. in cursive characters, the letters A . C. in See also:

• ROMAN

Roman capitals, and the name " A . Cuyp in full . A See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of Cuyp's acknowledged See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent may have been versatile enough to paint in many different styles . But whether he was as +versatile as some critics have thought is a question not quite easy to See also:

• ANSWER (derived from and, against, and the same root as swear)

answer . It is to be observed that pieces assigned to Cuyp representing See also:

• GAME

game, See also:

• SHELL
• SHELL (O. Eng. scell, scyll, cf. Du. sceel, shell, Goth. skalja, tile; the word means originally a thin flake,. cf. Swed. skalja, to peel off; it is allied to " scale " and " skill," from a root meaning to cleave, divide, separate)

shell-See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

fish and See also:

• FRUIT (through the French from the Lat. fructus; frui, to enjoy)

fruit, and inscribed A . C. in Roman capitals (See also:

• ROTTERDAM

Rotterdam, See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam and See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin museums), though cleverly executed, are not in See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch or treatment like other pictures of less dubious authenticity, signed either with C. or A . C. or " A . Cuyp " in cursive letters . The panels marked C. and A . C. in cursive are portraits or landscapes, with herds, and interiors of stables or sheds, in which there are cows, horses and poultry . The subjects and their handling are akin to those which strike us in panels bearing the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master's full See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature, though characterized, as productions of an artist in the first phase of his progress would naturally be, by tones more See also:

• UNIFORM

uniform, touch more See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat, and See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour more deep than we find in the delicate and subtle compositions of the painter's later See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time .

Generally speaking, the finished examples of Cuyp's See also:

• MIDDLE

middle and final See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period all bear his full signature . They are all remarkable for harmonies attained by certain combinations of shade in gradations with See also:

• COLOURS, MILITARY

colours in contraposition . Albert Cuyp, a true See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child of the Netherlands, does not seem to have wandered much beyond Rotterdam on the one See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand or See also:

• NIJMWEGEN, NIMEGUEN, NYMEGEN

Nijmwegen on the other . His scenery is that of the See also:

• MEUSE
• MEUSE (Flem. Maes, Du. Maas)

Meuse or See also:

• RHINE (Lat. Rhenus, Ger. Rhein, Fr. Rhin, Dutch Rhyn, or Rijn)

Rhine exclusively; and there is little variety to See also:

• NOTICE

notice in his views of See also:

• WATER

water and meadows at Dordrecht, or the bolder undulations of the Rhine See also:

• BANKS, GEORGE LINNAEUS (1821-1881)
• BANKS, NATHANIEL PRENTISS (1816–1894)
• BANKS, SIR JOSEPH
• BANKS, THOMAS (1735-1805)

banks See also:

• EAST
• EAST, ALFRED (1849- )

east of it, except such as results from diversity of effect due to See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of See also:

• WEATHER (O. Eng. weder; the word is common to Teutonic languages; cf. Du. weder, Dan. veir, Icel. ve8r, and Ger. Wetter and Gewitter, storm; the root is wa- to blow, from which is derived " wind ")

weather or See also:

• SEASON (0. Fr. seson, seison, mod. saison, Lat. satio, sowing time, the spring, from serere, to sow; in Late Lat. the word is found with its present meaning, the spring being considered as particularly the season of the year)

season or See also:

• HOUR

hour . Cuyp is to the See also:

• RIVER

river and its banks what Willem See also:

• VANDEVELDE, ADRIAN (1639-1672)
• VANDEVELDE, WILLIAM (1633-1707)

Vandevelde is to See also:

• CALM

calm seas and See also:

• HOBBEMA, MEYNDERT (c. 1638-1709)

Hobbema to See also:

• WOODS, LEONARD (1774-1854)
• WOODS, SIR ALBERT (1816-1904)

woods . There is a See also:

• POETRY

poetry of effect, an eternity of distance in his pictures, which no Dutchman ever expressed in a similar way . His landscapes sparkle with silvery sheen at early See also:

• MORNING

morning, they are bathed in warm or sultry haze at See also:

• NOON

noon, or glow with See also:

• HEAT (0. E. haktu, which like " hot," Old Eng. hat, is from the Teutonic type haita, hit, to be hot; cf. Ger. hitze, heiss; Dutch, hitte, heet, &c.)

heat at eventide . Under all circumstances they have a See also:

• PECULIAR

peculiar tinge of See also:

• AUBURN
• AUBURN (from the Low Lat. alburnus, whitish, light-coloured)

auburn which is Cuyp's and Cuyp's alone . See also:

• BURGER, GOTTFRIED AUGUST (1748-1794)

Burger truly says van Goyen is See also:

• GRAY
• GRAY (or GREY), WALTER DE (d. 1255)
• GRAY, ASA (1810-1888)
• GRAY, DAVID (1838-1861)
• GRAY, ELISHA (1835-1901)
• GRAY, HENRY PETERS (1819-18/7)
• GRAY, HORACE (1828–1902)
• GRAY, JOHN DE (d. 1214)
• GRAY, JOHN EDWARD (1800–1875)
• GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
• GRAY, ROBERT (1809-1872)
• GRAY, SIR THOMAS (d. c. 1369)
• GRAY, THOMAS (1716-1771)

gray, See also:

• RUYSDAEL (or RUISDAAL), JACOB VAN (c. 1628-1682)

Ruysdael is See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown, Hobbema See also:

• OLIVE (Olea europaea)

olive, but Cuyp " is blond." The utmost delicacy may be observed in Cuyp's manner of defining reflections of See also:

• OBJECTS

objects in water, or of sight from water on See also:

• SHIP

ship's sides . He shows See also:

• GREAT

great cleverness in throwing See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale-yellow clouds against clear See also:

• BLUE (common in different forms to most European languages)

blue skies, and merging yellow mists into olive-See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green vegetation . He is also very artful in varying See also:

• LIGHT

light and shade according to distance, either by interchange of See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

cloud-See also:

• SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

shadow and See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

sun-gleam or by gradation of tints . His horses and See also:

• CATTLE (Norman Fr. catel, from Late Lat. capitale, wealth or property, a word applied in the feudal system to movable property and particularly to live stock, and surviving in its wider meaning as " chattel " or " chattle ")

cattle are admirably See also:

• DRAWN

drawn, and they relieve each other quite as well if contrasted in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white and black and red, or varied in subtler shades of red and brown .

Rich See also:

• WEED, THURLOW (1797—1882)

weed-growth is expressed by light but marrowy touch, suggestive of detail as well as of See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• FORM (Lat. forma)

form . The human figure is given with homely See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism in most cases, but frequently with a charming See also:

• ELEVATION

elevation, when, as often occurs, the persons represented are meant to be portraits . Whatever the theme may be it remains impressed with the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and individuality of Cuyp . See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

Familiar subjects of the master's earlier period are stables with cattle and horses (Rotterdam, Amsterdam, See also:

• PETERS (or PETER), HUGH (1598–166o)
• PETERS, KARL (1856– )

Peters-See also:

• BURG

burg and See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels museums) . Occasionally he painted portraits in the bust form familiar to his father, one of which is dated 1649, and exhibited in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, See also:

• LONDON

London . More frequently he produced likenesses of ladies and gentlemen on horseback, in which the life and See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress of the period and the forms of horses are most vividly represented (See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace, See also:

• BRIDGEWATER, FRANCIS EGERTON, 3RP DUKE OF (1736-1803)
• BRIDGEWATER, FRANCIS HENRY EGERTON

Bridgewater Gallery, Louvre and See also:

• DRESDEN

Dresden Museum) . Later on we find him fondest of expansive scenery with meadows and cattle and flocks, or See also:

• RIVERS
• RIVERS, ANTHONY WOODVILLE, or WYDEVILLE, 2ND EARL (c. 1442—1483)
• RIVERS, EARL
• RIVERS, RICHARD SAVAGE, 4TH EARL (c. 1660—1712)

rivers and See also:

• BARGES

barges in the foreground and distances showing the towers and steeples of Dordrecht . Cuyp was more partial to summer than to See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter, to noon than to See also:

• NIGHT

night, to calm than to See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

storm . But some of his best See also:

• GROUPS
• GROUPS, THEORY

groups are occasionally relieved on dark and gusty cloud (Louvre and Robarts's collection) . A few See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital pieces show us See also:

• PEOPLE

people sledging and See also:

• SKATING (Dutch schaats, a skate)

skating or netting See also:

• ICE (a word common to Teutonic languages; cf. Ger. Eis)

ice-holes (Yarborough, Neeld and See also:

• BEDFORD

Bedford collections) . A lovely " Night on the Banks of a River," in the Grosvenor collection, reminds us that Cuyp's friend and contemporary was the painter of moonlights, Aart van der See also:

• NEER, VAN DER

Neer, to whom he was equal in the production of these peculiar effects and See also:

• SUPERIOR

superior in the throw of figures . Sometimes Cuyp composed See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy subjects .

His " See also:

• ORPHEUS

Orpheus charming the Beasts," in the See also:

• BUTE
• BUTE, JOHN STUART, 3RD EARL OF (1713-1792)

Bute collection, is judiciously arranged with the familiar domestic animals in the foreground, and the See also:

• WILD, JONATHAN (c. 1682-1725)

wild ones, to which he is a See also:

• COMPARATIVE

comparative stranger, thrown back into the distance . One of his rare See also:

• GOSPEL (O. Eng. godspel, i.e. good news, a translation of Lat. bona annuntiatio, or evangelium, Gr. evayyeXwv; cf. Goth. iu spillon, " to announce good news," Ulfilas' translation of the Greek, from iu, that which is good, and spellon to announce)

gospel subjects is " See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip baptizing the See also:

• EUNUCH (Gr. Evvoi3Xos)

Eunuch " (See also:

• MARCHMONT, EARLS OF

Marchmont See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House, See also:

• BERWICKSHIRE

Berwickshire), described as a See also:

• FINE

fine See also:

• WORK

work by See also:

• WAAGEN, GUSTAV FRIEDRICH (1794-1868)
• WAAGEN, WILHELM HEINRICH (1841–1900)

Waagen . The best and most attractive of Cuyp's pieces are his Meuse and Rhine landscapes, with meadows, cattle, flocks and horsemen, and occasion-ally with boats and barges . In these he brought together and displayed—during his middle and final period—all the skill of one who is at once a poet and a finished artist; grouping, tinting, See also:

• CUZCO

CUZCO touch, See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of light and shade, and true chords of colours are all combined . Masterpieces of acknowledged beauty are the " Riders with the Boy and Herdsman " in the National Gallery; the Meuse, with Dordrecht in the distance, in three or four varieties, in the Bridgewater, Grosvenor, Holford and Brownlow collections; the " See also:

• HUNTSMAN, BENJAMIN (1704-1776)

Huntsman " (See also:

• ASHBURTON
• ASHBURTON, ALEXANDER BARING
• ASHBURTON, JOHN DUNNING, 1ST

Ashburton); " Herdsmen with Cattle," belonging to the See also:

• MARQUESS (1760-1842)
• MARQUESS, or MARQUIS (Fr. marquis, Ital. marchese; from med. Lat. marchio, marchisus, i.e. comes marchiae, " count of the March ")

marquess of Bute; and the " See also:

• PIPER, CARL, COUNT (1647-1716)

Piper with Cows," in the Louvre . The prices paid for Cuyp's pictures in his own time were comparatively See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low . In 1750, 30 florins was considered to be the highest sum to which any one of his panels was entitled . But in more See also:

• RECENT

recent times the value of the pictures has naturally risen very largely . At the See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale of the Clewer collection at See also:

• CHRISTIE, RICHARD COPLEY (183o–Igor)

Christie's in 1876 a small " Hilly Landscape in Morning Light " was sold for £5040, and a view on the Rhine, with cows on a See also:

• BANK

bank, for £3150 . (J . A . C.) See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

Smith's See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue raisonne of the Dutch and Flemish painters, in 9 vols .

(184o), enumerated 335 of Albert Cuyp's works, of which in 1877 See also:

• SIR

Sir J . A . See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe wrote in this See also:

• ENCYCLOPAEDIA

encyclopaedia that " it would be difficult now to find more than a third of them." In C . Hofstede de See also:

• GROOT, GERHARD (1340—1384)

Groot's Catalogue raisonne, vol. ii . (1909), revising Smith's, the number is extended to nearly 85o, but he accepts too readily the attributions of sale catalogues ; the work is, however, the best See also:

• MODERN

modern authority on the painter .