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In a chronological list of his works which David drew up in about 1815 ("Liste B"

After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
Pictures in the collection of P. A. B.

Knoedler & Co., London and New York, and P. & D.

Like Jacques Onésime de Bergeret, Lalive de Jully (1725-79) was an influential collector, amateur, and painter in the Parisian art world of the 1750s and 1760s. One of Jean-Baptiste Greuze’s first patrons, Lalive is depicted seated on a chair he had commissioned as part of a suite of furniture à la grecque.
. 1887], by 1874 until at least 1885; Alexandre Léon Joseph, comte de Laborde [b.

Pieter de Hooch excelled in the sensitive depiction of people going about their daily lives, be it inside their houses or in the sheltered environment of an urban courtyard. His masterly control of light, color, and complex perspectival construction can be compared to the work of Johannes Vermeer, his contemporary and colleague in Delft.
Pictures in the collection of P. A. B.

This large double portrait on horseback is unusual in Dutch art, because equestrian likenesses were initially reserved for sitting monarchs. Traditional portrait convention would have placed the woman to the left and slightly behind the man, yet this elegant lady on her magnificent steed occupies center stage.
Pictures in the collection of P. A. B.

This is no “family� in the usual sense. A harlequin, a jester, a young man in a leotard, a boy in a blue costume, a girl in a tutu with a basket, and a woman in a flowered hat are arranged in this rose-hued landscape.
Art Institute of Chicago, 1943-1952 (extended loan), unnumbered catalogue, repro. p.

This small painting is less than 10 inches across, and it was surely made for the private devotions of the person who owned it. That the owner was of modest means is suggested not only by the painting’s size but also by the limited use of gilding.
country sale, Patterdale Hall, Ullswater, near Penrith, Cumbria, 8 August 1934); (P.

collection, Paris.[1] (Galerie Heinemann, Munich) from 1913; sold 1916 to Hans Wendland [b.

Foreword by Perry B. Cott and notes by Otto Stelzer.