ESAIAS See also:

• ESAIAS BOURSSE (1630-1673)

BOURSSE (1630-1673)  , Dutch painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam . He was a follower of Pieter de See also:

• HOOCH, PIETER DE (1629-?1678)

Hooch, in whose manner he worked for many years in his native See also:

• TOWN

town; then he took service with the Dutch See also:

• EAST
• EAST, ALFRED (1849- )

East See also:

• INDIA
• INDIA, FRENCH

India See also:

• COMPANY

Company, and died on a See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea voyage . His paintings are exceedingly rare, perhaps because, in spite of their greater freedom and breadth, many of them pass under the names of Vermeer of See also:

• DELFT

Delft and Pieter de Hooch . Two of the paintings ascribed to the latter (one bears the false See also:

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

signature) at the Ryks museum in Amsterdam, are now recognized as being the See also:

• WORK

work of See also:

• BOURSSE, ESAIAS (1630-1673)

Boursse . His subjects are interiors with figures, painted with See also:

• GREAT

great precision and with exquisite quality of See also:

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

colour . The See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace collection has his masterpiece, an interior with a woman and a 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 in a See also:

• CRADLE (of uncertain etymology, possibly connected with " crate " and " creel," i.e. basket; the derivation from a Celtic word, with a sense of rocking, is scouted by the New English Dictionary)

cradle, almost as brilliant as on the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day it was painted, and reflecting something of the feeling of See also:

• REMBRANDT (1606-1669)

Rembrandt, by whom he was influenced . Other important examples are at the Ryks museum and at See also:

• AIX

Aix-la-Chapelle . Boursse's " Boy blowing See also:

• SOAP

Soap Bubbles," in the See also:

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

Berlin museum, was until lately attributed to Vermeer of Delft . More than one picture bearing the false signature of Boursse have been publicly shown of See also:

• LATE

late years .