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LIBRARY
oe IM. Knoedler & Co:
9333 | 14 East 57th St.
oo aaa eNO New York
ACC
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&
eee rar
MR. GEORGE L. SENEY’S
IMPORTANT selma git te OF
Be pee PAINTINGS
en BE SOLD BY AUCTION, ABSOLUTELY WITHOUT
, RESERVE
On WEDNESDAY, THURSDAY AND FRIDAY
FEBRUARY 11TH, 12TH AND 13TH
AT HALF-PAST SEVEN O’CLOCK P.M.
IN THE ASSEMBLY ROOM
- OF THE
V ADISON SQUARE Se. BUILDING
THE PAINTINGS WILL BE
ON EXHIBITION DAY AND EVENING
Bar: THE AMERICAN ART Bla eS
’ 6 East 23D STREET, Mapison SQuARE SOUTH
FROM JANUARY 28TH UNTIL DATE OF SALE INCLUSIVE
AMERICAN ART ASSOCIATION, MANAGERS
Tuomas E, Kirsy, AUCTIONEER
NEW YORK
1391
oe
eee eT Mx es nee pe
eat pe Oa ree Ss eo a eer
pee a
ne 2 at : Bx
a x z t 7 “Sie ae
- : e:
a
i arte
: SPECIAL NOTICE
ig pops to the Assembly Reom on Might BF Saenamame
z by Card only (no reserved seats). These Cards will
ee ready for distribution on Thursday, February 5th. Application for
‘ them should be made by letter. Address bias
AMERICAN ART ASSOCIATION, Managers, ;
6 East 23d Street, Madison Square South.
7 Copyright, 1891, by Hj
‘ The American Art ees |: New York og
|
: Press of J. J. Little & Co.
ers _ Astor Place, New York
- Sale:
-M, DURAND-RUEL,
_S. P. AVERY, Je.,
MaMescHAUS, .,.
_Messas BLAKESLEE & en.
"Messrs. REICHARD & CO.,
] MERICAN ART ASSOCIATION,
cs M. VOSE,
/— Messrs. D DOLL & RICHARDS,
Mess WILLIAMS & EVERETT,
Masses NOYES & CO.,
a EASTMAN CHASE,
- Masses. JAMES S. EARLE & SONS
| ee MEYER & HEDIAN,
oe ay S. THURBER,
Messrs. REDHEFFER & KOCH,
d
JAMES D. GILL,
MEETOMONTAIGNAC, . .
UNDERSIGNED will receive “orders to purchase at this
|
- Masses. -BOUSS@D, VALADON & CO.,
ue KNOEDLER & CO., Goupil Galleries,
as Fifth Avenue and 22d Street
= BRONCO (Kohn’s Art Rooms), No. 166 Fifth Avenue
No. 297 Fifth Avenue
No. 368 Fifth Avenue
No. 204 Fifth Avenue
. No. 303 Fifth Avenue
3 Fifth Avenue and 26th Street —
No. 226 Fifth Avenue
No. 6 East 23d Street
Providence
Boston
Boston -
. Boston
Uaeton
Philadelphia
Salem ore
Chicago
St. Louis
Hartford
Springfield, Mass.
. 9 Rue Caumartin, Paris
CONDITIONS OF SALE_
1. The highest Bidder to be the Buyer, and if any dispute arise
between two or more Bidders, the Lot so in dispute shall be immedi-
ately put up again and resold.
2. The Purchasers to give their names and addresses, and to pay
down a cash deposit, or the whole of the Purchase-money, if required,
in default of which the Lot or Lots so purchased to be immediately
put up again and re-sold.
3. The Lots to be taken away at the Buyer’s expense and Risk
upon the conclusion of the Sale, and the remainder of the pur-
chase-money to be absolutely paid, or otherwise settled for to the
satisfaction of the Auctioneer, on or before delivery; in default of
which the undersigned will not hold themselves responsible if the Lots
be lost, stolen, damaged, or destroyed, but they will be left at the sole
risk of the Purchaser.
4. The sale of any Article is not to be set aside on
account of any error in the description, or imperfection.
All articles are exposed for Public Exhibition one or more
days, and are sold just as they are without recourse.
5. To prevent inaccuracy in delivery and inconvenience in the
settlement of the purchases, no Lot can, on any account, be removed
during the Sale.
6. Upon failure to comply with the above conditions, the money
deposited in part payment shall be forfeited; all Lots uncleared within
three days from conclusion of Sale shall be re-sold by public or private
Sale, without further notice, and the deficiency (if any) attending such
re-sale shall be made good by the defaulter at this Sale, together with
all charges attending the same. This Condition is without prejudice
to the right of the Auctioneer to enforce the contract made at this Sale,
without such re-sale, if he thinks fit.
THOS. E. KIRBY, AucTIonEER.
_ARTISTS REPRESENTED.
FOREIGN. .
Defregger, -israels,
= Delacroix, » Jacque,
Demont-Breton, _ Jacquet,
: De Neuville, ‘ Knaus,
* Bonheur Bite), Diaz, { Laurens,
. 3onheur (Rosa), Domingo, ‘ ~-Lefebvre,—
; Dupré, = »-L’Hermitte,
Dupré (Julien), «Lerolle,
Edelfeldt, Leys,
Fortuny, Léwith,
Furandez, Madrazo,
Z Frére (E.), _—Mauve,
SI harlemont, 7Fromentin, Max, .
“a Clairin, ,Géréme, -“Meissonier,
4 » Clays, Grison, -Michel,
~ Constant, Harlamoff, Millet,
Corot, Hébert, Millais, |
Courbet, Heffner, “*Munkacsy,
> ES _. Henner, —Neuhuys, —
Dagnan- Bouveret, Huguet, ~ ' Nicol (E.),
—_Danbieny (CF), _Isabey,
_-Decamps.
Davis (C. H.),
Boughton,
; ‘Caliga, 4 Guy,
ae! Fuller (George),
_ Bridgman (F. A.), Gifford (R. Swain), Knight (Ridgway), Tryon,
La Farge (John),
Pasini (A.),
AMERICAN.
Pettenkofen,
Pokitanow,.
Quadrone, ~
Rénouf,
Rico,
Roqueplan,
Rousseau,
~Roybet,
Sala,
Salmson,
Schreyer,
Stetten,
Stevens (A.),
.- Tissot,
“Troyon,
-Van Marcke,
~Vibert,
Villigas,
WVollon,
Zamagois,
«,Zeim.
Johnson (Eastman), Picknell,
Jones (H. Bolton), Stewart (J. L.),
_ Chase, "Harrison (Alex.), Marr,
~ Coxe(R.Cleveland),Hovenden,
_ Dannat, Inness (Geo.),
as,
Millet,
Turner (C. Y.),
Ulrich,
Wiggins,
Murphy (J.Francis),Wyant.
aa i >
INDEX TO ARTISTS REPRESENTED
AND BIOGRAPHICAL NOTES. |
ARTZ (DAVID ADOLPHE CONSTANT) . ; Paris.
At an exhibition in Glasgow, in 1874, a picture called ‘‘ No
Hope” excited a considerable degree of attention and propor-
tionate admiration. The Scotch, even more than the English,
have a warm spot in their heart for Dutch art ; and this expres-
sion of it touched them. The painter of ‘‘ No Hope” found
an encouragement and patronage from them that have continued
to this day. Adolphe Artz, as he has chosen to abbreviate his
name, was bornat The Hague on December 18, 1837. He was
at first a pupil of Mollinger, but later of Joseph Israels, and it
was from the latter that his talent received its direction toward
subjects of rustic and humble life. Apart from this, Israels had
little influence upon him, and his work shows no relationship to
that of his master. He inclines toa brighter and more optimis-
tic view of life, and in his water colors, as in his oils, exhibits a
more cheerful spirit and a livelier temperament. In the former
medium this is especially the case. He made his first impression
as a peasant painter, but during later years, possibly on account
of his impatience at the suggestion that he had taken his cue
from Israels, he gave his most conspicuous attention to the life
and character of that amphibious portion of the Dutch people
who dwell within reach of the sea, and gain their livelihood
from its waters. His first exhibits at the Salon won him a
8 THE SENEY COLLECTION.
recognition in the Paris art world, which his subsequent produc-
tions have steadily increased, and while his popularity abroad
has prevented his becoming familiar to the American public,
such of his works as come to us on rare occasions find the
hearty reception at the hands of our connoisseurs which they
deserve. It is by his water colors rather than his oils, how-
ever, that he has been chiefly represented on this side the At-
lantic.
No. 177 vening . : : : ‘ : He a)
BENLLIURE (JOSE) . . . . . . Rome.
A leading member of the Spanish colony at Rome, José Ben-
lliure combines in himself the kindred gifts of the painter and the
sculptor in a high degree. He is a native of Valencia, where he
was born about 1858, and a pupil of Domingo, under whose able
tutorship his talent ripened early into original brilliancy and
strength. He secured his first honors at the Madrid Salon, and
after his settlement in Rome became a popular exhibitor at the
exhibitions of Italy and Germany, whose medals followed that
of his native country. At the Munich Exhibition of 1889 his was
one of the works purchased for the National Art Museum, and
they are received with equal favor in England, where they figure
in the leading private collections. Sefor Benlliure is one of the
artists pensioned by the Spanish government for residence in
Italy, and some of his most successful and ambitious composi-
tions have been executed to the order of the state for the decora-
tion of public edifices. His fine color, spirited technique, and
close appreciation of the picturesque place him among the fore-
most of the bright galaxy of artistic stars who sustain for Span-
ish art to-day the honors won for it by Fortuny.
PAGE
No. 302 Christmas Eve . : ‘ ; ‘ . 289
INDEX AND BIOGRAPHICAL NOTES. 9
MRE TPIERRE) oc. Paris,
A pupil of Jules Breton, who would never be suspected of his
master from his works—such is Pierre Billet. He is a native of
Cantin, in the Department du Nord, France, and began life as a
manufacturer of beet-root sugar and a distiller of alcohol in
his father’s factory. He had a decided talent for art, which he
practised in his leisure ; and Jules Breton, who was a friend of
his family, encouraged him to abandon the trade which was dis-
tasteful to him, and develop his artistic gifts. He accepted the ,
suggestion, and from his friend and master gained the founda-
tion of his technique. Always independent and self-reliant, he
separated himself from his master as soon as he found himself
insensibly falling into an imitation of his manner, and from
that period had no instructor but practice and his own common
sense. The wisdom of his decision was soon made manifest.
His first Salon exhibit, in 1867, a “‘ Young Peasant,” might
have been painted by Breton. His ‘‘ Women Cutting Grass,”
sat the Salon of 1873, proclaimed his originality at once, and
gained for him a third-class medal. At the next Salon he secured
a medal of the second-class with a similar subject, ‘‘ Women
Gathering Wood,” and his vocation was decided. He took his
place among the men of the first promise of his generation, and
went to the source of his true inspiration for his subjects. The
. peasantry and the fisher-folk are his models, and he paints them
on the spot. Without extenuating the bareness of their lives,
he contrives to give them always a redeeming trait of pictu-
resqueness ; and while a realist in principle and practice, he posi-
tively rejects the Courbet theory that extremes of ugliness or
repulsiveness are artistically tolerable, if an artist chooses to
perpetuate them. He is an excellent colorist, a forcible
draughtsman, and a master of atmospheric effect. Asan etcher
he has won distinction by plates executed with such simplicity,
force of line, and vigor of expression that he has been hailed
among the masters of this great art of the past, which he
assisted to revive.
PAGE
172 The Mussel Gatherer : i257
IO THE SENEY COLLECTION.
BOGGS (FRANK M.) ; : : , ; ; Paris.
The French, who are always keenly appreciative of the dramatic
quality in art, were the first to hail in F. M. Boggs a painter of
sea and shore who could not only convey the impression of what
he saw, but of how he felt it, too. Taking for his subject the
most commonplace city street, or the most barren waste of sea-
foam, he contrived, by the spirit of a sympathetic touch, to
enliven and elevate it with some exceptional quality of nature.
The fogs and chimney vapors of a great city assuming fantastic
modulations overhead, a single gull and a floating spar in a
desert of water, were in his hands enough to provide a keynote
of interest for the least hopeful subject. The artist is the man,
and in Mr. Boggs’ own life is to be found the secret of his
mastery of a charm which holds many in spell they know not
why. Born at Springfield, O., in 1855, it was not until 1880
that he appeared in the Salon as an exhibitor. Previous to his ~
passage to Paris, he had practised scenic art in this city, and in
the experience of handling great spaces of background for living
tableaus had acquired that command of the incidental and
dramatic which gives his works in his loftier walk of art their
vital significance. His recognition abroad was immediate. His
first Salon picture was talked about. His second, in 1881, was
purchased by the French Government for the Luxembourg collec-
tion. This was a representation of the ‘‘ Place de la Bastile,”’
handled with striking effectiveness, yet a close adherence to the
fundamental and characteristic facts of the subject. At the
Salon of 1882, the French nation again set the seal of its
approval on his art, by the purchase of his ‘‘ Port d’Isigny,” in
which he showed, as a marine painter, a power quite equal to
his previous manifestations in another line of subjects. Medals
at foreign and American exhibitions followed each other in rapid
succession, and his free and dashing style, a sort of gallant
independence of thought and execution, as of a man who saw
nature alive and painted her so, commanded the public admira-
tion, while it secured the approbation of more critical and
analytical minds. At the first Prize Fund Exhibition at the
American Art Galleries, in 1885, Mr. Boggs secured one of the
INDEX AND BIOGRAPHICAL NOTES. II
$2,500 awards with his ‘‘ Rough Day at Honfleur,” which is
now in the Museum of Fine Arts, Boston.
PAGE
14 View of Dordrecht . : f ’ . 136
BOLDINI (GIUSEPPE) . : . : : ‘ Paris,
An Italian, who paints like a Spaniard, in a studio in Paris, was
the phrase with which a distinguished French critic once desig-
nated the painter of ‘‘ The Parisiennes.”’ Boldini was, indeed,
born on Italian soil, for he dates his nativity from Ferrara, but
among the early influences to which his art was subject were the
triumphant exploits of Fortuny and his followers, who broke
new ground which has been fertile in a harvest of strong brushes.
The Italian and the Spanish natures are not very widely di-
vided in artistic tastes, but Boldini was strong enough to avoid
becoming a slavish follower of the school from which he adopted
its hints without copying its manner. A lover of sunlight, of
broad daylight, and all the gayety and brilliancy of nature it
involves, his first real successes were made with pictures in which
he could give his taste in this direction fullest play. He pos-
sessed; in a rare degree, the faculty of feeling light as well as
seeing it, and of painting it as he felt it, so that his sentiment
might reach the spectator too. Paris, to whom gayety is as wel-
come as melancholy is abhorrent, received him with open arms
and purses. The Italian, who came to her almost timorous of
his future, was almost suffocated by her ardent and exuberant
favor. Next to Paris, the United States was the readiest to rec-
ognize and, even more generous, to encourage him. His paint-
ing of the figure, like that of the landscapes in which he was
most fond of setting his groups up, was of an exquisite quality
of color and ease of handling, and in the treatment of interiors
his keen eye and accurate hand achieved equally felicitous re-
sults, always without the burdensome appearance of labor from
which mere superficial finish in art must suffer. No artist of
his nation and century has, perhaps, come nearer to reviving in
our day the essential elegance of art in France in the last cen-
THE SENEY COLLECTION.
tury, when the broad path to the destruction of dynasties in a
gulf of blood was made beautiful by the utmost refinement of
genius with pen and brush.
PAGE
No. 158 After the Bath. : : “ Spe)
No. 239 Jn the Garden of eae : : ae 2
BONHEUR (FRANCOIS AUGUSTE) . . Deceased.
In 1845, when all Paris was talking about the remarkable exhib-
its made in the Salon by a young girl named Rosa Bonheur, who
had elected to become a painter of animals, another Bonheur
made an appearance in the galleries. This time it was a man,
Francois Auguste by name, and a man ambitious to be a painter
of genre. His pretensions were laughed at. It was critically
concluded that the Bonheur family could produce only one phe-
nomenon. But the following year, this gezve painter exhibited
a landscape which attracted attention. In afew years more he
was a landscape and cattle painter esteemed but little less than
his gifted sister. Auguste Bonheur found his legitimate avoca-
tion in the painting of landscapes with cattle, and through his
pictures on these themes he won his successive medals and his
red ribbon of the Legion. It is quite possible that the greater
fame of his sister overshadowed his, and that he might have won
a higher position in art under another name. At any rate, he
conquered an important place for himself, and died at the age of
sixty years, in 1884, prosperous, and with his reputation endorsed
by the presence of his works in the national museums. Auguste
Bonheur was one of the first of French artists to send his pic-
tures regularly to the Royal Academy Exhibitions in London,
and he, like his sister, enjoyed a very extensive patronage in
England, whose collections are rich in his works. He was a
hearty, realistic painter, with less imagination and more observa-
tion than his sister, painting what he saw frankly and faithfully,
and in his landscape, as in his cattle, presenting nature in an
always pleasant and friendly aspect.
PAGE
. 171 Morning in the Highlands j . ~ 227
INDEX AND BIOGRAPHICAL NOTES. 13
BONHEUR (MARIE ROSA)... °.. ...... Paris.
In her ripe old age, the most distinguished member of her sex
- in the history of art can look back to her youth of trial and
struggle over a life rich in all the rewards that perseverance can
conquer for genius. Born of an artistic family in 1822, at
Bordeaux, Rosa Bonheur’s entry into art was attended by a
bitter poverty, that sometimes threatened to end in desperation.
Her father, a worthy and industrious but unfortunate artist,
brought her to Paris in 1830, after the death of her mother,
and narrow as his means were, put her to school. But the girl,
born an artist, rebelled against mere book-learning, and rather
inclined to share with the boys their truancies in the fields. She
had acquired some skill in drawing, from imitating her father at
his work, and this art she cultivated at school to the neglect of
most of her other studies. Finally, the conviction of her voca-
tion forced itself upon her father, and he removed her from the
seminary, and set her to copying pictures in the Louvre. From
the start she gained a little money by the sale of her copies,
and of little studies and pictures painted at home, and after
assuring herself that she might hope for patronage, she turned
her attention largely to the painting of animals, of which she
was very fond. The oddity of a young girl choosing sucha
field of labor attracted attentiontoher. Her ability commanded
respect. In a modest way prosperity began to come to her, and
with every annual exhibition her fame grew and her admirers
multiplied. Her first original pictures were exhibited at Bor-
deaux, in 1841. One represented two rabbits, and the other
goats and a ram. In 1849she was made director of the Paris
Free School of Design for Young Girls, and in 1853 she crowned
her fame with the great ‘‘ Horse Fair,’’ now in the Metropolitan
Museum of Art. Every possible honor has been conferred upon
her by her own country and other European states. The high-
est, perhaps, was that embodied in the order of the Crown
Prince, late the Emperor Frederick, of Prussia to his army, to
rigidly respect her house and studio, when the surges of war
fairly washed its walls with blood. Surrounded by her pet beasts
in her uninvaded garden, she alone, of all the artists of Paris,
14 THE SENEY COLLECTION.
was able to continue her devotion to her art during the great
war that swept the last Napoleonic Empire out of existence.
PAGE
No. 273 Lhe Chotce of the Flock. : Sey es
BOUGHTON (GEORGE H.) ; : : London.
Although of English birth, and for the past thirty years a resi-
dent of his native country, the United States still claims George
H. Boughton as an American artist. Nor is this without reason.
Born in England in 1834, he was brought to this country in 1837
by his parents, and at Albany, N. Y., commenced to instruct him-
self in the art for which he manifested talent in his earliest boy- |
hood. It was at Albany that he opened his first studio in 1850,
and the old American Art Union was almost his first patron. It
was on the proceeds of its patronage that, in 1853, he went to
Europe to improve himself in his art, and from this journey he
returned to resume his residence in Albany, and subsequently in
New York City, where he remained several years. His first ex-
hibit at the National Academy of Design was made in 1858, with
‘‘A Winter Twilight,” and it was not until 1859 that he returned
to Europe, first settling down to study in Paris, and in 1861 go-
ing to London, where he has sinceremained. In 1863 his pict-
ures made their mark at the British Institution, and in 1864 at
the Royal Academy. American collectors continued their sup-
port, and English connoisseurs recognized and encouraged him,
Thus began for the artist a career of phenomenal success, which
time has only augmented. A master of technique and of an —
original style, his pictures are also characterized by a genuine
pathos and pure, latent sentiment that appeal to every heart. He
tells his story in a naive and sincere way that gives value to the
most trifling episode, and in his more important compositions,
especially those relating to Knickerbocker history, displays a
knowledge anda humor, allied with a faculty for realizing the spirit
of his subject, that give to these works a sound historical signifi-
cance. His pictures of Puritan life in New England are also of
INDEX AND BIOGRAPHICAL NOTES. 15
the first interest, and hé has produced some remarkable compo-
sitions based on Chaucer and other old English poets, as well as
many inimitable incidents of English life and subjects drawn
from Brittany and the Netherlands. Mr. Boughton became a
National Academician in 1871, and a Member of the Royal Acad-
emy in 1888, and has received many continental recognitions and
honors.
PAGE
No. 12 Zhe Rose pape, 7. : : : RIS5
No. 27 Fading Light . : : : rl 4 2
No. 86 The Gipsy Girl : : babe tre
No. to4 Going to Church 5102
No. 146 Zam O'Shanter : . 204
No. 244 Charity . ; ; } ¢ 53255
No. 263 Zhe Council of Peter the Headstrong . 267
BOUGUEREAU (WILLIAM ADOLPHE). : Paris.
One day in 1842 or so, there was a veritable riot among the stu-
dents of the Alaux Art School at Bordeaux. It was occasioned
by the award of the prize of the year to a young shopkeeper’s
clerk, from La Rochelle, who was taking daily drawing lessons
of two hours each, which his employer allowed him to abstract
from business. ‘The young Bohemians had such a contempt for
the young shopman that they resented with violence the fact
that he should win the honor of the school above their heads.
But Bouguereau received the prize in spite of their protests, and
it decided his career. He determined to become an artist. His
- family objected. He persisted, threw up his employment at
the shop, and went, penniless, to live with his uncle, who was |
a priest at Saintonge, and to paint portraits of the townspeople
for a few francs each. Out of his earnings he contrived to save
'. goo francs, on which capital he proceeded to Paris, entered the
studio of Picot, and secured admission to the Ecole des’ Beaux
, . Arts in°1843, at the age of eighteen years. He lived by incredi-
16
THE SENEY COLLECTION.
ble shifts, finally receiving some small assistance from his family,
until, in 1850, he won the Prix de Rome. For four years he
was a pensioner and student in that city, and he returned to
Paris an artist competent to the execution of great works. Pub-
lic commissions and private patronage soon laid the foundation
of his fortune. He became a Member of the Legion in 1859,
and an Officer in 1876, during which year he was also elected a
Member of the Institute—of which he has since been President.
He has received the Medal of Honor twice—in 1878 and in
1885—and is decorated with numberless foreign orders. In the
face of the reaction against classicism he remains a classicist, but
his technical knowledge is so profound, his skill so masterly,
and his art so powerful in its intellectual vitality that he is able
to hold his own against the strongest rush of the naturalistic
tide, that would sweep feebler men before it. He is personally
an interesting man, with a rigid adherence to his artistic beliefs,
an iron resolution and indomitable will. One of the bitterest
critical battles of our time has been fought over him, but it has
not swerved him one hair’s-breadth from the position he has
assumed, and has rather added to than impaired his fame.
No. 213. Might ; : ; : é d . 239
BRETON (EMILE ADELARD) Log) OReN REPare:
The genius of Jules Breton appears to be a family gift. It not
only finds reflection in that artist’s daughter, Mme. Demond-
Breton, but also in his younger brother and pupil, Emile Adelard.
Emile Adelard Breton, born at Courriéres in 1830, enjoys an en-
viable reputation asa man as well as an artist. He was one of the
artistic corps who enrolled themselves for battle against the Ger-
mans in 1870, and itis told of him that he displayed such conspic-
uous gallantry that his general embraced him on the battlefield on
which his heroism had asserted itself, and in the very face of the
enemy. The ancient sturdiness of the rural stock from which
the Bretons spring, and which sent to the armies of France some
iad
=
INDEX AND BIOGRAPHICAL NOTES. 1,
of their best soldiers, lives in the peaceful breast of the artist
and draws him from his easel whenever there is wrong to be
redressed or patriotic duty done. Emile Breton’s début at the
Salon occurred in 1861. In 1866, 1867, and 1868 he won medals
at home, and in 1873 was honored with one at the Vienna Exposi-
tion. This was followed by another at the Philadelphia Exposi-
tion of 1876, and in 1878 a medal of the first class fell to him at
the Salon, supplemented by the Legion of Honor. He is alsoa
member of the Order of Leopold. The sterling qualities of the
man are reflected in his works, which are also pervaded by the
poetic sentiment which is a heritage of his family. His style
is simple and direct, his subjects are without ostentation or for-
mality, and his future standing among French painters of land-
scape is assured. /
PAGE
Benne ee eg, 169
BRETON (JULES ADOLPHE) : ; , Paris.
The distinguishing characteristics of Jules Breton’s genius are
its combination of the hand and eye of the artist of the first rank
and the spirit of a poet of an equal distinction of merit. Born at
Courriéres in 1827, he was schooled under Drdlling and Dévigne,
whose lessons in technique only furnished him with a founda-
tion upon which to create astyle of his own. Hecommenced to
claim attention in 1849, received his first medal in 1855, one of
the second class in 1857, and after first-class awards in 1859,
1861, and 1867, was granted a Medal of Honor in 1872. He
had been accorded the Legion of Honor in 1861, and was made
an Officer in 1867. Prosperity had come with fame. He was
admitted to be as an original and sympathetic delineator of vil-
lage and country life of the happier order, what Jean Francois
Millet was to its more grandiose and pathetic side. His poetic
temperament invested his pictures with a subtle sentimental
charm. His was an art in which the lark and the nightingale
sang, under vaporous skies, over a rich earth refreshed with
2
18 THE SENEY COLLECTION.
dews. His types of peasant women had the simple nobility of
those ancient Gallic maids and matrons whom the Roman con-
querors could subdue only with the sword. His men were fit
descendants of the dauntless race that followed Henri de la
Roche-Jacquelin into battle armed with their pitchforks and
scythes. He preached the eternal sermon of labor, but rather
hopefully than sadly. His peasants working in the fields, his wo-
men at the fountain, and his men at the plough, had about them
rustic health and a suggestion of the home where the pot bubbled
and the hearth was warm. Recognition from his native land
was followed by that of the world. Masterpiece after master-
piece passed into the great collections of Europe and America.
The sale of his ‘‘ Evening in Finisterre” and of his ‘‘ First Com-
munion” in this city was attended with positive public enthu-
siasm. His modesty, however, remained as inviolate as his
fidelity to his art. The songs his soul sang his brush invested
with form and life as tenderly as before. The humble life of
the cottage and the field which he delineated became only the
dearer to him from the knowledge that he had made it eloquent
with an appeal to universal appreciation. The poet and the
artist still reign superior in him to the mere man.
PAGE
No. 99 Srittany Washerwomen ., : : . 180
BRIDGMAN (FREDERICK A.), N.A. eae Paris.
During the early years of the Civil War in this country, a regular
attendant at the night school of the Brooklyn Art Association was
a modest lad named Bridgman. He was known to be the son
of a Southern family who had long been residents of Brooklyn ;
to have been born in Tuskegee, Ala., in 1847, and to be em-
ployed during the day as an engraver by the American Bank
Note Company in New York. In the class he was looked upon
as one of the most accurate and painstaking of the students, with
so serious a purpose that even when a rare holiday came round
he was on hand to devote it to his own improvement rather than
INDEX AND BIOGRAPHICAL NOTES. I9
waste it in the useless leisure of an idle day. In 1866 young
Bridgman ceased to be a student in Brooklyn, and it presently
became known that he had abandoned the steel plate for the
canvas, and gone to Paris to study art at the Ecole des Beaux
Arts. Géréme, under whom he worked, became sincerely inter-
ested in him, and his encouragement had doubtless much to
do with the young man’s advancement of himself. His first
exhibited pictures were of subjects drawn from his summer
sketching tours in Brittany. Next, for a couple of years, he
painted from material found in the Pyrenees, where he settled
in 1870, From the Spanish border he went further afield, to
Algiers, Egypt, and up the Nile. His personal movements can
be clearly traced in his works, from his ‘‘ American Circus in
France,” which first attracted marked attention to him, while he
was yet almost a student in the schools, down to the latest
records of the activity of his brush in Algiers. He commenced
exhibiting in the National Academy of Design in this city in
1871, in 1874 was made an Associate, and in 1881 became a full
Academician. Meanwhile he had won his medals in Paris, and
in 1878 had been received into the Legion of Honor. He has
latterly devoted himself almost entirely to the class of subjects
in which the barbaric picturesqueness of the North African and
Egyptian peoples is still rich. Mr. Bridgman has his studio
in Paris, but last year visited this country and made exhibitions
of his works, which enjoyed deserved success. He has written
and illustrated from his own sketches and pictures a book on
Algiers and its people, the text of which is in conforming inter-
est to its embellishments.
PAGE
Nornog4 4,5, C, . : P ‘ : . etd,
BURGESS (JOHN BAGNOLD), R.A. : ; London.
The sailor king, William IV., among the artistic appointments
of his brief reign, made that of H. W. Burgess to be his special
landscape painter, The son of this artist, christened John Bag-
20
THE SENEY COLLECTION,
nold, was born in London in 1830. His father was his first
teacher, after which he studied at the Royal Academy and under
Mr. Leigh, in Newman Street, of immortal memory. His work
in the life class of the Academy won for him the silver medal
for the best drawing, and attracted an attention which brought
him patronage. Accident and the necessities of his health made
him a resident of Spain for some years, and here he found the
material by which he won his greatest reputation. He made a
close study of Spanish life and character, which he has delineated
in many admirable pictures. His scene at a bull-fight, at the
Royal Academy in 1865, gave him a fortunate introduction to
the collectors of Great Britain, and opened up his future to him.
In 1877, his ‘‘ Licensing Beggars”’ secured for him an Associate-
ship, and subsequent successes resulted in his admission as a full
Academician. Mr. Burgess now has his studio in London, and
while he still produces Spanish subjects, he finds in native
English gezve an expansion of his range.
PAGE
No. 3°4 The Frolic after the Wedding . . . 290
CABANEL (ALEXANDRE) . : : ; Deceased.
Cabanel was in fact, if not by formal appointment, the court painter.
of the Third Empire. The opportunity which Couture threw
away he took advantage of. The list of his portraits of this ‘period
charms from their graves the phantoms of a shattered dynasty,
blown to the four winds by the blasts of a murderous war.
The emperor, dead in exile ; the heir to the lost throne butch-
ered by savages on an alien battle-field ; the wan and haggard
empress, whom the country she once presided over denies even
a habitation ; the pinchbeck warriors, corrupt courtiers, knaves
and parasites of the bubble empire, pass before one in this cata-
logue like figures in a glass. His portraits of women are the
best. Naturally a gentle and sympathetic man, he had the gift
of translating female character with all of its natural grace and
distinction. Born at Montpellier in 1823, a winner of the Przx
4
a
INDEX AND BIOGRAPHICAL NOTES. 21
de Rome at the age of twenty-two, he was a commander of the
_Legion of Honor at his death last year. He had won all the
medals, he had been honored abroad and at home, and he had,
above all, as professor of the Ecole des Beaux Arts, directed
many a valuable talent upon its successful career. A pupil of
Picot, he painted for many years much in the style of David; but
about 1860 he entered upon another period of his art, in which
he produced his greatest works. Some of his decorations of
public edifices are masterpieces which deserve to be imperish-
able, and his ‘‘ Birth of Venus,” in the Luxembourg, is a picture
without a peer of its order of subject. It is a proof of Cabanel’s
power as a teacher, and of the love his gentle nature inspired in
his scholars, that he for years directed the most popular a¢elier
of the Ecole des Beaux Arts. He could teach without com-
pelling his students to imitate him, which was the secret of his
success. Bastien-Lepage was one of his ves, and so was Ben-
jamin-Constant. Such contrasts of styles occur continually
among his pupils, of whom it is related that at a recent Salon no
less than one hundred and twelve were represented among the
exhibitors.
“ PAGE
No. 186 ftebecca . : ; ‘ ' . ease
CALIGA (I. H.) : 4 : : : Boston.
The International Exhibition at Munich, in 1883, was noteworthy
for the introduction to the public of a number of young artists
who owed their development to the art schools of the Bavarian
capital. Among these newcomers, one of the most striking was
a young American who exhibited under the name of I. H.
Caliga. Born of German parentage at Auburn, Ind., in 1857,
the painter had, in 1878, entered the school of Professor Lin-
denschmidt, where he had speedily proved himself one of the
aptest pupils, and a decidedly original and thoughtful mind as
well. The promises which his talent held forth were realized
in 1883, and since that time he has continued to confirm with
22
THE SENEY COLLECTION.
PAGE
INGn= Sts Vealete : : , ; : : e120
CAZIN (JEAN CHARLES) . . ° : : Paris.
each production the impression of that by which he made his
début, The name Caliga, which he adopted, is a Latinization
of his family name of Stiefel, and by it he has since acquired a
reputation that has made this brush-name a veritable trade-mark.
His pictures are essentially representative of the modern and
realistic tendency of Munich art, which, while it still continues
to produce subjects with an individual interest and meaning,
seeks in their realization to present them in a natural aspect.
Thus there is grafted upon actualities, the figures and facts of
life, a poetic and creative sentiment presented by executive
methods in sympathy with the spirit of the work. Mr. Caliga
returned to America some years since, and is now a regular and
favorite contributor to our exhibitions.
Jean Charles Cazin, born at Samer, Pas-de-Calais, was one of
the pupils of that remarkable master, Lecoq de Boisbaudran,
whose name has been assured of immortality, not through his
own pictures, but through the genius of the scholars to whom
he gave their development. De Boisbaudran was one of those
rarely gifted men whose intelligence and sympathy penetrated
the souls of his followers, analyzing their sentiments and natural
inclinations in art and propagating them as the gardener does a
flower, with tender and loving skill. From the studio of this
master of masters the young Cazin won his first honors in 1876
with his “ Dock-Yard,” following it in 1877 with ‘‘ The Flight
into Egypt,” which confirmed his title to respectful recognition.
He was in those days a painter of history, sacred and profane,
and of gewre, and as such he won his first-class medal in 1880,
and in 1882 his ribbon of the Legion of Honor. It is a pecul-
iarity of the Boisbaudran school that it has graduated some of
the greatest realists in contemporary art, among whom may be
mentioned Legros, now at the head of his rank in London ; Ga-
briel Ferrier, a sterling talent full of soul and fire, and L’Her-
INDEX AND BIOGRAPHICAL NOTES. 23
mitte, a painter of the people and the fields of his birth and
boyhood, in whom the future may find a worthy successor of
_ Millet. To their ranks Cazin has become joined, and his influ-
ence on current art is perhaps more potent than that of any of
his colleagues of the Boisbaudran atelier. Into the landscape art
of France, fallen into a stagnated imitative mannerism based on
the master-manners of Corot, Rousseau, Dupré, and Diaz, he
has blown a breath of new and healthy life. Like his great
predecessors, he is a naturalist, and like them he sees nature
with the eye of a poet, made keen and lucid by the stimulus
of inspiration, and harmonic with the echoing chords of a sym-
pathetic soul.
PAGE
No. 26 An Old Windmill . : } : . 142
pemetom) 42 Carricr’s Cart .. : ‘ PeiG
Noy .79 Moonrise . : ae ‘ . 169
No. 124. Zhe Full Moon ; ; é . . 193
No. 144 Onthe Hill, . 203
No. 216 La Matson du Garde : : : e240
No. 243 Night in Flanders . ; ‘ ; “254
No. 262 Moonlight in Holland ; : ; F200
No. 272 Zhe Village Orchard : e ; a2 72
No. 287. Weary Wayfarers . : , : . 280
CHARLEMONT (EDUARD) .
: Paris.
In 1870 Hans Mackart, who in the open generosity of an ex-
pansive nature was always quick to distinguish merit and ready
to encourage it, discovered in the class of Professor Engerth,
at the Vienna Academy, a young student of two and twenty
whose work spoke well for him. He found him to be the son
of a Moravian drawing master, born at Znain and brought up
by his father as a painter of portraits and miniatures. Mackart
_ took young Charlemont into his studio, and after advancing him
to the extent of his ability, provided him with the means of vis-
24
THE SENEY COLLECTION.
iting Italy. The first fruits of his schooling and experiences
appeared in “‘ The Antiquary,” exhibited in 1872, and a succes-
sion of picturesque gezves, generally of the sixteenth and seven-
teenth centuries, followed and won popularity. Charlemont
also secured consideration as a portrait painter, particularly of -
children. His first pictures were of a style decidedly reminis-
cental of Mackart, but with wider experience in Venice, Ger-
many, and France, these traces of his master passed away. He
is now settled in Paris, almost entirely given up to the painting
of cabinet pieces in costume gezre, Charlemont’s younger
brother is the well-known landscape and animal painter and
etcher, Hugo Charlemont.
PAGE
No. jos Lu the Studio . . : : : . 184
4
CHASE (WILLIAM MERRITT), N.A. : New York.
Mr. Chase has been accurately described by one of his brother
artists as the most complete and distinctive artistic nature of the
painters of our time and country. He is artistic in everything ;
his tastes are repeated in his surroundings ; he lives and banquets
on all that arouses the interest of his eye and stimulates his
hand to work, and in his enthusiasm falters at no experiment
and rests satisfied with no special medium. Probably no artist
of our time has made as wide and complete a series of experi-
ments as he. Certainly none has conquered every method with
as much success, or covered such a range of subjects with equal
brilliancy. Seaand Jand, human and animal life, and the inani-
mate objects which constitute the still-life painter’s models, have
furnished him in turn with material, and so strong is his instinct,
so sharp his eye and skilful his hand, that he has been able
to give to each motif some of itself, translated through him-
self in a style that is unmistakable. Born in Franklin County,
Ind., in 1849, Mr. Chase’s earlier artistic years were hampered
and laborious. He had some lessons from the Western por-
trait painter Hayes, and coming to New York, studied for a
couple of years at the National Academy schools and under J.
INDEX AND BIOGRAPHICAL NOTES. 25
O. Eaton. In 1871 he settled in St. Louis, where he madea
local reputation as a painter of still life and portraits, thanks to
which he was able to secure sufficient commissions to enable
him to visit Europe in 1872. He became a pupil of Piloty, in
whose studio, so impregnated with the traditions of German
classicism, his independent spirit almost created a rebellion.
But Piloty was a great teacher, if not a great master. His art
was honest and his methods sound, and his heart and brain were
equally capacious. The radical young American grounded his
own art in that of his professor, and then went forth into the
art of the whole world to take his post-graduate course. While
six years of study give Munich aclaim upon Mr. Chase as one
of her school, he is really of an eclectic production, and Mr.
Kenyon Cox writes truly of him in Harger’s Magazine that his
art is more Parisian than Bavarian. The masters of the Nether-
lands and of Spain, dead long since, have taught him priceless
lessons out of their immortal works, for they have turned him
over to nature, which to such a spirit as his means the source of
all art. Returning to. New York in 1878, Mr. Chase has been
since a resident of this country, though he has made various
visits abroad, and his bold and determined nature has given him
an important influence for good upon the current generation in
American art. He isa member of the National Academy, of the
Society of American Artists, and of a number of other artistic
associations, in all of which he exercises the weight of a strong
mind to which all life is art and life without art not worth the
living.
PAGE
No. 2, inthe Park . ‘ ; : TREAT
No. jy, Still Life . : 5 : . 204
No. 553 Ln the Studio . ‘ ; ‘ 20x
CLAIRIN (GEORGES JULES VICTOR)... Paris.
When Henri Regnault visited Spain and Africa in quest of
subjects, he had with him a friend who was more of a brother
to him than many brothers are to each other. When Regnault
26
THE SENEY COLLECTION.
No.
was shot dead at the sortie at Buzenville, and his body lay for
nearly a week among the unknown dead of that bloody field,
this friend it was who sought it out and reclaimed it from a
nameless grave. Clairin, like his old comrade, was born in ~
Paris; the two were of about the same age, and that Regnault
had an influence on the art of the friend who has survived him
is plain, but the influence was rather upon his taste than his
style. Clairin is always himself. No man paints like him, and
he has in the free swing of his brush, and his audacity of color,
that which belongs to himself alone. It may be questioned,
however, if he would have been as great a painter, had it not
been for his Spanish and African journeys, with a genius as bold
and a mind as strong as his friend’s to impress itself upon his
own. After having continued for some years to develop the
material he and Regnault had together discovered, Clairin, in
the Salon of 1877, gave Paris one of those new sensations she
loves, in his famous portrait of Sarah Bernhardt. Since then,
though never quite forsaking his oriental subjects, he has largely
given himself up to female portraiture, and to those character-
istic studies of the elegant Parisienne as she lives, of which his
‘“‘Frou-Frou”’ is a typical example. These latter he paints
with a brush as graceful and spirited as themselves, and the
same qualities are discernible in his portraits, of which it has
been said that he could make the most stupid woman in the
world look, by his touch, as if she had wit and brains. Clairin
was born on September 11, 1843, and was originally a student of
the Ecole des Beaux Arts, and a pupil of Picot and of Pils, who,
without being great painters themselves, have been masters of
some of the most gifted artists of the present school in France.
PAGE
96 The Puppet Show. ; ; ; shee fy 2)
CLAYS (PAUL JEAN) : : 5 ‘ ; Brussels.
In the studio of Gudin, Paul Jean Clays, born at Bruges in
1819, learned his art and learned it well. He inclined to a
INDEX AND BIOGRAPHICAL NOTES. 27
more placid and pleasant mood of marine art than his master,
and viewed his subjects in a more cheerful spirit. Like the old
Dutch masters, he preferred the waters of the coast to the
angrier currents of the deeper sea, and times of calm, of lumi-
nous dawns and sunsets of vaporous gold, to the more energetic.
‘and dramatic phases of nature. In 1851 he returned from Paris
to his native country, making his establishment in Brussels,
within ready reach of his favorite motifs. He received a medal
for his first picture at Brussels, the year of his arrival, and a
similar recognition at the Salon of 1867. In 1875 he became a
member of the Legion of Honor, and an officer of the order in
1881. He had been made a cavalier of his native Order of
Leopold, and been medalled and diplomaed throughout Europe
before he had turned his fiftieth year, and the popularity of his
pictures had enriched him. While confining his subjects in the
main to the Flemish and Dutch coasts, he has on occasions
ventured farther afield, and scenes in the lower Thames, at
points along the English coast line guarded by the ancient
Cinque Ports, on the French coast, and even in the North Sea,
attest to his just observation and to his appreciation of local
color, and the characteristic details of localities which give them
individuality.
PAGE
96 On the Scheldt . s ; , : . 168
CONSTANT (JEAN JOSEPH BENJAMIN) . Paris.
A picture which caused more than usual comment at the Salon
of 1870, was the work of a young artist who had made his first
exhibit there only a year or two before. It was entitled ‘‘ Too
Late.” Ona miserable pallet in a wretched garret a poet lay
dead amid the ripped-up productions of his wasted life. Over
the house-tops the luxury, wealth, and glory of Paris sent their
incense to the skies from ten thousand palaces, and tardy Fame
climbed the garret stairs to carry her dead votary off to share
them, only to find that her visit had been too long postponed,
28 ‘THE SENEY COLLECTION.
The gay city, which never fails to appreciate an allegory, even
if it be at her own expense, took this one up and made the name
of Benjamin-Constant famous. He was a Parisian of good
family, born in 1845. He was a soldier in the war of defence
against the German invader. A pupil of Cabanel, he had re-
jected Cabanel’s manner totally, and in spite of the impression
made by his ‘‘ Too Late,” had not yet settled on his true avoca-
tion in art. It came to him by accident. Having drifted into
Spain after the war, he commenced to experience the seductions
of its semi-tropical life and nature, and when he went to North
Africa with an embassy to the Sultan of Morocco, the key to
his art was found. He became an Orientalist and the leader
among them. His travels enriched him in themes for his brush,
which won him wealth and the honors that are quite as dear to
the artist. So wide a success did his oriental subjects meet
that he fell under the reproach of being able to do nothing else.
As a practical refutation of this charge he produced a series of
historical compositions and characterizations quite equal in tech-
nique and power to his previous pictures. For some years he
occupied a curiously prominent position in Parisian art by the
struggle which occurred over his claims to the medal of honor,
which was the sole distinction in the gift of artistic France
which he lacked. In 1888 he visited America, and executed
some commissions for portraits and decorative works, a visit
which he repeated the following year, with the result of leaving
some important pictures in our collections. Asa writer on his
art he has contributed to the press some papers which will be
found of permanent value. They are sound in judgment, just
in their estimates, and replete with ideas of practical utility and
fertile suggestiveness.
No. 25 flerodias , 3 ; : : ‘ 2 i4t
COROT (JEAN BAPTISTE CAMILLE) . Deceased.
When, in 1875, Corot laid to rest his head, silvered with seventy-
nine years of honors, he did so with the consciousness that he
INDEX AND BIOGRAPHICAL NOTES. 29
left behind him a life without reproach and ripe with usefulness.
The pupil whom Michallon and Bertin had taught to paint the
leaves on trees and the blades of the sod, had ended by teaching
the world that leaves can be seen without being painted one by
one, and that one can feel the greensward under one’s feet with-
out counting every spike of grass. The Parisian shop-boy had
become to art what Theocritus was to poetry. He had given to
landscape painting the essence of that poetry that is present in
the simplest as well as the sublimest phases of nature, and trans-
ferred to his canvases the silvery charm of the heavens under
which nature smiles her welcome to the poet’s soul. It was
after his visit to Italy, in 1826, that Corot commenced to de-
velop that refined suggestiveness whose ultimate perfection under
his hands crowned the deathless triumph of his art. At first his
- works exhibited breadth, strength, and a striving after color.
Gradually he simplified his manner, created a system of subdued
harmonies, and achieved his triumphs over the problems of light
and air. It was when he became the painter of the evening and
of the dawn that he scaled the pinnacle of artistic success. Yet
his art was so novel, so subtle, and so independent of accepted
traditions and familiar styles, that it was long in forcing its way
_ into public approval. Supported by an inherited fortune, the .
artist remained true to his ideals, and when victory finally came
to him it found him rich in the accumulated masterpieces of a
long lifetime. Success was meted out to him with no niggardly
hand, once it did arrive. At its prime Corot is believed to have
earned $50,000 a year by the sale of his pictures. He lived the
same simple life of an old bachelor, unchanged by dignities and
prosperity. In 1833 he had received a second-class medal, and
two of the first class fell to him in 1848 and 1855. In 1846 he
received the Legion of Honor, and in 1867 was made an Officer,
but he was always the same “ Papa Corot.” He was the sincere
friend of his struggling contemporaries when they most needed
friendship, aud his death was mourned by the artists of France
as a personal misfortune as well as a national loss.
ammeen fhe Environs of Paris . 3. ee
we
THE SENEY COLLECTION.
PAGE
49 The Path to the Village . 2 : 253
132 lVear Ville d’Avray . ; ; : ae Ce,
iss. 2 he iVur Garkeper es ; : : . 209
178 The Bathing Boys . ‘ : F . 220
188 Oak Charlemagne. : 225
232 The Ford RL | Se AG.
261 Lhe Fisherman, Morning . : : . 266
. 277 Lhe Myrite Wreath. ; : : cat
No. 281 A Souvenir of Normandy ; 2 _ 277
No. 285 Zhe Dance of the Nymphs : ; . 279
No. 289 La Cueillette . = : ; : p 281
COURBET (GUSTAVE) ; P ; ] Deceased.
It required the fall of the Venddme Column to break the tur-
bulent and stubborn spirit of the master of Ornans. His re-
sponsibility for this crime has been disputed." It is even stated
that he endeavored to secure the preservation of the column.
Nevertheless, his complicity in the movements of the Commune
and his official position in connection with it prevailed against
him, and he paid for the shattered monument not only the cost
of its restoration but the fatal price of shame, exile, and dishonor.
The influence of Courbet on French art was overestimated at
one time. Hewasa man of great gifts, but too narrow in mind
and coarse in mental fibre to make a leader. He could bully
men but not persuade them, and it was part of his dogmatic na-
ture to demand absolute devotion and belief or reject all com-
promise upon it. He himself did not perceive the weakness
of his own character, and his failure to force an artistic issue
upon France rendered him furious and resentful. He went so
far at one time as to almost abjure his native country in favor of
Germany, and made it his boast to welcome foreign honors and re-
ject those of hisown nation. All of this reacted against him, and
raised a storm of unmerited reprobation that recoiled upon his
INDEX AND BIOGRAPHICAL NOTES. 31
works. He died in exile in Switzerland, in 1878, a man of sixty
years, broken in fortune, regretted by few and mourned by fewer
still. Since his death his great artistic gifts have slowly won their
true appreciation, and the tumultuous spirit of the man fading
from memory, leaves the fame of the artist shining as it deserves.
Born at Ornans, Courbet was originally destined for the law and
sent to Paris in 1839 to attend the schools. He neglected his
legal studies to ‘lounge among the studios, and did some desultory
painting under David d’Angers. He may be considered as self-
created in art, however, and his very first exhibited picture, in
1844, had in it a marked originality and a bold and personal
style. .
PAGE
No. 114 A Worther : : ; ¢ : . 188
COUTURE (THOMAS) . j : : ; Deceased.
At the age of thirty-two years, almost unknown outside of artistic
circles and not any too widely known within them, Thomas
Couture made himself immortal by a single work. The ‘‘ Ro-
mans of the Decadence” took the art world by storm. It
combined in itself the essence of what was best in modern art.
It had the composition of the classicists, the idealism of the
romanticists, the nature of the realists, and the masterly handling
of the school that held technique to be the first necessity in art.
Couture, born at Senlis in 1815, had studied art under Gros and
Delaroche. In 1840 he showed his first picture at the Salon.
In 1879, just after his death, his last was exhibited. In these
thirty-eight years his vast energy had overcrowded itself in works
which followed each other rapidly and yet failed to keep pace
with the sweep of his fecund imagination. He once com-
plained that he needed the arms of four men to accomplish
what he dreamed. He was by turns idealist and satirist, a
painter of facts, of creations, and of reflections upon human folly
worthy of the invention of Balzac. Such a man naturally could
not go through life without contests, and in spite of success,
32 THE SENEY COLLECTION.
fame, wealth, and the devotion of scholars from whose ranks _ p
came some of the great painters of our time, Couture ended his
life a disappointed man. He quarrelled with his contemporaries
on points in and beliefs of art. He quarrelled with the Empire,
which was only too anxious to conciliate him with patronage, on
a trivial detail of one of the great works Napoleon III. had
commissioned of him. As a result of the one he withdrew
from social companionship. As a result of the other, he ceased
to contribute his works to the Salon Exhibitions. The Legion
of Honor, which came to him in 1848, was the last token of
official esteem which he received. He had lived in retirement
at Villiers le Bel for some years before his death, admitting
none but a few chosen friends or exceptionally favored patrons
to his presence; and so little was known by the public of his
productions of this period that the exhibition of his works, made
after his death, caused nearly as great a sensation as had the
“‘ Decadence” almost half a century before. Besides his pict-
ures, Couture left behind him a book, which was published in
1867, under the title ‘‘ Entretiens d’Atelier,” or ‘‘ Studio Con-
versations,” which no student or lover of art can read without
interest and profit. From the number and the ability of the
American students who received their artistic training in his
school, Couture may be said to have had a more important in-
fluence on our art than any French painter of his time.
PAGE
No. ttl Liberty in Chains . 4 : : SANs
COXE (REGINALD CLEVELAND) . New York.
The direction taken by Mr. Coxe’s art is an eloquent testimony
to the influence great art exercises and the extent to which it
perpetuates itself. Born in Baltimore in 1855, Mr. Coxe came
to New York and began his art career by the study of the figure
at the National Academy of Design in 1877. In 1879 he went
to Paris, where he entered the studio of Léon Bonnat. His sole
purpose at this time was to perfect himself as a figure painter,
INDEX AND BIOGRAPHICAL NOTES. 33
and his ambitions were all in the direction of figure composition
of the romantic and poetic order. During the progress of his
studies he became impressed by the marine pictures of Courbet.
.The fascination of these Homeric exploits of realism grew upon
the young American until he surrendered himself to it and be-
came a painter of the sea. He spent a year in England, at
Land’s End, painting and studying. In 1883 he returned to the
United States and established his studio in New York. Hehas ©
a studio also at Gloucester, on the New England coast, and has
extended his studies latterly to the shore as well as the sea.
He is also favorably known as an etcher, his sensitive feeling for
the subtle and mysterious effects of atmosphere and for the
movement of the sea, finding almost as spirited and penetrating
expression on the copper plate as on the canvas.
PAGE
No. 67 The Sailing of the Fishing Fleet. eetO3
DAGNAN-BOUVERET (PASCAL ADOLPHE JEAN)
Paris.
In 1879, at the Salon, Paris enjoyed the double pleasure of
mirth and applause at a picture depicting a marriage party of |
the bourgeois type posing in a photographer’s gallery to be pho-
tographed in commemoration of the momentous ceremony just
performed. The picture not only displayed infinite quiet humor
and great shrewdness in grasping character, but was soundly
and brilliantly painted. The artist was a pupil of Géréme, who
had made his début in the Salon in 1877, and who, in 1878, had
received a medal for his ‘‘ Burial of Manon Lescaut,” which was
afterward seen in America as part of the collection of the Hon.,
now Vice-President, Levi P. Morton, of New York. In 1880
'M. Dagnan-Bouveret received a first-class medal; in 1885, the
Legion of Honor, and in 1889, the medals of honor at the Salon
and the Universal Exposition. More his own country could not
do for him, except to support him with her patronage, and this
she has honestly done. Commencing on the foundation of
2 ;
34
THE SENEY COLLECTION.
No. 87 On Market Day ‘ , : 5 udeaieLre
neo-classical art which characterizes the Gérédme school, M.
Dagnan has created a school of his own, in which he has many
followers. Tenacious, patient, persevering, working with the
extremest care, leaving nothing to accident, but carrying out
each effect as he marked it out to be completed when he began,
he is at once one of the most conscientious and one of the most
sincere French artists of the present day. Each picture that he
produces is a work of importance, since in each he puts all his
heart and soul, working with a nervous intensity of purpose that
leaves nothing undone, and that extracts from the subject all
that art can extract from it. He is absolutely free from any of
the mannerisms or conventionalities of academic training, and
equally free from any personal affectations of technique. Bas-
tien-Lepage, himself an artist of a very similar type, held him
in the highest esteem, and since the death of his friend, M.
Dagnan comes closer to taking his place than any other artist of
the day. M. Dagnan takes his surname, Bouveret, from his
mother, in order to distinguish himself from another artist of
the name now deceased. He is a native of Paris, where prac-
tically his entire life has been spent in the studies and the labors
of which his works are the rich if not numerous fruit.
PAGE
No. 143 Lhe Brigand . i : ; : , 203
DANNAT (WILLIAM T.). Ab : Paris.
Four distinct artistic schools have aided in shaping the vigorous
and original talent of William T. Dannat. He has studied at
various times in Germany, Italy, Spain, and Paris, and has had
for masters the professors of the Munich schoolsand Munkacsy.
It would be impossible to trace any of these in his own style, or
in his choice of material. Born in New York in 1853, Dannat
commenced study abroad at an early age as a student at the
Munich Academy. The ample means of his family provided
_ him with every educational advantage, and the natural energy
~
7
a
a
%
"
"
«
rs es
INDEX AND BIOGRAPHICAL NOTES. 35
and vigor of his nature prompted him to the full use of his re-
sources. With the exception of a single winter in New York,
his time has been spent abroad, and of late years in Paris, where
his studio is located and where he holds a professorship in the
Art School. Since 1883, his works have secured him a variety
of recognition in the Salon and other exhibitions, and in this
country he is worthily represented by his striking and powerful
Spanish character picture called ‘‘ A Quartette,”” which is the
property of the Metropolitan Museum of Art, through gift from
the artist’s mother, and by some of his most brilliant smaller
canvases in private collections. His pictures are marked by
firm and accurate outline, great solidity of execution, boldness
and breadth of treatment, and an admirable richness and har-
moniousness of color, and he displays, frequently, a daring au-
dacity in original effects of light, whose greatest difficulties
afford him opportunity for the exercise of his greatest technical
skill,
No. 218 Ju the Studio . : ; sages . 241
DAUBIGNY (CHARLES FRANCOIS) . » Deceased.
Art was an inheritance to Daubigny. Born in Paris in 1817,
he came of a family of painters, and all his surroundings were
artistic. His father, his uncle, and his aunt were laborers at
the easel, and the boy absorbed his first lessons with his childish
breath. He became a pupil of his father, and after a visit to
Italy-and some time spent in the studio of Delaroche, he turned
to that universal fount of inspiration, Nature, and found in her
the secret of his future greatness. His earlier figure pictures -
and portraits, which are excessively rare, show him, like Corot,
to have been a painter cf sound and well-trained ability in this
branch ; but it was to landscape that inclination and sympathy
directed him early and there held him fast. His means were
narrow, and he subsisted by designing, by copying pictures and
drawing on wood for the engravers, devoting all his leisure to
36
THE SENEY COLLECTION.
painting. Hecame out at the Salon of 1838, and after a strug-
gle of ten years, found prosperity and fame. In 1848 he wona
second-class medal ; in 1853 one of the first class. The seal
was set upon his reputation when the emperor, in 1852, pur-
chased his picture of ‘‘ The Harvest ” for the Tuileries, follow-
ing it, in 1853, with the purchase of another for St. Cloud. In
1859 he was invested with the Legion of Honor, and in 1875
was made an Officer of the Order. He died in 1878, after
having shared with the master painters of Barbizon the glory of
regenerating his national art, and left a legacy of masterpieces
to the world. Daubigny was essentially a painter. Light, air,
and color were the keynote of his art. He went to nature as a per-
petual devotee, and his most successful works were those which
he painted from his studio boat, floating on the placid waters
of the Seine and the Oise. In the special class of subjects to
which he inclined he was without a rival, and he has found no
successor, and his influence on the art of the century, like that —
of his great colleagues, cannot be overestimated. He was an
etcher of much spirit and skill, and aided largely in the revival
of that art. Daubigny became in a manner a sacrifice to his art.
His death was undoubtedly hastened by rheumatic affections,
contracted from labor in his floating studio in all weathers and
seasons, and his end was attended by cruel physical sufferings.
Of all the painters in the immortal group to which he belonged
he was perhaps the nearest to Corot, not only in artistic sympa-
thy, but in an almost brotherly tenderness of personal affection.
PAGE
No. 29 Zhe River Front %& PM aie Ie:
No... 5° Heuling thew chee ie : Reet ike
No. 81. The Kivemworse ; ; i : Fo
No. 128 The First Catch ‘ : ; t enrages
No. 131 A Village on the Oise ech ater
No. 152 On the River Oise \Y . aA "ys Be . 2072
No. 163 Zhe Crane Covert abe): es eae
No. 189 The Washing Place... ; i . 226
No. 229 On the Marne ., . ; : , . 247
an
- 257 Spring
INDEX AND BIOGRAPHICAL NOTES. 37
PAGE
ae 204
. 279 Landscape with Cattle ‘ : é “270
mezosen. le Gipstes... .. : ; ; ; h27 8
. 286 Autumn on the Oise , : ; , 31230
. 288 The Creek : : ; : : Peo
MeviswiGHARLES H.). . . « «Paris.
It is now nearly a decade since the pictures of an American, a
painter of landscape named Davis, commenced to attract the
attention of the critics at) the annual Salons of Paris. The
painter was a native of Amesbury, Mass., where he was born in
1855. He had begun to study art under Otto Grundman at the
Boston Museum of Art, and had exhibited with the Boston Art
Club as early as 1878. Going to Paris, he had become a pupil
of Boulanger and Lefebvre, and then, like so many other paint-
ers who have commenced with the study of the figure and
finally gone over to nature pure and simple, he had followed his
inclination and his ideals into the free fields, made strong by
the technique and the experience of his admirable schools. His
rendition of landscape stamped him from the first as one who
had chosen his vocation wisely. He possessed in his style and
execution a remarkably subtle refinement and a remarkably pure
sentiment of poetry, yet managed, as well, to adhere to actual-
ities. He painted what he saw, but he saw it with an eye pecu-
liarly receptive of the faintest harmonies and the most tender
beauties of the scene. As just and competent a critic as Mr.
Theodore Child pronounced his exhibits at the last Exposition
in Paris as being ‘‘the finest and most personal” in the depart-
ment of American art, and asserted that his exhibit gave him
rank amongst the great landscapists of the day ‘‘ as an artist sin-
gularly sensitive to the soul charm as well as to the color charm
of nature.” In his native country, his charming and masterful
works secured him an immediate acceptance among amateurs
and collectors, and at the Exposition in Chicago of 18g0, his
Salon picture of that year received the Potter-Palmer prize of
38
No.
No.
No.
THE SENEY COLLECTION.
$500 for the best landscape. At a previous special exhibition
in New York a group of his works had aroused an unanimous
enthusiasm by their beauty and by the variety of power and deli-
cacy of execution they revealed. One of his pictures, entitled
‘“Late Afternoon,” was awarded the cash prize of $2,000 at the
Third Prize Fund Exhibition at the American Art Galleries
in 1887, and was allotted to the Union League Club, in whose
collection it may now be seen,
PAGE >
70 Lhe Coming Mist. f ; ; . 165
122 Zhe First Frost f : : : . 192
275, LNE CUrfLW am : : ; 5 Bae
DECAMPS (ALEXANDRE GABRIEL) : Deceased.
It is a matter of record that the picture by which Decamps, the
great orientalist of his day, made his débuz in the Salon of 1827
was a figure of a Turk, evolved from his inner consciousness.
The artist had not yet visited the East, and his picture was simply
an expression of the tendency of his thought and feeling. De-
camps was a Parisian, born in 1803. He was sent as a boy into
the country by his father, and allowed to run wild until it was
time to send him to school, when he was brought back to Paris.
He had developed what he himself called ‘‘ the taste for daub-
ing,” and was left to work out his own method of art without
parental encouragement. Stumbling blindly toward the light,
learning from the pictures he saw in shop windows and galleries’
what pictures were, he finally, at the age of twenty-four, pro-
duced the Turk which attracted attention to him in the Salon.
The subject and the method of the picture proved attractive to the
public, and the young painter was encouraged to proceed. He
had an ambition to paint history, and strove for the Prix de Rome
invain, It was his lifelong regret that he could not become a
great historical painter, and he often bitterly complained of that
neglected childhood, in which he had learned such lessons of free-
dom and contempt for restraint that he could never afterward
ae ee ee ee rt es eo One oar ss
a a ee er ere,
INDEX AND BIOGRAPHICAL NOTES. 39
schoo] himself to the arduous study necessary for success in the
lofty walk of art to which he aspired. The world was the gainer
by what he considered his loss. A brilliant intelligence, a fecund
_ invention, and a facile hand enabled Decamps to earn his living as
a caricaturist while he was struggling for recognition as a painter.
Some of his lithograph cartoons display a mordant and deadly
satire equal to the written diatribes of Juvenal. Decamps’ rest-
less spirit sent him on many wanderings, and from a visit to
Asia Minor he brought back the inspiration and material for the
‘oriental subjects, bathed in sunlight and glowing with slumberous
color, which gave him a distinctive place among the masters of
the day. In his greatest success his life was not happy. He had
his studio and hunting lodge in Fontainebleau, and he divided
his life between painting and hunting to dissipate his broodings
on his disappointment in life. He had few friends, though with
Millet and other artists of his circle he was on amicable terms.
Medals and honors only deepened his disgust at his inability to
create monumental masterpieces. Only his great mind preserved
him from total misanthropy. One day in 1860 he rode into the
forest with his favorite hounds to hunt. The baying of the
dogs attracted the attention of a forester, and he found one of
‘the greatest artists of the world thrown from his horse and help-
less from an injury which proved mortal.
PAGE
No. 30 The Toilers ; : 3 ; , . 144
No. 133 Zhe Sentinel . : p ; . 198
No. 237 Cat, Radbit, and Weasel , : : 25
DEFREGGER (FRANZ VON) . 3 : y Munich.
Born on a farm at Stronach, in the Tyrol, Franz Defregger grew
up as a rustic drudge, tending the cattle and sheep in summer
time and getting a small share of schooling during the winter.
From boyhood he exhibited an artistic inclination, using the
pencil wherever he could find a surface to draw upon, modelling
figures out of dough and the clay of the pasture-fields, and fill-
ing his school-books with sketches. He even gained some skill
4O
THE SENEY COLLECTION.
No.
as a wood-carver by self-instruction and practice. In 1857,
when he was twenty-two years of age, the death of his father
made him master of the farm, and the first use he made of his
inheritance was to sel] it and go to Innsbruck to study the art of
sculpture under Professor Stoltz. His master advised him to
undertake the study of painting instead, and he took his first
lessons at Munich under Professor Anschiitz. Ill-health sent him
to Paris for a time, whence he returned to his native village,
continuing his studies from nature till, in 1867, he entered the
Piloty school at Munich. His first pictures to attract attention
were of Tyrolean subjects, some of historical and others of do-
mestic character, and he produced a number of small genre pieces,
distinguished by a jovial humor, strong individualization, rich
coloring, and brilliant execution. His reputation progressed
from city to city, and from exhibition to exhibition throughout
Europe. He received medals at Paris, and honorary member-
ships of the academies of Munich, Vienna, Berlin; the great
gold medal of Munich, the first prize of Berlin, and finally, in
1883, his patent of nobility. The public museums and private
galleries of Europe are rich in his pictures, the most important of
which have become universally known through reproduction by
photography and other processes. No German artist enjoys a
more extended popularity, and with the exception of Knaus,
none has conquered so cosmopolitan a favor, or secured so gen-
eral a distribution for his works.
PAGE
88 The First Love Letter ; : : Ee
DELACROIX (FERDINAND VICTOR EUGENE).
Deceased:
It was the same movement that gave Byron to English poetry
that bestowed Eugéne Delacroix on French art. The exagger-
ation of a period of superficial elegance and false classicism pro-
duced a revulsion to the other extreme of romantic realism.
What the massive genius of Géricault began the more brilliant
genius of Delacroix completed. The pupil of Guérin, who made
Dee ee ee
INDEX AND BIOGRAPHICAL NOTES. 4I
his début in 1822 at the age of twenty-three, with his ‘‘ Dante and
Virgil,” lived to see in 1863 a revolutionized art and literature in
France, and to know that he had been in the van of the battle that
produced it. Yet Delacroix began as a classicist, and the evi-
dences of this influence struggle in his ‘‘ Dante and Virgil” for the
mastery of his natural tendency to the romantic and tragic side of
nature. He abandoned the prevailing cult early, and his travels
in Spain and Africa in 1831 gave him the fire and color which
were to render his art supreme. He formed his artistic system
upon the Byronic plan, though with a finer feeling than Byron
and with less morbidness of sentiment. With him color and
action went together. Form was merely accessory. The spirit
of the subject, savage or serene, had its reflection and its sup-
port in the savage force or the serene harmony of his color and his
technique. Wherever he was at his best he was most marked in
this symmetrical relation and balance of heart and hand ; and
wherever he was happiest it was in subjects in which his vigor-
ous and combative nature could find freest and fullest expres-
sion. He died leaded with honors, but his fullest fame has ac-
crued to him since his strong hand dropped the pencil for the
last time. The world has crowned his work with posthumous
laurels. The great galleries and the choice collections of Europe
and America have made prizes of the productions on which he-
has stamped his title to immortality, and even the least sympa-
thetic criticism concedes him a unique place as an intrepid
leader and a creator of marvellous fecundity and power, to whom
the world’s art owes a debt of gratitude it can never overpay.
PAGE
51 Zhe Lion in the Mountains ; eg oer
No. 235 Ziger'and Serpent . : ‘ . 250
No. 256 Selimand Zuleika . : : : maz03
DEMONT-BRETON (VIRGINIE ELODIE) : Paris.
The history of the artistic family at whose head Jules Breton
presides will one day form the subject of a volume. An im-
A2
THE SENEY COLLECTION.
No.
portant chapter of this work will be provided by Mme. Demont-
Breton. Mme. Demont-Breton is the daughter of the painter of
‘*The First Communion.” She was born at Courriéres, and
early became a pupil of her father, under whose care her ex-
traordinary talent was placed upon a sound foundation. Both
in landscape, in which she had the aid of her uncle, Emile Bre-
ton, and in gezve, under her father, she developed rapidly under
instruction. A pupil of her uncle’s was Adrien Louis Demont,
a native of Douai, and now a well-known landscape painter.
The meeting of the young students led to a not uncommon
result. They became man and wife, but in order to avoid a
confusion of names, the wife retained that of her family after
her husband’s. Demont had gained his first Salon medal in
1879 for a landscape. His wife won hers in 1881 for a superb
canvas, a ‘‘ Woman Bathing Her Children.” The vigor of
drawing, the harmony of color, and the clearness of characteriza-
tion which she had gained from her father’s tutorship stood her
in good stead. Her début was a success, and in 1883 she gained
her medal of the second class with a picture which the Govern-
ment purchased for the Luxembourg Gallery. While she has
gained her artistic ends in landscape and in portraiture, it is in
genre subjects in which children are introduced or play the
chief parts that she is most happy. Her sentiment is always
genuine, her subjects are well chosen, out of honest human
interest in honest human nature ; and while her execution has
a perfectly masculine spirit and strength, her feminine instinct
and delicacy of perception endow her idylls of the country
and the home with a special charm,
PAGE
97 The Twins : ; : : : =178
DIAZ DE LA PENA (NARCISSE VIRGILE) . Dec’d.
A romantically picturesque figure in art is that of Diaz. Born
in 1808, at Bordeaux, of Spanish parentage, he combined the
romantic blood of his paternal race with the more mercurial
Pea)
INDEX AND BIOGRAPHICAL NOTES. 43,
spirit of that to which he belonged by birth. Cast early on the
world, crippled by the loss of a leg through accident and neglect
at the age of fifteen, he was an errand boy and drudge in a por-
celain factory, where he got his first artistic education by copy-
ing the decorations on the pottery. It was at this period that
he made the acquaintance of Dupré, who was also employed as
a porcelain painter, and from this shop, after a quarrel with his
master, he drifted to Paris, to starve and fight his way to fame
_and fortune. It was a bitter battle. Hecommenced asa genre
painter, selling for a few francs pictures which he lived to see
held more precious than gold. In 1831 he appeared at the Salon
with some of his first landscapes, and thenceforth, although he
never altogether abandoned the painting of the figure, it was asa
painter of nature that he held his highest rate. A devoted admirer
of and believer in Delacroix, Diaz, like his brother master, was
a colorist of the most brilliant splendor. His feeling of color is,
however, in strong contrast to the fierce and energetic Delacroix.
With Diaz color was all mellowness and harmony of sumptuous
repose, and no painter has succeeded in rivalling his mastery of
that glorious glow of sunlight which warms his canvases as
with hidden fires.. He was one of the first artists to invade the
Forest of Fontainebleau in search of subjects, and at Barbizon
as at Paris he lived on terms of the closest amity with Millet
and Rousseau. Froin the commencement of his success pros-
perity showered on him, and he acquired enormous gains by
his art, which he dispensed with a hand which was never closed
to need or distress. The vitality of a joyous nature, which had
supported him through the afflictions of a laborious youth and
the privations of an early manhood of neglect, never failed
him, and one sees reflected in his works the spirit which
animated the worker. Toa third-class medal in 1844 followed
others of the second and first class in 1846 and 1848, and in
1851 Diaz was received into the Legion of Honor. He died
in 1876, at a villa at Etretat, which he had purchased that he
might bask in the sunlight he loved so well, and continued to
paint almost until the last. The greatest affliction of his life to
him occurred on the day when, wasted by disease and enfeebled
A4
THE SENEY COLLECTION.
by decay, his hand could no longer hold the brush which had
won him a double crown of laurels and of gold.
PAGE
31 Ln the Woods . ; ; Ra Sig . 144
52 An Opening in the Woods ; : luis 8
50: Higher s s, : ‘ ? : : rah TO
93 ul He Lf Chia pia nial eae ‘ ; ‘ ae ts
yiI20 ( viveninener . : : > . 196
154 .The Sultanas i ; : MiZoS
. 180 Le Temple del Amour. : : ae
. 195 After the Storm : : A : . 229
No. 231 Zhe Kaggot Gleaner , : ‘ , . 248
No. 260 Lu the Forest . i ‘ ; , . 265
No. 270 Virginand Child : ; : Rog
No. 280 Ln the Pyrenees ; . 3 : aF6
No. 282 Sunset after a Storm aed.
No, 294. Zhe Approaching Storm . - . eed
DOMINGO (JOSE) ... .
Among the compatriots in whom Fortuny discovered a genius,
which it was his always generous practice to encourage, was a
young Valencian named José Domingo. Thanks to the advice
and influence of his friend, Domingo was emboldened to under-
take the struggle for recognition as an artist which has placed
him in the van of his native school, and made him one of the
immortal figures in the great modern revival of Spanish art. He
grounded himself by a term of study at the Madrid Art School,
after which he passed some years in Paris, chiefly as a pupil of
Meissonier. From the first, his brilliant and delicately handled
genre pictures attracted attention. He possessed a keen eye for
character, bright and pleasing color, and a very accurate and
graceful draughtsmanship, and his earlier works bore a stronger
and closer resemblance to his master’s than perhaps did those of
q
ler:
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SS - =
a ee ee
INDEX AND BIOGRAPHICAL NOTES. 45
any others of Meissonier’s pupils. His southern spirit asserted
itself in a more sparkling style, however, and with very little
independent experience his originality made itself apparent.
With the energetic advocacy of Fortuny he was not long in secur-
ing patronage, and his pictures soon commanded high prices. As
early as 1878 he received 80,000 francs for a single work, ‘‘ The
Halt,” a cabinet piece less than a foot square, which was pur-
chased by the Viscount d’Opia. His popularity began early in
England and America, where he is now represented in all the
great collections, and next to the influence of his great leader, he
doubtless owes the permanent establishment of his prosperity
and fame largely to the endorsement of collectors of the Anglo-
Saxon race,
PAGE
No. 205 Zhe Bravo ; ; ; : : 235
Meer ures). Deceased.
When Jules Dupré passed away in the early winter of 1889, the
last of a generation of artistic Titans was laid to rest after labors
whose results will be imperishable in the art of the world.
Born at Nantes in 18g, Dupré was one of the mighty little
legion that redeemed French art from the lifelessness of classi-
cism and made it human and supreme. THe was born toa heri-
tage of poverty, and learned his first lessons in the humble
porcelain factory of his father ; but nature provided him with a
school to whose lessons his genius was actively alive. The in-
fluence of his early studies prolonged itself into his remotest
age. He was always the student of nature, who carried his
_ book and his palette into the fields and forests, and who taught
himself to walk with art and literature side by side. In 1831
Dupré contrived to find his way before the public as a painter.
On capital earned by painting china and clock-faces, he found
his way to Paris, where the great dead spoke to him at the
Louvre out of the canvases of Hobbema, of Ruysdael, and
Constable. In the Salon of 1831 he showed five landscapés, so
46
THE SENEY COLLECTION.
full of nature, so strong in style and direct in expression, that
they commanded immediate attention. Fortune was more kind to
him than she commonly is to genius. The Duke of Orleans, the
greatest art connoisseur of the day, found him out, and so he was
successfully launched. Patronage grew. He was not only able
to aid himself, but he was happy in the ability to reach out his
hand to his brother geniuses. Rousseau owed him much. Mil-
let was sustained by his zealous friendship. It was as if the
noble heart of the nature he loved had entered into the man.
Throughout his long life, the same great and unselfish spirit
added to his honors. In 1833 he received his first Salon medal.
In 1849 he was received inte the Legion of Honor, and in 1870
elected an Officer. At the International Exposition of 1867 he
achieved a triumph with twelve masterpieces. One by one he
saw his comrades of the days of struggle drop away from him.
At last, in his cottage at Isle-Adam, he remained alone in a vig-
orous and healthy age, with his books, his pictures, and the
memories which he unbosomed to the frequent guest of the
newer generation in art, who always found a welcome at his
board.
PAGE
32 Autumn : a5, PyTAs
53 The Old Farm , ; t : Le Ts Be
130 6©The Brook é : : . . 196
153 Ln the Channel . i : : : . 208
193 The Farm : ‘ : : , 228
230 Marine . ; : ‘ : : . 248
2084 (Ar Sea
BOOT SOUUSEONO : ; - , .
293 Moonlight me ee
DUPRE (JULIEN) 9.0), 2 2
Originally a student of the figure under Pils and Lehman,
Julien Dupré was doubtless directed in the path he has chosen
: : 5 a i
4 ‘ pe ‘ ..
~sP ; =" > a = ee
eae ee | ee er te ee FO
ie a ee 2 > -
et ee) Os ae OP ee ee a x
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= ey ae ee
oa
_
- INDEX AND BIOGRAPHICAL NOTES. 47
by his association with Laugée. Already, in 1876, he was a
painter of rustic scenes, in which landscape and _ figures pre-
served an admirable balance, as his ‘‘ Harvest” showed. In
1880 his two pictures at the Salon won him a medal of the third
class, to which others have since been added. He painted at this
period in a mellow and warm tone, with a heavy impasto and
powerful drawing. By degrees he abandoned this manner for
the higher key and brighter atmospheric effect inseparable from
painting much in the open air, while his drawing has also
become more delicate and refined. His pictures in which the
human figure and cattle are combined in the composition, show
him to be a master of form, while in landscape he paints with
commensurate skill. Among the younger painters of France no
talent better equipped or more symmetrical has developed itself.
Dupré is a native of Paris, where he was born in 1851, and isa
nephew of the great landscape painter, Jules Dupré. :
; PAGE
No. 68 2 the Hayfield , ane : : . 164
Bee wr (ALBERT) <5 Panis.
-
One of the most capable and successful of the many men of
ability who constitute the foreign painters’ colony in Paris is
Albert Edelfeldt. He isa native of Finland, and was born at
Helsingfors. His talent evinced itself in a degree that con-
quered the drawbacks attending upon an. art education in the
north of Europe, and after such rudimentary training as he
could acquire in his native city, he began painting in a modest
way onhisown account. His evident talent and sincerity won for
him an encouragement, thanks to which he was enabled to journey
to Paris, where he entered himself as a student at the Ecole des
Beaux Arts. He perfected and polished his technique as a student
in the studio of J. L. Géréme, but has never been influenced by
‘his master’s choice of subjects. With that often touching fidelity
to Fatherland whith rules the Northern and Saxon races, he
looked, from the gayety and glitter of the city of his adoption,
48
- PAGE
No. 69 Knitting . : ; : . 164
No. 123 An Interesting Book ; ; ; . 193
No. 185 Zhe Last Passenger . ; : : e224
No. 274. Lydia and Horace . : : : f27%
FORTUNY (MARIANO) . : ; : . Deceased.
THE SENEY COLLECTION.
back to his native land for the inspiration of its cool and spark-
ling waters, its windy skies, and its hardy toilers of sea and shore.
His earlier pictures were of a historical nature, it is true, gener-
ally of episodes concerning his national history, but he soon
drifted into a line of subjects which related to Finnish life and
manners, and by them he gained his first public distinctions.
He received a medal of the third class in 1880, one of the second
class in 1882, and at the last Universal Exposition in Paris was
one of the recipients of a Grand Prize.
It was the vigorous and original style of Fortuny which spurred
modern Spanish art to.a revival of life. Although he died
before he was forty years of age, he accomplished a work that
could scarcely have been improved upon in double the time
allotted to him. Much of his life was spent in Rome, where
he first went in 1856, as a winner of the prize and pension of
the Barcelona Academy, and his death was caused there by a
fever contracted while painting out-of-doors at an inclement
season. A Catalan by birth, Fortuny was possessed of all the
energy and progressiveness of that people, who are the leaders
of modern Spain in business and in art. It was in 1866 that he
first went to Paris, almost unknown; except to local honor in his
own section; but Zamacois, who recognized and honored his
genius, put him in contact with the house of Goupil, which
immediately began to push his claims upon the public. He
added to his reputation by marrying the daughter of the elder
Madrazo, in Madrid, in 1867. This tnion, by enlisting the
wide-reaching influence of the director of the Madrid Museum,
’
j
s
:
*
’
‘
INDEX AND BIOGRAPHICAL NOTES. AQ
made him as famous throughout Spain as the patronage of the.
-Goupils did in France, England, and America. Fortuny’s strong
personality formed him for a leader, and gathered to him many
gifted and distinguished followers. His studio in Rome was a
sort of court, in which all Spanish artists saluted him as mon-
arch. Among his friends was Professor Fernandi, a painter of
Malaga and afterward director of the art school there; and it
was during a trip they made together to Naples that Fortuny
. added to the picture of his comrade the figures and animated
accessories which give it life. The journey was made in the
summer of 1874. Within three months Fortuny was dead.
His name, which custom has abbreviated to that which his
genius made immortal, was Mariano Fortuny y Carbo.
PAGE
No. 210 «= Street Scene, Naples : ‘ : | BY)
FRERE (PIERRE EDOUARD) ..._. __ Deceased.
It was left for a pupil of Delaroche and a student schooled in the
classicism of the period over which Delaroche ruled, to create
an art in which every convention of classicism was reversed and
a new world of subjects opened up for the painter. Rustic
childhood, the babyhood of the farm, the fields, and the village
provided Frére with the material upon which to found his
enduring fame, and the amiable and gentle spirit in which he
bent himself to his task is reflected in the waive charm of the
productions of his long and industrious life. Frere was born at
Paris in 1819. At about the time when the naturalistic move-
ment was sending the men of 1830 to Barbizon, he found his
settlement in the little town of Ecouen, north of Paris but a few
miles, where he was destined to found a school known through-
out the world of art, and of art collectorship. He was the
pioneer painter at Ecouen, but did not long remain solitary
there. Other artists followed him, and pupils gathered about
him, just as the colony formed itself at Barbizon around Rous-
seau and Millet. The charm of his subjects gained for him an
4
50 THE SENEY COLLECTION.
early popularity which was materially advanced by the extensive
publication of engravings from his pictures. He came out at
the Salon of 1843, but had produced pictures of fine quality as
early as 1835. In 1850 he received his first medal, and in 1855 |
the Legion of Honor. The enthusiastic championship of John
Ruskin opened the rich market of England for his works. He
was an early favorite in America. In Germany he was received
with open arms, and so strong was his hold upon that nation
that when the Prussians plundered Ecouen, his house and studio
were held inviolate by them. His death in 1886 was made an
occasion of general mourning among his confréres, and the
eulogy at his bier, pronounced by Bouguereau, was one of the
most noble tributes ever paid by an artist to the memory of a
friend and colleague.
. PAGE
No. ro2 Vaternal Love . i ; : : , 182
FROMENTIN (EUGENE) . .. ... _ Deceased.
It was accident which made Fromentin an artist.. The son of a
well-to-do provincial lawyer, born in 1820 at La Rochelle, he
went at nineteen years of age to Paris, to qualify himself to
succeed his father. At twenty-three he received his diploma,
but a fit of illness, during which he solaced his enforced leisure
by gratifying his latent talent for drawing, turned him in the
direction of art. He studied under Rémond and Cabat, and his
earlier works show little of the feeling of those which rendered
him illustrious. While he was making his first experiments as
a student, Prosper Marilhat was creating a profound impression
by his oriental landscapes, and Fromentin, who in 1840 had
visited Algeria for pleasure, found himself attracted to these
subjects in which the gifted pupil of Roqueplan excelled. After
his first exhibits in the Salon of 1847, Fromentin again visited
Africa. In 1849 he commenced to exhibit Algerine pictures,
and they won him a second-class medal. He improved on the
_, INDEX AND BIOGRAPHICAL NOTES. 51
model of Marilhat by making figures important accessories of his
landscapes, and was speedily recognized as the most sympathetic
and poetical painter of Arab life in France. The deficiencies of
his early schooling in art prevented him from becoming a strong
draughtsman, but he amply atoned for this by his marvellous
faculty of realizing character and action. He was a brilliant
and glowing colorist, and possessed a delicate appreciation of
the elegances of composition, while never losing sight of nature
in artificiality of arrangement. His influence as the founder of
a school of oriental art was recognized by first-class medals in
1859 and 1868, and in the former year he received the Legion of
Honor, being made an Officer ten years later. He was as brill-
iant a writer asa painter. His picturesque works on Arabian
life'are accepted as standards, and his volume on the old masters
of Holland and Belgium is an authority in criticism. He also
wrote a romance, and many stories and essays. One of the most
cultivated and high-minded men of his time, he performed his
double labors of the brush and pen with a singularly happy
reciprocity of feeling, and his death, in 1876, left in the front
rank of French art a vacancy which has never been filled.
Followers and imitators he has had many, but among them no
successor to him has arisen.
: PAGE
No. -54 The Gazelle Hunt ., : : ‘ = 156
No. 134 Zhe Wheat Harvest . : . 198
No. 157 Zhe Meeting for the Chase EoD as:
No. 215 A Wind Storm on the Plains of Alfa . 240
No. 238 The Return from the Chase. : ot 2
No. 278 On the Alert . : : ; 275
FULLER (GEORGE) : , : : Deceased.
The appearance of George Fuller was one of the memorable
events in the modern art of America. His individuality was
so marked and the place he created for himself so unique that
52
THE SENEY COLLECTION.
he represents a distinct epoch of the history of painting on the
Western continent. Too modest and retiring, of too poetical
and sensitive a nature to aspire to the position of a leader and a
creator of a school, he yet, by the power of his art alone, gave
a strong impetus and a new direction to the art of his contem-
poraries. He was born at Deerfield, Mass., in 1822, and went,
as a youth of twenty, into the studio of Henry Kirke Brown at
Albany, N. Y., where he commenced the study of sculpture.
The art was too cold and forma] for his temperament, however,
and we next find him practising in a humble way as a portrait
painter, and studying such works of his predecessors as he found
accessible. After wandering about the country, and painting
for a time in Boston, he settled in New York, where for twelve
years he labored steadily, accumulating sufficient means to en-
able him to make atour of Europe. It was through his study
and observation abroad that he came into the style by which he
is most distinguished, a style which is melodic with simple and
tender poetry of thought and treatment. Once entered upon
this field, he painted steadily on, indifferent to popular patron-
age or praise, a true artist, devoted to his art in utter unselfish-
ness and sincerity. In 1876 an exhibition of some of his land-
scapes and ideal heads created a critical sensation in Boston,
and secured an endorsement which convinced the artist that he
had made no mistake in his method of expression. The support
of the critics was followed by that of the collectors, and his
works found a representation in private galleries throughout the
country. His fame was at its height, and his honors were
steadily augmenting when, in 1884, he died, leaving his life-
work to be crowned by a triumphant Memorial Exhibition of ©
his works in Boston, where he had located his studio. Mr.
Fuller was made an Associate of the National Academy of
Design in 1857, and only his neglect to exhibit during later years
with that institution prevented his admission to full member-
ship. As a colorist and a painter, his death was a loss to the
art of America which has not yet been replaced.
PAGE
No. 255 edalma , : ; : j ‘ . 262
y, APP oe
—_— ~—s ve
-
. INDEX AND BIOGRAPHICAL NOTES. 53
PEROMEQIEAN LEON). «. .. -...1 . ~ Paris.
A great French critic once described J. L. Géréme as standing
at the head of modern scholarly art. ‘The phrase was apt. The
most striking characteristic of his art is the idea it conveys of
vast knowledge, and of logical and searching study, apart from
the technical perfection of the art itself. The artist and the
scholar are indeed closely united in the pupil of Delaroche, who
followed his master into Italy half a century ago, and who in
all the years that have since elapsed has never quite forgotten
the classical lessons of his youth. Géréme was born in Vesoul
in May, 1824. In 1847 he won his first medal, although he
failed to secure the Prix de Rome. He consoled himself for the
latter loss by visiting Russia and Egypt on his own account, and
while he found little in the former country to attract him, he as-
sembled in the latter the first installment of that material by
which his greatest popularity has since been gained. In spite
of his ‘‘ Phryne,” his ‘‘ Diogenes,” his ‘‘ Alcibiades,” and the
rest of a long list of powerful and remarkable classical and
historical subjects, the Gér6me who will be best remembered
by the world is the Géréme of Egypt and of Africa, the painter
who has made these countries live as picturesque facts for us,
where Delacroix and Fortuny and their followers and imitators
have made them the subjects of romances of color and of sub-
ject. It is not astonishing that an artist of so symmetrical and
well rounded a genius should be an able sculptor as well as a
painter. Gérdéme, as long since as 1878, received a medal for
sculpture, and some of his plastic productions are likely in the
future to receive the honor that falls to the sculptor of the first
rank. Every official honor that falls to the French master of
our time has fallen to him. He has been a Commander of the
Legion of Honor since 1878, a Member of the Institute since
1875, a Professor of the Ecole des Beaux Arts since 1863. His
medals of gold and silver fill a cabinet. The Medal of Honor,
that crown and glory of an artist’s ambition in the Parisian con-
test for fame and fortune, came to him thrice. In every art
museum of his native country and most of the great public gal-
54
THE SENEY COLLECTION.
leries and private collections of the world his works find repre-
sentation. Perhaps no artist ever lived who enjoyed a greater
share of the rewards of genius during his lifetime. Certainly
few have had as many bestowed upon them while their capacity
for profiting by them was yet unimpaired.
PAGE
No. 246 The First Kiss of the Sun : : 250
GIFFORD (ROBERT SWAIN), N.A. . : New York.
About a quarter of a century ago, a now forgottén Dutch ma-
rine painter, Albert Van Beest, was settled at New Bedford,
Mass., where, what with the whaling and fishing fleets and the
scenery of the convenient coast, he found busy employment for
his brush. Among the not over-numerous young New-England-
ers who took a real interest in his work was Robert Swain Gif-
ford, the son of townspeople who had brought him from the
Island of Naushon, Mass., where he was born. The boy had
been given a sound education, with a view to promoting his for-
tunes in business life, but displayed such a marked taste for
drawing that his artist friend encouraged him to cultivate it.
So young Gifford became a pupil of Van Beest, and in time,
is
>
after a fashion, his assistant. In 1864 he was sufficiently ad-
vanced to open a studio for himself in Boston, and in 1866
he found himself still further able to remove to New York,
where, save for his periods of travel, he has since resided. In
1867 he was made an Associate of the National Academy, and
after a couple of years of successful labor was enabled in 1869
to make extended sketching tours of California and Oregon, which
he followed, in 1870 and 1871, with trips to Europe and North
Africa, which he repeated in 1874 and 1875. From each of these
wanderings he came back artistically strengthened and improved
by study and observation. Not having been hampered by any
special school, he had cultivated an original style, and his works
were characterized by a strong treatment and a simple but fine ~
and harmonious color. He was especially happy in his rendi-
INDEX AND BIOGRAPHICAL NOTES. 55
tion of American landscape, which he invested with strong char-
acter and much poetical sentiment. In 1865 he commenced .
painting in water colors, in which, medium he speedily became
as proficient as he was in oil, and he was one of the founders of
the American Water Color Society in 1866. At the Centennial
Exhibition in 1876 he was awarded a medal of honor for paint-.
ing in oil, and in 1878 he became a full member of the National
Academy. His ‘‘* Near the Coast,’ which was awarded one of
the $2,500 prizes at the First Prize Fund Exhibition at the’
American Art Galleries in 1885, is now in the Metropolitan
Museum collection. Mr. Gifford has won distinction as an
etcher as well as painter. He isa member of the New York
Etching Club and of the British Society of Painters Etchers, and
was one of the most influential of our artists in bringing about
the revival of etching in America, which has produced such note-
worthy results of recent years.
PAGE
No. 33 Woods in Autumn .., ‘ : ; AS
‘No, 112) WZ idsummer, Dartmouth ., ; : iO 7
GRISON (JULES ADOLPHE) ; : : : Paris.
It is a curious fact that one of the most accomplished and spark-
ling painters of the costume school in Europe to-day, a man
whose eminence the future will assuredly acknowledge, is, apart
from his works themselves, almost entirely unknown to the
world. Jules Adolphe Grison is a native of Bordeaux, and he is
a pupilof Lequien. Hissubjects, almost entirely drawn from the
life of the seventeenth and eighteenth centuries, exhibit him as
an artist of infinite humor, acute judgment of character, and
technical skill of a rare order. His color is gay and. brilliant,
his touch rapid and clear, and he possesses the faculty, once
unique with Meissonier, of imparting to his minutest cabinet
compositions the solidity and breadth of works of the largest
scale. While his productiveness is chiefly concentrated on pic-
_ tures of the cabinet size, he has completed larger ones which
50
THE SENEY COLLECTION.
No.
No.
No.
GUY (SEYMOUR JOSEPH), N.A. < , New York.
show him to be equally at home in the more ambitious dimen-
sions to which they are adjusted. He paints interiors rich in
detail, and landscapes bright and smiling in the sun, with a com-
mon felicity, and his hand is as ready in the delineation of the
most dazzling sunlight effects as in the ripeness of the most
sumptuous shade.
PAGE
47 Lhe Bachelor's Towlet : : 3 ~252
103 Lhe Critic : : : : ‘ 183
299 Retribution : ; : ree . 288
In 1854, the artistic colony of New York received an accession
whose merit assured its welcome. Seymour J. Guy, an English-
man from Greenwich, and a pupil of Buttersworth and of Am-
brose Jerome, crossed the Atlantic to make his home in the New
World, and, as circumstances proved, to assist in the building up
of its art. Mr. Guy commenced his labors in America as a por-
trait painter, with considerable pecuniary and artistic success.
Emboldened by this, he made some essays in genre subjects
which secured a ready favor and laid the real foundation of his
reputation. In 1861, he was made an Associate of the National
Academy for one of these works, and in 1865 he became a full
Academician. A man of amiable personality and domestic tastes,
he chose his subjects from the field of home, which makes the
most direct appeal to the public ‘heart. A painter of sound
technique, good in color and in drawing, and conscientious to a
degree, he never passed from his easel a canvas upon which he
had not expended the resources of his art. As a consequence he
has produced comparatively few: pictures in proportion to the
years and regularity of his labors, and has-sustained in them a
level excellence of quality not always to be found in any single
artist’s productions. It has been well and truly said of him that
in his pictures which relate to scenes and incidents drawn froin
_ child-life, with their rich color, their delicacy of. finish, and the
INDEX AND BIOGRAPHICAL NOTES. 57
charming sympathy with which he translates the spirit of his
subject, he has no superior in American art.
PAGE
63 Making a Train : : ‘ : . 161
HARLAMOFF (ALEXIS). . . ._ St. Petersburg.
One of the first native painters of Russia to contribute his share
toward the creation of an art for his country during this genera-
tion was Alexis Harlamoff. He was born at Saratoff in 1849,
and a precocious talent led to his being sent in boyhood to St.
Petersburg, where he became a student in the classes at the
Academy. He studied painting under Professor Markoff at
the Academy, and in 1870 succeeded in winning the prize which
entitled him to a period of study in Rome at the Government
expense. From Rome he went to Paris, where he studied under
Bonnat, and, with the wandering and eclectic spirit of his nation
strong within him, he also spent several years. of independent
experiment and development in Belgium, Holland, and Ger-
many. In 1878 he won a second-class medal in Paris, and was
made a member of the St. Petersburg Academy. His paintings
are characterized by graceful drawing and agreeable color, and
apart from his works of gezre, which are his most characteristic
productions, he has executed a number of portraits of historical
importance as associated with the nation of his nativity. Among
those of the first note are to be mentioned the best portrait
known of the Czar Alexander II., and a striking and strong
individualization of the great Russian novelist, Ivan Turgenieff.
PAGE
No. 264 The Flower Girl , , : : . 267
HARRISON (THOMAS ALEXANDER) . . Paris.
Of three brothers, each of whom has made a distinct artistic
impression, the painter of ‘‘ La Crépuscule” and of ‘‘ Arcady”
58
f
THE SENEY COLLECTION, ~
is the leader in years and the chief in artistic cultivation.
Thomas Alexander Harrison was born in Philadelphia, on Jan-
uary 17, 1853. His early studies at the Pennsylvania Acad-
emy of Fine Arts and in the San Francisco Art School were
succeeded by his settlement in Paris, where he entered himself
as a student at the Ecole des Beaux Arts, and as a pupil of
Gérdme. There are no indications of this master to be dis-
covered in his style, however, for, with the rest of the gallant
young band who went to nature for inspiration and for subjects,
he soon passed from the influence of school, carrying with
him, however, the admirable technique upon which he created
his later style. In the Salon of 1880 his first exhibit, a scene
on the Breton coast, marked him out as a man to be watched
with interest, and two years later, his ‘‘Castles in Spain”
denoted that critical judgment had not gone astray. This
picture, representing an idle lad basking in the sun on the
sea-shore, and building air-castles to the chorus of the waves
on which his boyish fancy goes adventuring, has become
widely known by reproduction, and secured for the painter
the commendation and support from artists, critics, and con-
noisseurs which is the artist’s best encouragement. Other
works of equal quality followed in steady succession, and in
1885 a representation of surf and sea, under a rising moon,
called ‘‘ La Crépuscule,” secured one of the $2,500 awards of
the First Prize Fund Exhibition at the American Art Galleries
in New York, and is now in the galleries of the St. Louis
Museum, to which it was assigned. This sincere and powerful
work had secured for the artist an honorable mention in the
Salon of that year. At the Paris Universal Exposition, 1889,
he was awarded a gold medal, and made Chevalier de la Legion
a@’Honneur and Officier ad’ Instruction Publique. From the
Salon of 1890 his picture, ‘‘ Paysage, Une Riviere,” was pur-
chased by the Socideté Nationale des Beaux Arts, for the
national collection of France. The same year his picture
‘* Arcady ” was awarded a medal at the Munich Salon. He
was appointed a member of the jury of the Salon Champs de
Mars, 1890. Mr. Harrison is in his art essentially a realist,
No.
HE
INDEX AND BIOGRAPHICAL NOTES. 59
which means a painter of realities, and also an impressionist, in
the sense of having the faculty of experiencing and conveying
the sentiment of a subject. When he paints the figure he en-
dows it with the substance of life; his landscapes carry with
them the impression of sunlight and air, and his sea has the
mystery of fathomless depths beneath its painted waves.
: PAGE
201 La Crepuscule . ; : : . coe
BERT (ANTOINE AUGUSTE ERNEST) . Paris.
More than half a century ago, there was a young law student in
Paris who worked in his leisure as an amateur sculptor in the
studio of David of Angers, and as a painter in the adeer of
Paul Delaroche. He was born in Grenoble, in 1817, and was
generally looked upon as a likely great barrister and art col-
lector of the future. In 1839 he graduated as a lawyer. The
same year he astonished every one by taking the Prix de Rome,
and going off to Italy to devote himself altogether to the
study of art. The museum at Grenoble purchased another of
his pictures the same year, and the general anticipation was
that he would go on adding success to success. However, in
Heébert’s case it has always been the unexpected that happens.
He exhibited no more until 1848, but in 1850 he sent to the
Salon a picture called ‘‘ The Malaria,” which fascinated Paris
and spread his fame throughout the world. The subject was an
Italian peasant family flying in a boat from the deadly fever
that ravages the Pontine marshes. Thenceforth Heébert’s
artistic position was assured. He painted historical, biblical,
and genre subjects and portraits, and found for everything a
ready acceptance. Poetry of conception, elegance of execution,
and a fine feeling for color were his characteristics. To a first-
class medal in 1851 was added the Legion of Honor in 1853,
and in 1874 he was created a Commander of the Order. The
same year saw him admitted a Member of the Institute, while
foreign governments added to his share of honors. From 1866
60
No.
No.
HE
THE SENEY COLLECTION.
until 1873 Hébert was Director of the French Academy at
Rome, and in 1885 he was again appointed to the position,
which he still holds. In latter years he has devoted himself
largely to works of a more allegorical and sentimental character,
in which direction he has produced some remarkable decorative
pictures. His works have an invariable distinction, a true
sentiment, perfection of drawing, and a perfectly Venetian rich-
ness of color. A man of strong mind and profound thoughtful-
ness and seriousness of purpose, his place in modern art is one
which can be filled by himself alone, and for which there will
be no substitute when he passes away.
PAGE
9 Lora ; J 2 : : 7 Ree
170 Music, : . : : : $c3
FFNER (KARL) . : 5 : : i London.
The proverb which notifies us that a prophet requires to go abroad
in order to have his gifts of prescience recognized at home, is
amply illustrated in the case of Professor Heffner. England had
long accepted, honored, and rewarded him as a painter of the
foremost rank, before Germany awoke to a critical comprehen-
sion of his existence. She has since atoned for her negligence
by loading him with praise, so that the debt may be regarded as
in part paid. Professor Heffner was born at Wurzburg in 1849.
He received his training at Munich, but did not really find his
way into his proper path until he went to London and discovered
in the scenery of England that which most directly and strongly
appealed to his sentiment and temperament. He has painted
Continental subjects of all varieties, from Italy to the remote
North, but his English landscapes are those in which his greatest
art is displayed. The alliance of land and water is his favorite
theme. Wide rivers, showery skies, wastes of marshland, and
the luxuriant vegetation of drowned meadows and groves rooted
in the moist soil of alluvial streams, provide him with his best-
loved material, Among these he is at home, as Daubigny was
INDEX AND BIOGRAPHICAL NOTES. OI
on the placid current of the Oise, as Millet was in the fields of
Barbizon, and Corot among the silvery willows of Ville d’Avray.
Next to his English subjects in quality will probably rank his
views in the Pontine marshes, amid whose picturesque and ma-
larial solitudes he has secured many striking and finely rendered
passages for his brush. Until very recently, the collectors of
England absorbed most of his productions. Since special ex-
hibitions have been made of them in Germany and New York,
the wider range of collectorship contends for their possession.
PAGE
No. 198 The Gloaming . : : : : 230
HENNER(JEAN JACQUES). . . . Paris.
Sixty years ago there entered the studio of Gabriel Guérin, at
Strasbourg, a rustic-looking young Alsatian named Henner. He
had been born at Bernweiler in 1829, and had already developed
a marked gift for drawing. After some seasons under Guerin,
which witnessed in him a rapid improvement, he went to Paris,
where he entered the Ecole des Beaux Arts, and became a pupil
of Picot and of Drilling. In 1858 he succeeded in winning the
Prix de Rome, which gave him five years of study in Italy, fol-
lowing which he visited and painted in Dresden, and travelled
extensively in Holland. Commencing as an historical and por-
trait painter, he eventually settled down to the practice of the
loftier and more refined form of naturalism, the idealization of
human beauty into the poetry of art. No painter since Titian
and Correggio had succeeded in securing in the rendition of the
nude such charm of color and purity of expression, and he was
not long in creating a unique place for himself in his art. His
«¢ Susannah,” in 1864, carried the day for him in Paris, and was
purchased for the Luxembourg Gallery, of which it is one of the
masterpieces. Among his nymphs and Magdalens Henner pro-
duced also a number of paintings on religious subjects, of a
grand style of execution and a noble elevation of feeling. One
of his most original and dignified works of this order is his
62 THE SENEY COLLECTION.
*‘John the Baptist,” the head of the decapitated saint being
shown on a salver, and being a masterly portrait of one of the
artist’s friends. Henner received his first Salon medal in 1863,
since which time the full complement of national honors has been
successively accorded him. He was received into the Legion
of Honor in 1873, and became an Officer in 1878. Henner, in
speaking of himself, tells a touching tale in honor of his family.
His father, a poor carpenter, was the first to appreciate and
encourage his son’s talent, denying himself that the boy might
be advanced. When, worn out with ceaseless toil, the old man
passed away, he bequeathed the duty he had assumed to his
children, and they, in their turn, labored to keep up and develop
the brother of whom they were so proud. It may be added that
Henner was worthy of their sacrifices, and that the splendor of
his genius and the substance of its rewards have enriched those
to whose unselfish devotion he owes the cultivation of the one
and the possession of the other.
PAGE
No. 55 deal Head , : ‘ : i 156
HOVENDEN (THOMAS), N.A. . .. —._ Philadelphia.
A picture of unusual attractiveness at the Paris Exposition of
1878 was entitled ‘‘A Breton Interior, 1793.” It was a his-
torical gexre of the Vendean wars, painted with much force and a
strong realization of character. The artist was Thomas Hoven-
den, a native of Dunmanway, Ireland, where he was born in
1840, but for a number of years a resident of America. He
had received his first instructions at the Government Art School
of his native city, and coming to the United States in 1863, had
continued his studies at the National Academy of Design,
working for a living by day and toiling in the night classes after
dark. In 1874 he had made such progress that he resolved to
devote himself entirely to art, and, going to Paris, he was for a
year a pupil of Cabanel, and for a number more a student at
the Ecole des Beaux Arts and a member of the famous foreign
INDEX AND BIOGRAPHICAL NOTES. 63
artistic colony at Pont Aven, which Robert Wylie had founded.
His first original works were all of Breton subjects, but since
his return to America, in 1880, he has found his material in the
_ native life about him and in our national history, to both of
which his brush has contributed important illustrations. His
first important picture upon his return was, however, of a poet-
ical subject, ‘‘ Elaine,” and upon the exhibition of this work, in
1882, he was elected a member of the National Academy. His
studies of negro life, so true in character and .delicate in
humor, enjoyed the widest success, and his ‘‘ John Brown Being
Led to Execution,” at the Academy of 1884, established his
reputation as a painter of history. His ‘‘In the Hands of the
Enemy,” at the Academy of 1889, representing an episode of
the Battle of Gettysburg, was the centre of attraction for the pub-
lic at that exhibition. Mr. Hovenden has won a separate reputa-
tion as an etcher, by the production of some powerful plates after
his own pictures, and he is a member of the Society of Ameri-
can Artists, the American Water Color Society,.and the New
York Etching Club,
PAGE
34 Grandfather's Commission : : . 146
HUGUET (VICTOR PIERRE)... er her Paris.
Having learned to draw with a compass and a ruler in an arch-
itect’s office to please his parents, Victor Pierre Huguet entered
as a student at the Marseilles Academy to please himself. He
found a good master there in Loubon, who is less known as a
painter than as the friend of Millet and the other great artists of
the Barbizon group. Loubon was one of those men who have
the gift of teaching, and under his guidance the feet of young
Huguet did not stray from the path. He spent a year in Egypt
after leaving the academy, and when Duraud-Brager was sent
on a commission to the East, it was Huguet’s good fortune to
be taken by him as his azde. They were at Constantinople at
the outbreak of the Crimean war, and after serving through it on
64
THE SENEY COLLECTION.
the fleet, Huguet went back to Egypt again. In 1858 he
settled in Paris, and in 1859 he exhibited for the first time at
the Salon, he being then twenty years of age. A fortunate sale
of pictures in 1867 enabled him to visit Algeria, and here he
commenced the series of subjects from that colony by which he
has become known. He has practically made Algeria his home,
for he has his house and studio there, and is more a visitor to
than a resident in Paris ; consequently, his scenes of the camp
and the desert are really painted on the spot. The glaring and -
blinding brilliancy of sunlight with which he pervades his pict-
ures, is the light in which they are executed, mirrored, as it
might be, on the canvas by the magic of his hand. Huguet’s
first Algerine picture, which he exhibited in Paris in 1866, was
purchased by the Government, and since that time his works
have been acquired for the local art museums of all the greater
French cities, and have even found a place in the palace of the
Sultan at Constantinople. He stands supreme among living
painters of oriental life and scenery, both as a colorist and a
delineator of the natural features of the country and of human
form. Although ranked among the impressionists, he is in fact
a realist of extraordinary finesse and force of technique.
PAGE
No. 60 Sathing the Horses , ; , . . 159
INNESS (GEORGE), N.A. : en ht : New York.
The voice of criticism is unanimous in according to George
Inness the place of first eminence in American landscape art.
His fame is international, and his pictures are received abroad
with equal honor to that which they enjoy at home. He paints
nature as other men paint history, and gives to his least sig-
nificant studies a touch of that grand style which characterizes his
more matured works. He was born at Newburgh, N. Y.,in 1825,
and commenced his art life as an engraver on steel. A some-
what frail physique and consequent ill health from the confine-
ment of his profession forced him to abandon it, never to take it
*
ee
INDEX AND BIOGRAPHICAL NOTES.
65
up again. During the years of his boyhood his health precluded
any absorbing study, and it was not till he was twenty years of
-age that he received any formal lessons in painting. These were
imparted to him by Regis Gignoux, and constitute his entire art
study under instruction.
He, however, studied much after his
own fashion, and having married in 1850, was enabled, by the
friendly liberality of a wealthy patron, to visit Europe.
He
began to paint in the elaborate and detailed style then in vogue,
but the bent of his own ideas, and experience with the works of
others during his various visits and residences abroad, gradually
strengthened and broadened his manner, and created in him that
self-reliance and individuality of thought which reflect them-
selves in his later work.. A student of all that was good, irre-
spective of schools or methods, a thoughtful and analytical
nature, and the capacity to create out of facts new combinations
and applications of them, in time produced their natural result
in him.
It is to be noted that Mr. Inness is one of the few of
our older artists who have in their art remained young. He has
never ceased to advance.
One style was but the stepping-stone
to another, and all experience has been to him ‘‘an arch where-
thro’ gleams the untravelled world, whose margins fade forever
and forever from the sight.”
A grand figure in our art, and an
immortal one, he still preserves in his: life the simplicity and
frankness of his earlier years ; and, living for his art alone, is
yet independent of his art, a personality of singular and fascinat-
ing interest.
Mr. Inness was elected to an Associateship of the
National Academy of Design in 1853, and in 1868 became a ful] ~
Academician.
His works, which are practically a record of his
art'life, include many episodes of European as well as American
landscape, and they culminate in the magnificent series of native
subjects which he has executed during the past decade of his
ceaselessly industrious career.
4
37
46
66
Sunset
Springtime, Medfield, Mass. |
The Last Glow
5
on
.
Winter Moonlight.
»
PAGE
aoe
. 147
EIS2
163
PAGE
No. 116 Twilight . ; : . 189
No. 136 Sunset. : ; : ‘ . 199
No. 150. October”: : ‘ . 209
No. 168 A Virginia Sunset . ; , aaza5
No. 182 Zhe Coming Storm . é ; ‘ a2 a2
No. 214 Sunset, Nantucket. : : eR
No. 224 Moonlight in Virginia. ; ; vaud
No. 247 Zhe Evening Glow . : ‘ Mecr
ISABEY (EUGENE LOUIS GABRIEL) . Deceased.
THE SENEY COLLECTION.
The son of a famous master of miniature art, Eugéne Isabey |
lived to overshadow his father’s fame. He was born at Paris
in 1804, and commenced his career as a painter of genre. He
early began to experiment in marine painting as well, and
during all his long career divided his labor between these two 7
lines of subject. He received a first-class medal as early as
1824, and in 1827 was awarded another, the first being for a genre
and the second for a marine picture. In 1830 his fortune was
finally assured by his appointment as royal marine painter with
the expedition to Algiers. His works were received into the
most important museums of France, and collectors contended for
them for private galleries. Toasumptuous and glowing palette,
Isabey allied a remarkable nervous facility of handling, which
gave to his pictures a vivacity and sparkle of execution in keep-
ing with their splendor of color. His style was thoroughly
original and his sense of the picturesque so strong, that the sim-
plest subjects acquired an interest through his treatment of them.
He belonged to the romantic rather than the realistic school, and.
the same spirit which animated Hugo and Gautier in literature,
inspired him in his art. He was as successful in water colors as
in the more powerful medium, and the many lithographs which
he at one time executed are now highly prized. Having had the
Legion of Honor conferred upon him in 1832 for his pictures
during his Algerine expedition, he became an Officer in 1852. -
INDEX AND BIOGRAPHICAL NOTES. 67
Ceaselessly active during a career of over sixty professional.years,
he left perhaps fewer works unworthy of his genius than any
other painter of his period. His fortunate gift of impressing
himself thoroughly on everything he touched never deserted
him, and his command of color remained with him to the last.
He died in 1886, and the sale of his studio collection was one of
the art events of the Parisian year.
PAGE
8 The Black Squall. ' : t i ta3
108 Onthe Jetty. : 5 ; ‘ . 185
135 The Fisherman's Family . : . . 199
228 The Wedding Festival : : k roa
B07, t. Jiubert’s Day. : é : 205
ISRAELS (JOSEF). . . . . . Amsterdam.
Josef Israels, who stands beyond peer at the head of the Dutch
art of modern times, was born at Gréningen in 1824. He be-
came a pupil of Cornelis Kruseman in Amsterdam, from whom
he learned the frank and simple style that has characterized his
native art since the days of the older masters. From the studio
of Kruseman he wandered to the altogether antithetical atmos-
phere of the Picot atelier in Paris. The result of his studies
was a historical composition in imitation of the grand style,
the subject, which was shown in 1855, being ‘‘ William the
Silent Defying the Decrees of Spain.” Its comparative failure
directed the artist’s talent into a more congenial channel, and
he commenced the production of those genre pictures with
which his name will be forever associated. He sought his sub-
jects, as all of the great painters of Holland have, in his own
land, and in the life of its rustic and semi-maritime population
found his best inspiration. He has done for the peasantry of
the Netherlands what Millet did for that of France, but with a
more hopeful and less tragic spirit. The pleasures and pains of
the poor he treats with a tender brush, through which flows the
sentiment of a sympathetic heart. His color, rich and subdued,
68
JACQUE (CHARLES EMILE) . . . . Paris.
THE SENEY COLLECTION.
but never sombre, lends to his works a noble seriousness and
adds to their human sentiment a distinct poetic charm. It has
been through productions of this character that Israel’s fame
has come to him. Medalled in Paris in 1867, in the third class,
he received a first-class medal in 1878. Received into the
Legion of Honor in 1867, he became an Officer in 1878. It was
always to the painter of humble Dutch life that the French -
juries extended their honors, and his earlier essays at historical
composition are forgotten in his later fame, and disdained by
himself since his genius received its true direction and com-
menced to earn him the position which he legitimately holds in
the art of Holland and of the world.
PAGE
23 The Fisherman’s Children : : / 140
43 Making Pancakes . : : : iso
106 Home Duties . ; : : . 184
142 The Sailboat . d : : 3 eo
181 The Frugal Meal . : ; ; . 222
208 The Fisherman’s Daughter : : . 236
266 When One Grows Old 2 ; : . 268
298 Infancyand Age . : ; . 284
Charles Emile Jacque is the last survivor of the era of artistic
revolution in France which has revolutionized the art of .the
world. His early life was even more varied and laborious than
usual with the men of 1830, but happier in having involved fewer
vicissitudes for him. Born in 1813, he was in early life a map
engraver and a soldier. Later he practised engraving on wood,
from which he rose to drawing and etching. The practical side
of his character enabled him to escape those severe privations
which harassed many of his gifted contemporaries, and gave
him opportunities for artistic experiment which resulted in his
early acceptance as a painter of landscape and animals of the
in the portfolios of collectors.
INDEX AND BIOGRAPHICAL NOTES. 69
ane
first rank. His earliest exhibits were of etchings and engrav-
ings, and though he began to paint in 1845, and was medalled
for engraving in the Salons of 1851, 1861, and 1863, it was not
until 1861 that he received official recognition as a painter. In
1867 he received the Legion of Honor. Jacque is by choice a
painter of rustic life with a predisposition to the humbler animal
side of it. His hobby fora long time was for poultry. He bred
fowl, even wrote a book upon them, and made them the most
important accessories of his barnyard and village scenes. The
pig found also its share of favor at his brush, but his most rep-
resentative and characteristic pictures are those in which sheep
play a prominent part. His early training renders him a firm
and precise draughtsman, and his handling of color ‘is broad,
decisive, and powerful. While extremely careful and accurate
in detail, he never descends to over-elaboration, and his command
of textures in the delineation of animals is supreme. It has
been his good fortune to enjoy a high degree of deserved popu-
larity, and so great was the demand for his pictures that for a
number of years he did not appear as an exhibitor at the Salon,
which may doubtless account for his not having secured a longer
list of honors. Apart from his painting, Jacque has earned an
eternal meed of gratitude by his service in the revival of the art
of etching, and examples of his plates are now treasured rarities
PAGH
5 Morning . : : A : ; a eey
45 Landscape and Sheep ; : : . 151
109 The Hillside Pasture ; . 186
140 Stormy Weather : : i 208
. 203 A Morning Call : ‘ : : 234
251 Lhe Shepherd . : ‘ : : . 260
JACQUET (JEAN GUSTAVE) ... : , Paris
A pupil of Bouguereau, Jacquet has chosen for his artistic avoca-
tion the perpetuation of the charms of womanhood, His genre
7O
THE SENEY COLLECTION.
pictures and his portraits are almost entirely devoted to the fairer
sex, whose grace and beauty he renders with beautiful color and
a graceful brush. His female portraits especially have a
strength, expressiveness, and delicacy of tone that render them
essentially pictures. Born in Paris in 1846, Jacquet has always
been a thorough Parisian in his art. He commenced to exhibit
at the Salon before he was twenty years of age. In 1868 he
gained his first medal, and for a period produced pictures of a
historical character, the subjects being usually drawn from the
past. It was not until his admission into the Legion of Honor,
in 1879, that he began to give his attention to modern life. As
he himself says, when he began to paint, the fashion of the day
made the prettiest woman ugly and ungraceful, and he was
forced to go back to the sixteenth century for material. Since
the abolition of the crinoline he has returned to the present.
Jacquet owns in the Parc Monceau one of the most luxurious
studios in Paris, and his house is a perfect museum of antiquities,
many of priceless rarity and historical interest. He is strongest
and most brilliant in single-figure pictures, as a painter of which
he ranks among the foremost artists of France.
PAGE
6 The Brunette . : : : Saae . 132
. 100 Winter ., TY ee ; ; E . 181
. 169 Roused from Reverie : : : . 216
. 225 The Falconer . : ; ; : . 245
JOHNSON (EASTMAN),N.A. . . «New York.
At the head of American portrait and geve painters, and occu-
pying in society a position of equal honor and regard, Eastman
Johnson is a unique figure in our art of the present half of the
century. Born in Maine, he began as a young man to earn his
living by portraiture in crayons, in which he met with sufficient
success to enable him to make a voyage to Europe and spend
two years in Diisseldorf, where he first painted in oil. In Italy,
Paris, and Holland he perfected his powers, and here he exe-
INDEX AND BIOGRAPHICAL NOTES. 71
cuted the first paintings by which he attracted attention. His
subjects were of the humble life around him, and in 1860, when
he returned to America and became a National Academician, he
commenced to look for material in our own more picturesque
than pretentious surroundings. His delineations of domestic
life, his negroes and country children, pictures of farm labor and
"merriment, and the rest, stamped him as an acute observer as
well as an able technician, and gave his excellence of style a
permanent place in popular favor. His was an art that grew.
The reflection of his early schools became absorbed in a thor-
oughly original style, characterized by fine, 1ich color, tender
depth of tone and great vigor of broad handling. In his por-
traits he often reached a truly historical grandeur of characteriza- —
tion and execution. No American artist has ever exhibited
greater individuality or more decided independence in choice
and treatment of subject than the painter of ‘‘ The Corn Husk-
ing ” and ‘‘ The Old Kentucky Home,” to whom every phase
of American life seems equally accessible, and in whom New
England and the Great West, the North and the South, find an
equally sympathetic and truthful interpreter.
. PAGE
meer ize Culprit... : 140
No. 118 Sunday Morning (in casita Aas
W.\Whittredge, N.A.) . . 190
No. 141 Zhe Bath é : F : , . 202
No. 227. Zhe Pension Agent . / : ‘ . 246
JONES (H.BOLTON),N.A. . . . . New York.
One of the present generation of American landscape painters
who has achieved a well-merited success, H. Bolton Jones is an
illustration of how originality of ideas and singleness of purpose
may triumph over the influences of foreign travel and surround-
ings. Mr. Jones is a native of Baltimore, born in 1848, and
began painting in that city. He has travelled abroad, and his
72
THE SENEY COLLECTION.
style bas been strengthened and rounded out by contact with the
great schools of modern art, particularly in France; but in his
representation of native landscape he is ever and always original
and thoroughly national in thought and feeling. His preference
is for the simpler and least ostentatious phases of pastoral scen-
ery, and he has provided us with a valuable record in the many
admirable works which have left his easel. He adheres closely
to detail, but exercises a fine discrimination between detail and
over-elaboration. Bright and sunny scenes are those which he
most favors, and he paints them directly from nature. His
color is strong and clear, and his technique marked by a mas-
terly precision and decisiveness of touch. It was in 1874 that
Mr. Jones’s first exhibit at the National Academy of Design was
made, the subject being ‘‘ Summer in the Blue Ridge.” At the
Centennial Exhibition, in 1876, his ‘‘ Ferry Inn” gave a decisive
turn of critical favor in his direction, and his ‘‘ Return of the
Cows, Brittany,” won commendation for him at the Paris Expo-
- sition of 1878. At the Salon and at all of our American exhibi-
tions of art his pictures have acquired renewed and increased
regard, and among private collectors they enjoy the highest es-
teem. Mr. Jones was elected an A. N. A. in 1881 anda National
Academician in 1883. He is alsoa leading member of the So-
ciety of American Artists and of the American Water Color
Society, and displays in the latter medium a proficiency and
power that equal his work in oils.
PAGE
No. 167 September : : 215
KNAUS (LUDWIG) " : . ‘ i Berlin.
Ludwig Knaus enjoys the unique distinction of being accepted
by Germany as her chief painter of gewve, and by the world as
one of the leading masters in that walk. He owes this double
triumph to the variety and independence of his genius. Paint-
ing in Germany and delineating German subjects, he still does
so in a style so original, so brilliant, and so cosmopolitan that
INDEX AND BIOGRAPHICAL NOTES. 73
his pictures command the same attention from the stranger, and
exact the same respect and admiration for him, as they win for
him at home. Knaus was born at Wiesbaden, in 1829, He
was a pupil at the Diisseldorf Academy of Sohn and Schadow,
but his graduation in art, after a couple of visits to Italy, oc
curred in Paris, where he spent eight years studying the methods
of the French painters. It is to this that he owes the emanci-
pation of his style from the formality and mannerism of his
original schools, and of all German painters of our time, he is
probably the only one whom the French artists accept with
enthusiasm as one of themselves. In 1858 Knaus won his first
laurels with his magnificent picture, ‘‘ The Golden Wedding,”
which he followed in 1859 with ‘‘ The Baptism,” and ‘‘ The
Morning After the Kirchweih.”” Since 1860 he has resided in
Germany, where he was at the head of a strong and growing
school in the Berlin Academy, until he resigned his professorship
in 1884. To Knaus has fallen nearly every honor-the great
artistic institutions of Europe can accord. Medals and diplo-
mas have been conferred upon him. He was made a member
of the Legion of Honor in 1859, and has been received into the
chief academies of the Continent. The genial humor, fine
humanity, and keen comprehension of human nature revealed in
his pictures are a reflection of the character of the man himself,
and his amiable personality has largely aided his genius in
securing him an international popularity. He is a master of
technique anda colorist of the first quality. The uniform ex-
celleuce of his productions has been noted as characteristic of
the man who, whether employed upon a simple study from
nature or upon the most elaborate and ambitious composition,
considers no work sufficiently well done upon which he has not
done his best.
PAGE
No. 21 Letina . ; : : : e210
No. 40 A Rustic Rose . ; ' . 149
No. 84 The Goatherds . ; 172
pet. She Coquette .. : : : . 186
PAGE
No. 160 Zhe Invitation , aie shea
No. 183 Thoughts of Better Days . : ‘ . 223
No. 241 Zhe Veteran ., visa ; - iu253
No. 250 Lhe Old Witch ; oie , . 259
No. 301 Zhe Chila’s Funeral ? > eee a
KNIGHT (DANIEL RIDGEWAY) . . . Paris,
THE SENEY COLLECTION.
D. R. Knight enjoys the distinction of being the only American
ever received into Meissonier’s studio as a pupil. It was in 1876
that he came under the influence of this master, having been
previously a student of the Ecole des Beaux Arts and of Gleyre.
A Philadelphian by birth, Mr. Knight received his first art les-
sons at the Academy of his native city. He visited Paris at an _
early age, returned to America once, and finally, in 1872, settled
permanently in France. His acquaintanceship with Meissonier
was accidental. The latter’s brother-in-law, the painter Stein-
heil, and Knight occupied adjoining studios, and becoming
friends, Steinheil introduced his neighbor to Meissonier, who
took a fancy to him and became his friend and adviser. The
American became in no sense an imitator of the great French-
man, however. Indeed, from the time of his acquaintance with
him he ceased painting the small costume pictures by which he
was first known and began to devote himself to studies of peas-
ant life on a larger and broader scale. Through these he, in
time, became popular on both continents. Good character,
cheerful color, and an interesting choice of subjects form their
chief charm. ee
It was from Mariano Fortuny, whose genius inspired Spanish art
with new life, that Villegas received much of the direction and
form of his own talent. He was one of the artists who formed
the little colony in Rome which gathered about its gifted young
INDEX AND BIOGRAPHICAL NOTES. 21
leader, and in his peculiar line the most brilliant of them all.
When Fortuny made his famous visit to Granada, where he com-
menced his series of grand oriental subjects, he found there at
work making studies the young compatriot who was destined to
largely fill the place his death made vacant. The friendship thus
auspiciously begun was an enduring one, and in the biographies
of the brother artists their fraternity of thought and sympathy
forms an interesting and touching feature. Villegas is a native
of Seville. He studied first at the local School of Fine Arts, and
at the age of twenty went to Rome, where he devoted himself
assiduously to the study of the old masters. He succeeded in
making an impression from the start, and his works found their
way directly from his easel into private collections, so that he
won little of the public notice that comes to artists from exhibi-
tions. Villegas, like Fortuny, early began to surround himself
with accessories contributory to his vocation, and his collection
of arms, armor, costumes, old furniture, and the like is one of
the finest in the world of art. In spirit and sympathy he is a
thorough Spaniard, and his most striking and triumphant works
are those which relate to and illustrate the characters and
customs of his native land. He stands to-day at the lead of the
Spanish school of art, and is, in his proper person, equally
respected and beloved. A modest and sincere man, to whom
his art is a part of his life, it has been truly written of him by a
distinguished critic : ‘‘ He has that quick, intuitive perception of
form and anatomy which enables the leading artists of the Spanish
school to place upon the canvas life-sized figures in a variety of
easy, natural attitudes—figures which convey the impression that
they have the use of their limbs and can move about.”
PAGE
No. 29° The Halberdier . : : ‘ 2 _ 282
VOLLON (ANTOINE) ; : : 7 q Paris.
The greatest French painter of still life, who repeats in our day,
° even more triumphantly, the successes of Jean Baptiste Chardin,
is also, in other lines, an artist with the power of a master.
122
THE SENEY COLLECTION.
Vollon was born in 1833 at Lyons, and is a pupil of Ribot. He
paints landscapes, marines, flowers, and genre subjects with
equal skill, but it is by his treatment of still life that he has
scaled the pinnacle of his fame. He went to Paris early, after
some years of self-instruction, through which he already pro-
duced noteworthy work. Though at first rejected at the Salon,
he struggled on, and in 1865 was rewarded with a medal. The
influence of Ribot strengthened and perfected his style; the
critics found him out, and the public followed them. In 1868
and 1869 came other medals, and in 1878 one of the first class.
The Officership of the Legion of Honor fell to him on this year,
after he had been a member of the order since 1870. It was a
study of two fish that secured him the red ribbon, and the picture
was purchased by the government for the Luxembourg, where
other works of his have since joined it. Vollon may be said to
have almost raised still-life painting to the dignity of history.
His arrangement of his subjects is always picturesque. His
color is superb, always fresh, ripe, and clear, and his brushwork
is vigorous and large, while never coarse or insufficient. Sub-
stantial quality, admirable lighting, and fine atmospheric feeling
are associated with his still-life subjects, as with those in which
- the sea or the shore are treated, and they have been aptly char-
c¢
acterized by one of the critics as ‘‘interior landscapes.” A
career of extraordinary success has crowned the labors of the
artist with prosperity, and the acknowledgment that he has
founded a dignified school of painting on the ruins of one of the
most mechanical and artificial departments of imitative art.
PAGE
No. 35 Flowers and Fruit: . i é , . 146
No. 113. Onthe Seine . : . 188
NOM E20 itll Life ; : : ; : . 194
NO, 222 Sti i7ee : eA
WHITTREDGE (WORTHINGTON), N.A. . New York.
The history of Mr. Whittredge is, like that of many of his con-
temporaries in American art, one of struggle and of sturdy self-
123
development and indomitable progressiveness. Born at Spring-
field, O., in 1820, he was engaged in mercantile pursuits in
Cincinnati until his inclination to art completely overcame the
instinct for business, and he renounced the desk for the easel.
_ He was his own first master and teacher, and became a portrait
painter in Cincinnati, until, in 1850, he had accumulated the
means necessary for a trip to Europe, where he studied in the
public galleries of London and Paris, and thence went on to
Diisseldorf, where for three years he remained a pupil of Andreas
Achenbach, Belgium and Holland were his next study-grounds,
and in 1855 he went to Rome, whence he returned to settle in
New York in 1859. He was made a Member of the National
Academy of Design the following year, and in 1874 was elected
president of that institution, holding the office for three years.
A constant and loving study of nature and manly fidelity to her
simple truths are a characteristic of his landscapes. His style is
free and loose, and in the representation of foliage, especially in
forest interiors, he has achieved some of his happiest effects. He
is one of the few older painters of America whose art has kept
pace with the time, and who has not rested upon old laurels, but
gone steadily on to the conquest of fresh ones.
= PAGE
No. 118 Sunday Morning (in collaboration with
Eastman Johnson, N.A.). . 190
WURGGINSTCGARLETON) §6)0 ¥ 04 New Work.
The first exhibit of Carleton Wiggins at the National Academy
of Design, in 1870, denoted the young painter to the expe-
rienced few to be a man whose vocation had not been mis-
takenly chosen. He was, at the time, a pupil of the Academy,
but had enjoyed no special instruction otherwise. His tech-
nique was a problem worked out by himself. He possessed,
however, a very broad and logical intelligence, and was not
averse to the solving of problems. For some years after he left
the Academy schools, he painted, upon his own instinct entirely,
124 THE SENEY COLLECTION.
pictures of landscape and cattle that won him regard in public
exhibitions, and secured him a fair share of private patronage.
Finally, an amateur who recognized his great talent and its
needs, became his patron to a degree that enabled him to spend __
two years in Europe, in 1880-81. Under the developing influ- _
ences of the great art of France, his talent ripened rapidly. A
complete revolution in his style became apparent, and the fruits
of diligent study revealed itself in his strong and secure tech-
nique. Going to France as a painter of ability, he returned the
most completely equipped painter of cattle in America. For
some years he maintained a studio in Brooklyn, contributing
regularly to our exhibitions and finding places in private collec-
tions for many of his works. More recently he established him-
self in New York City, He is a member of the Society of
American Artists, and of the American Water Color Society, in
the councils of both of which associations he is a prominent
figure.
PAGE
No. 2°4 venting at Barbizon : , , iggy
WYANT (ALEXANDER H.), N.A. . . New York.
Since his first exhibition at the National Academy of Design, in
1865, A. H. Wyant has taken a place of honor among the first
painters of American landscape. He has delineated foreign
subjects as well, but it is in his native scenes, so strong in ‘their
grasp of nature and so modestly poetic in feeling and expression,
that his loftiest powers show. He was born at Port Washing-
ton, O., in 1836, and his earlier studies were made without
special schooling. After some years of experimental labor at
home, he went abroad, and acquired additional technical skill as
a pupil of Hans Gude at Carlsruhe, and as a student of the works
of Turner and Constable in London. In 1868 he was made an
Associate, and in 1869 a National Academician. From the
period of his permanent establishment of himself in New York, |
Mr. Wyant has become the principal pictorial chronicler of the
INDEX AND BIOGRAPHICAL NOTES. 125
magnificent sylvan scenery of the Adirondack wilderness, Its
romantic forest interiors, its sparkling streams, translucent lakes,
and wild and lonely clearings; its towering battlements of
frowning cliff and its walls of verdurous mountain-side, have
spurred his brush to its greatest achievements. It is an essen-
tial characteristic of his art that it is thoroughly native to the
soil, His foreign study has left no imitative impress upon him,
An American artist heart and soul, he paints American nature
as it is, full of the charm of primeval poetry that still breathes
through it. An accomplished draughtsman, an equally accom-
plished colorist, and a thinker of a gentle mood of harmonic
sympathies, the artist is reflected in his art, side by side with the
man, whose industrious years are rich in the prizes of private
life as well as in those of professional renown.
PAGE
No. j,9 Zhe Evening Glow . ; 34
Reems 2c 0/2 House. ‘ ‘ ; aes:
NO te Lucmiang 4 ee 22>:
No. ys A New England Landscape. . 194
NOnie yp OMnsel- | ; : i ; 243
ZAMACOIS (EDOUARD) Seem. Deceased.
A Spaniard with the wit of a Frenchman, a painter with the
satire of Goya and the art of his master Meissonier, it is no
wonder that the début of Zamagois in 1863 was hailed by Paris as
the rising of a new sun over the horizon of art. The artist was
then twenty-three years of age, burning with the fire of youth and
spurred by the daring of an audacious and fecund brain. At
each succeeding Salon his exhibits widened his popularity and
augmented his reputation, which was crowned in 1870 by his
“Education of a Prince,” a satire so bitter and scathing, yet
withal so brilliant in its execution, that reprobation was dis-
armed by the genius of which it was the evidence. The picture
was the swan-song of the artist. He died in 1871, having
scarcely turned his thirtieth year, The life work that he left
P26) THE SENEY COLLECTION.
formed a series of gems, sparkling with wit and color, in which
the influence of Meissonier showed in a certain decisiveness of
handling, but which were thoroughly individual and unique.
His color was pure and intense, his style finished and fine. It
was not enough for him to make his point, but he must also
make it as perfectly and completely as he possibly could. Like
Moliére, with whose genius that of Zamacois displays a decided
affinity, the effect of the artist’s work was always allied with and
supported by the extremest elegance of execution. He was fond
of daring experiments of color, and his pictures were a perpetual
amazement and delight to artists more timid and less original,
who acknowledged in the fiery young genius from Bilboa one
worthy to take his place among those masters whom Paris was
proud to call her own, irrespective of their birth or blood.
When the war-cloud burst over France, Zamacois stood with
his future in his grasp, and the shadow of doom upon him.
After the wreck was cleared, when French art numbered its
dead, there was to be supplemented to those who had perished
upon the field of battle, the Spaniard who had become a
Parisian, and who, flying before the blasts of battle, had suc-
cumbed to the mortal malady which had prevented his serving -
with his brethren in the ranks.
PAGE
No, 206 Lhe Frightened Butler, es 238
ZIEM (FELIX) . : ; ; ° ° . : Paris.
What Guardi was to architectural Venice, Ziem has been to her
canals and their prospects of palace and of park. In the earlier
stages of his career he painted many fine pictures of French,
Dutch, and Turkish scenery, but it was when he commenced to
develop the mine of material in the Queen of the Adriatic that
he struck the keynote of his vocation. A native of Beaune, in
the Céte d’Or, he was graduated out of the art school of Dijon,
and began his productiveness by records of his wanderings in .
Southern France. He received his first Salon Medal in 1851,
eT ee On ee ee ee ee ee ee eee
- oe! ee eee aed
Saar
INDEX AND BIOGRAPHICAL NOTES. 27
for a picture of Dutch scenery, and was admitted into the Legion
of Honor in 1857 for his views of the Golden Horn at Con-
stantinople, and the Place of St. Mark at Venice. He has been
an Officer of the Legion since 1878. His color, which is the
strongest feature of his art, has the grand and mellow splendor
of the greatest period of ancient art. He is a capable draughts-
man, but not a strong one, as his early schooling was brief
and incomplete ; but in his Venetian views, painted from the
heart in pigments of living fire, there glows and flashes all the
harmonious magnificence of the South. His sunsets flame with
subtle melodies of color. His dawns over the lagunes and canals
of the Adriatic have the palpitating blaze of jewels. Where
Rico gives us the Venice of broad daylight, scintillant with real
sunbeams and brilliant with wide and penetrating light, Ziem
translates her mornings and her evenings into rhythmic notes of
color, which bring up in the memory of the spectator scraps of
the verses of De Musset, of the descriptions of Gautier, and
of the romances of Venice’s own history in its days of imperial
and irresistible power.
PAGE
No. 149 The Canal of Chioggia, Venice. . . 206
am CATALOGUE.
FIRST NIGHT’S SALE.
Wednesday, February 11, at 7.30 o’clock, p.m.
In the Assembly Room of the Madison Square Garden.
{
*,.* Measurements given are in inches, the first figures :
indicating the height of the canvas. ;
I ;
I. H. CALIGA & a 4
| Violet : f m ) piv j a
9% x 8
Seen in profile, and facing toward the right at bust length, a young girl in
a white wrap is shown against a white background, smelling a flower which she i
holds in her hand. Her head is slightly bent forward, and covered with a
wide-brimmed straw hat, around whose crown a white sash is wound. She
is of a brunette type, and her rich complexion and her dark hair make the color
note of the picture.
Signed in full on the right, 1884. Panel.
9
an
G, MICHEL
a
The Ravine Road |
II X 14
A rough road passes, under wooded crags, through a ravine in which a
river flows. Figures are visible fording the stream in the centre, and other
figures and a baggage-wagon are in the road at the right. This picture is of
the best period of the artist’s first manner, when he frequently painted in col-
laboration with Swebach, and the figures are probably by the latter.
Painted on a panel.
3
GABRIEL MAX
A Suabian Girl
19% x 13¥4
A blonde type, seen in full face, at bust length. She wears a red head-
dress, and a gown of white homespun cotton reaching to the throat. The
color is ripe and tender, and the painting of flesh and costume of the artists
most substantial quality of life.
Signed in full at the right. Canvas.
ee
ee a on iv
RST NIGHT’S SALE. _
4
GEORGE INNESS.
Sunset { 6
12x 18
a i ~The outriding trees of a forest are seen at the right. On the left is a por-
_ tion of a pool of water. The glory of a crimson and golden sunset blazes in
eg ‘ the sky. —
Signed at the right, G. Innzss, 1886. Painted on millboard.
wa
CHARLES E. JACQUE .
98
Morning
5% x 8%
_ Day is breaking over the roofs of the farm-buildings on the left. A shep-
herd girl, aided by her dog, marshals her fleecy flock out of the sheep-stable to
the fields for their day’s forage. A flat landscape, with a horizon concealed
by small, bushy trees, extends to the right from the farm-buildings. The early
‘sunlight struggles through banks of cold, rainy autumn clouds, making a burst
of brightness behind the farm and leaving the rest of the landscape in shade.
Signed in fullon the right. Panel.
a | Te oo DEL TS NEY COLLECTION. en | ies
At ig 6 ,
ies \
30 J Gi JACQOUSBE ‘ 4
The Bisiaerta
a a 12x 1114
She is seen seated, nearly to the waist, in a blue gown of a décolleté style,
with her head slightly bent and her face turned in profile toward the left. A
black ribbon, clasped with a jewel, encircles her neck, and her hands rest in
her lap.
Signed in full at the upper right. Panel.
i
ALBERTO PASINI
y V
\ A Constantinople Market
I4X 11
‘
Under the wall of a building on whose tiled eaves a flock of pigeons co-
quette, sellers of melons and vegetables expose their wares forsale. In the.
centre a public fountain discharges from the house wall into a stone trough at
which horses drink. Women who have come for water gossip beside the foun-
tain, and at the left are some open sheds, part of the market-place, and trees in
full verdure.
XN
Signed in full at the right, 1886. Canvas.
8
- EUGENE ISABEY K.
The Black Squall
12x18
“ae A sudden storm has arisen and is blowing in upon the coast of Brittany.
tf : a ‘ Fishermen are hurriedly beaching their boats at a jetty on the right. In the
7 qt ‘ middle ground an old castle ona rocky headland seems in its massive and stolid
|
Wi strength to bid defiance to the elements that assailit. The scene is one of
-,_ ae movement and confusion, depicted with great spirit.
\ | ‘oe _ Signed at the left, E. Isanry, ’76. Canvas.
a me | = 9
|
i E. HEBERT o-
| ny Vis ee
i ) \ Flora | ES
. 7 13 X Io % ;
A young Greek girl, shown at bust length, is decking her tresses with a
FS ae a oe Lee
q : wreath of summer flowers. Against a verdant background her face is seen in jj
‘i. shade. The light, coming from behind, lends it relief and richness of color
| oo without sharp contrast. The type of beauty is pure and refined, the action of
the figure natural and spirited, and the sentiment of the subject expressed with
clearness, originality, and a thorough sympathy with the poetry of the idea
ft = involved. ; vs
Signed on top, right, in monogram, Panel.
Pte)
ae ASH WANT one
Evening Glow
Io X 14
From the interior of a forest the crimson light of sunset is seen through
the stems of the trees. The wood is obscured by the invading shadows of the
evening, so that only suggestions of its details may be obtained. A dim reflec-
tion of the sunset glow reddens the waters of a forest pool, choked with fallen
leaves, on the left.
Signed in full at the left. Canvas.
It
We
\* 1. POKITANOW
The Hunter
6% x 14%
A wide stretch of marshy landscape is broken in the centre by a clump of
trees on the farther brink of astream. At the left, on the nearer bank of the
river to the foreground, the figure of a huntsman with game bag and gun is
discovered.
Signed in full at the right, ’85. Panel.
: <4 - FIRST NIGHT’S SALE.
~
*
12 AMM oH :
“GG. He BOUGHTON ts
The Rose 4
q : 14% x 10%
In arural kitchen, a young mother sits, at the right, before an open win-
dow, sewing. She looks up, smiling, at the salutation of her little daughter,
who, from the garden without, reaches her through the window a freshly
plucked rose. In the background the shrubbery and wall of the garden are
seen, with a clear, bright summer sky.
| oe Signed at the left, BoucuTon, 1861, Panel,
1 fn 13
: ot F. ROYBET
Dividing the Game
213%,x 17%
A party of huntsmen have returned from the chase and halted at a eee LY
to divide their game and refresh themselves before parting on their several
ways. They are seen about a table in the middle plane at the left. In the
centre of the foreground, two servants divide up the spoil of the chase, while
one of the hounds looks on. The painting of the figures, game, etc., is of the
remarkable quality in which the artist finds his most forcible technical ex-
pression. :
Signed in full at the left. Panel.
1307 ore THE SENEY COLLECTION.
14 ih ot
\
ce F. M. BOGGS
ce
View of Dordrecht a
184% x 26
The city is seen from a foreground of water, on which float boats and lug-
gers moored to the quay. Along the quayis a row of trees, under which
figures are seen. Behind the trees is a line of houses, and in the centre the
picturesque cathedral towers up in massive bulk. The windy and clouded sky
is full of movement, which is communicated to the running rigging and pen-
nants of the vessels and to the water of the river,
Signed at the left, Boccs. Canvas.
2 SR
a
5
15
F.'D. MILLET
The Toilet
16 X 12
At a table of sculptured marble, in the interior court of a Pompeian house,
a young lady in a diaphanous white robe, seated on a marble seat, combs out
her long auburn tresses while she contemplates herself in a hand-mirror, The
ornate and rich details of the architecture are executed with elaborate skill, and
the figure is radiant in the clear light of summer sunshine.
Signed in full at the upper left, 1884. Panel.
Fs
__ ALFRED STEVENS (Cy
a
af ere merodon Pa
: 7% X 20 jw .
ive
=e
>
WILLIAM M,. CHASE
In the Park
14 X 19
; Under a wall of rough stone on the left a park pathway ascends a gentle
slope. At the right the ground descends from the path ina grassy bank. In
_ the middle ground at the right stone steps lead to a higher level, under trees
amid the interstices of whose foliage the sunlight shines. A little child,
dressed in white, advances with cautious steps .down the path in the shade of
| __ the wall, watched by a lady who is seated on a bench behind her.
Signed in full on the left. Canvas,
=)
25 ] ™ U fi
ye
ae ae
+
BENJAMIN CONSTANT”
a)
Herodias
21 X15
She stands in the centre, erect and haughty in her barbaric beauty, turned
toward the right. Her right arm and shoulder are bare. Her left hand sup-
ports a burnished copper charger against her hip. Her draperies of crimson
and cloth-of-gold are enriched with many jewels. The wall behind her is hung
* with a magnificent tapestry in dark colors, and a gorgeous oriental rug covers
the floor. :
_ Signed in full on the right. Canvas.
ji ChONZIN hee
as 26 |
An Old Windmill
I5 x 18
On the summit of a sloping ground, a trifle to the left of the centre of the
picture, is an old windmill. Behind it the red-roofed, white-walled home of _
the miller isseen. The slope of the hill isspaded for vegetables and acabbage _
patch occupies the foreground. Beyond the mill is a wheatfield, with sheaves |
_ and cocks of wheat, and a line of trees shuts out the remoter horizon. The _
_ favorite period of the day with the artist, the time just at the point of final sun- —
set, shows in a sky crossed with shadowed clouds,
Signed on the right in full, Canvas.
27
/G. H. BOUGHTON
z
Fading Lo
12 X 18 Wey
_ The decline of day shows in a strip of sky, seen over the crown of a deso-
late and weedy hillside. Across the heath a poor, barefooted peasant girl,
trudging in search of shelter for the coming night, passes with accelerated
steps.
Signed in full at the left. Canvas,
ee ee ere ee Oe eee eS NS yn TT
y ‘Uber pa? Os Sar ae eo ae ‘
:
FIRST NIGHT’S SALE.
. q i: = E 28 | f , 4 A
Ea i. = bo \ . pe : N° a
eet eeencorun Fy , vs
i PA
i | eas ius
q ,* The Environs of Paris © ‘
J . 13% x 204
+} oe A view of Ville d’Avray, the artist’s favorite summer residence. The vil-
lage is seen among trees in the middle distance, under the dip of a hill which
‘az
; ? forms the foreground. A vast perspective of country, in which the distant city
: |
| } is suggested, forms the remoter prospect. A road from the foreground
rt if descends the hill. On the right of the foreground are trees, and on the left
1 5 some smaller shrubbery separating the road from cultivated fields. The light
) Be roe
| f comes from the right. A figure of a woman is in the foreground.
| : Signed on the right, Corot. Panel. ‘
: | ae Ee
D 5 er
f t .a/
ip < we
<>
1 we c. 3 ttt NY sn ¢ £2 y
4 ee ont * C Z * a
9% X 1736 .
On the left are houses on the bank, a landscape extending to the right.
Sea ennmtieitnen Sree
wily Pe!
es On the water and shore are figures and boats, the river occupying the fore-
e ground. The light is diffused through the landscape from the centre of the
7 sky.
3
Signed at the left, and dated 1868. Panel.
ne
‘
\
1440 THE ‘SENEY COLLECTION) ae
L996 -
; uy Ret c. pacames
V +The Toilers ' is
Ne a
Climbing 4 hilly path, an old peasant woman, toward the right of the
picture, bears on her weary back a bundle of faggots gleaned from the forest.
Behind her, toward the left, two other figures appear, ascending the path, with
a background of forest and sky. Late autumn shows in the color of the vege-
tation and in the brooding sky. f
Signed, at the left of centre, Decamps, Panel,
* es ON ye 7 . Kel
In the Woods
a iS
S 9% X 14 |
From a foreground shadowed by majestic trees an opening in the woods is
seen, into which the sunlight finds its brightening way. The tints of the foli-
age are variegated and enriched by the colors of early autumn.
' Signed in full on the left. Panel.
MA Ae Ts
qe
GHT’S SALE,
FIRST NI
JULES DUPRE eae vv
: . a
Autumn v
I2 X 21
Beyond a clump of oak trees which occupy the centre, farm buildings are
Cw Ns ee eee pe wh Se ae
_ seen toward the left. On the right a level pasture extends to a horizon of low
“pa e is }
z. hills. Cattle graze in the pasture, and a man advances along a road to the
a2 farm. Therich vegetation is touched and warmed by the russet tints of the
: waning year, whose bleakness has not yet declared itself.
Signed in full at the right. Canvas.
q j -
| %
a ge
| ;
Le y
| I | R. SWAIN GIFFORD
| | : er Woods in Autumn r)
t f "
eS 10x 14%
I es
ia £
: | a _ Atypical American forest of scrubby trees is made splendid by the colors of
| , autumn. The foreground is a clearing, overgrown with brush. Toward the
right isa pile of firewood, stacked up for removal, and a figure with an axe on |
F its shoulder advances into the wood to continue the work of destruction.
2
_ Signed in full at the left, 1888. Panel.
to ’
-
34.
‘THOMAS HOVENDEN
e Ay |
lal e e
We Grandfather’s Commission
i a 3
eo 20x 14%
Grandfather is seen at three-quarter length, seated in the kitchen, conven-
iently near a window by whose light he is whittling out a toy boat for his
grandson. The importance of his employment is indicated by the critical
gravity with which he inspects the progress of his work, holding his model up
before him. :
Signed at the left. Canvas.
mR ff
sy fy" f
Ww 7 «A. VOLLON. | Y:
Flowers and Fruit
24 X 19%
In the centre, a cluster of flowers flourishes freshly in a tall glass jar filled
with water. On the table at the left are flowers in bunches. A couple of
oranges lie on the table at the right, and behind them is a yellow fan. A deep
blue curtain at the left gives brilliancy to the subtler hues of the flowers.
Signed in full at the right. Panel.
q
i
s
Le
t
o
b ; w
\y. ; Springtime : Medfield, Mass. Ce vi
Ne “Ss ¢
ee en
= @63e-20
The Last Glow
r6X 14
seen in the last glow of the sun, which is just descending under the horizon in
the centre. The rich color of the sky is infused into the landscape with har-
monious splendor.
Signed at the left in full, 1885, Panel, -
°
i %,' / J. A. GRISON
AY " The Bachelor’s Toilet
8x6
An old beau of the last century is seated before his dressing-table. He is
partially encased in his gay attire of the day. and, seated with his hands upon
his knees, leans forward and studies his face in the glass, while a pretty serv-
ing-maid dresses his hair and compliments him on his appearance, evidently
to his complete satisfaction.
Signed at the right, Grison. Panel.
ot Fea eee
FIRST NIGHT'S SALE. areas
J. C. CAZIN. /
‘The Carrier’s Cart
I5 x 18
The houses of a village are on the right. A road passes in front of them,
and it is bounded on the left by a broad canal, from which it is separated by a ue es ;
heavy, open fence-work. A boat is seen on the water, with a lantern burning, “a
and there are houses on the farther bank, over which the moon shows a strug- 2
gling gleam among the clouds. The carrier's cart is in the road at the right,
the carrier himself marching in advance of it. Lights in the houses indicate
that the evening is yet young.
Signed in full at the right. Canvas.
(ght
ie 1,8. 980s A! Ute
ee
A group of trees at the right shades the foreground. Inthe middle ground
is seen a stretch of water, and beyond a village. A path traverses the fore- _ -\
se »
|
\
ground, and figures are seen upon it in the centre. tere
iy Ga? see
Signed at the left, Corot. Canvas. ys Soy 7 y S
¥
yr . we F. DAUBIGNY ye
NY
Hauling the Net
13 X 21 ae
The river occupies the right of ‘the composition. The sky shows the move-
ment of rolling clouds. At the left, trees shade the bank, and on the brink of
the river fishermen are hauling in a net.
Signed at the left, Dausicny, 1873. Panel.
v EUGENE DELACROIX Hes LS a
The Lion in the Mountains
1034 X 14
In his lair among the crags which form the background, the monarch of
beasts has been aroused by a suspicious sound. Facing toward the right, and
nearly in profile, he makes a formidable figure with his blazing eyes and brist-
ling mane. His tail lashes the ground and his impatient arms are ready for
the combat which the intruder may offer.
Signed in full at the right, 1851. Canvas.
\
See FIRST NIGHT'S SALE, ~ 155
52
N. V. DIAZ i. 7 ge | /¢ ve
An Opening in the Woods
1144 x 18
Through an arch formed by trees in the foreground, an opening in the
forest is seen, brightened by a golden summer afternoon. On the left, in the
S foreground, is an oak-tree that has been blasted by lightning, and the first plane
is diversified by rocks and a pool of water. The figure of a woman wearing a
red skirt appears in the centre advancing from the brightness of the clearing
into the shade of the wood.
Signed in full on the left. Panel.
¥: 5M v4
JULES. DUPRE
| The Old Farm _
13x 16%
From the right of the picture, extending to the left, a portion of a farm-
house of the humbler order is shown. It has the solid walls and the strong e nx
roof of the habitations found in the north of France. At the left is a glimpse 4.
of distant country. A figure of a woman is seen entering at a door to the .
right.
Signed at theleff in full. Canvas.
EUGENE FROMEN TEES wt -&
Th pee a :
At the left two Arab cavaliers are seated on their horses, while from the
right huntsmen and hounds drive a pair of frightened gazelles. The pursued
deer are seen in the middle of the picture, with huntsmen behind them, racing
for their lives before the dogs.
Signed in full at the right. Panel.
| | J. J. HENNER }t me
| . 0 Mage : . Ideal Head
18 X 13
Turned toward the left, and seen at bust length, is the artist’s favorite
type of youthful feminine beauty. The head looks out of the canvas, with
wide-open eyes and piquant lips. The brown hair descends in wavy masses.
The left shoulder is bare, and the left hand rests upon the breast, witha portion
of ared robe showing under the arm. The face, modelled against a dark and
simple background, is of a remarkably solid quality of flesh and vivacity of ex:
pression.
Signed in the upper left corner, J. J. Henner. Canvas.
J. E. C. ROQUEPLAN
At the Stile
19 X13
In the centre an Italian shepherdess leans against a stile, over whicha
Mia ung boy gossips to her. She has a distaff in her hand, and her flock is seen.
a Lo behind her. A powerful color scheme and asolid impasto give the composition
5% richness and force. ’ =
"Signed i in full at he right, 1853. Canvas,
CONSTANTINE HROFONE. A ;
A Poultry Yard
23X 17%
In the centre a young girl, with her apron full of corn, is feeding a flock of
_ fowl which cluster eagerly around her. Behind her is a chicken-house, built
up of wheat straw, and in the background an orchard. in full summer foliage.
- The serene dignity of the girl and the bungry bustle of the chickens form a
happy contrast. —
Signed in full on the left. Panel,
, > ; he: ae :
58 THE SENEY COLLECTION. om ee
a — : . z 4 =m
+h 5 32
Wg é &
Bei
«
¥ / JULES LEFEBVRE NS
ni ef a4
2
W/ v4
7 ag, Speranza
NY Jf
18 X 12
Seen at half length in profile, and facing toward the left of the canvas, a
young girl prays with her clasped hands uplifted. Her pure and devout face,
with its blonde hair, is seen in profile with the eyes upturned. Covering her
head and draping her body is a red cloak with a black band along its edge. A
glimpse of white linen relieves her hands against it at the wrists.
Signed at right in full. Canvas,
59
' ALFRED STEVENS
The Watcher =a
19 X 144
The honeymoon is on its wane. The bride, at the window of her hotel
room, pensively awaits her spouse, on whom the wedding tour has already
commenced to tire, and who is seeking some iresh excitement in the novelties
of astrange town. A white rose on the floor indicates the impatience of the
watcher, whose hat and wrap upon achair show her to be waiting for an escort.
Signed in full at the left. Panel.
FIRST NIGHT'S SALE. : a
- 60 me
er Sal ‘= ae
e
. ta
Bathing orses
26 X 33
A party of Arabs have ridden and driven their horses down to a little bay
on the seashore fora bath. Some animals are already in the water and others
“are being driven in. Broad sunlight burns upon the treeless shores of the bay,
and givesa keen brilliancy to the color of the sea and the play of the breaking —
wavelets.
Signed at the right, V. Hucuer. Canvas.
61
fee, VIBERT
The Forbidden Book |W..."
25% X 21 AD
Monsignor, in the scarlet vestments of his cardinalate, stands at the left
in his study severely lecturing his wilful niece. She is seated in an arm-chair, 3)
with the interdicted volume into which she has slyly dipped in her hand. She ; on ‘3
has been gathering flowers in the garden, as her hat filled with roses on a stool | if
at the left attests. Scientific instruments and books are on a table at the left, +
and books and manuscripts are on the floor. The background is a wainscoted : rf : |
wall, enriched with pilasters and carvings.
Signed in full on the right. Panel. ee i
62 | \, :
A, MAUVE | yt
THE SENEY COLLECTION.-
96
Gi CLARRANG
The Puppet Show
3I X 47
This is one of the pictures painted by Clairin during his last trip into .
Spain with his friend, Henri Regnault. The showman has set his marionettes
dancing on their string at the gateway of a large house in a Spanish street.
’ A throng of chaffing and good-humored idlers, men, women, and children, sur-
“round him, while the puppets gyrate to the tune of his partner’s guitar.
Signed at the left, G. CLarrin, Madrid, 1869. Canvas.
1
97 \b
The Twins
37 X 30 ‘ \
A young rustic mother in the verdant garden of her humble cottage is
teaching her twin babies how to walk. She supports each upon its feet by a
firm hold on its single linen garment. The little creatures step out bravely
with uplifted feet, but a suggestion of timidity in the movement of their hands.
On the mother, as she stoops to accommodate her height to theirs, a shaft of
summer sunshine, penetrating the trees of the garden, leaves its light.
Signed in full on the left. Canvas.
‘IRST NIGHT'S SALE.
» Ager ay ph ee
98
E. RENOUF see
Hoisting the Night Signal /
44% X 37
ef At the extremity of a stone jetty, drenched with spray, two. veteran
F rench coast-guardsmen are exchanging the flag used as a day signal to in-
The flag has been lowered
from the signal staff, whose base is seen at the right. In front of it one sturdy
| figure kneels, fastening the halyard to one of the lanterns which his standing
comrade holds. Inthe background a leaden sky, swollen with storm, is lower-
ing on an angry sea whose billows buffet a steam vessel which is coming into
- port in the teeth of wind and tide, and the two guardians of the coast are from
_ their serious expressions evidently aware of the gravity of the moment and the
mt importance of their precautionary duty.
Signed on the right, Rtnour, 1887. Canvas.
180 THE SENEY COLLECTION. ae
tI / ln 99
: ppo> JULES BETO
Oe | Brittany Washerwomen
¥ ?
; ese %
& t#
4. 54X79
Upon the seashore, where the fresh water of a spring which gushes froma
cliff at the right makes a little rivulet which flows across the foreground to
lose itself in the sea, the village washerwomen take advantage of it to make
its spreading pools a laundering place for their linen at low tide when the
sands are bare. They are grouped at the centre and left, under the shadow of
a pile of boulders darkened with sea-lichen. At the left three women kneel at
a pool, and one beats her wash with a wooden beetle, while the others scrub
and rinse with their hands. Seated upon the boulders, a girl with a distaff in
her hand leaves her thread untwisted while with her head turned she watches
for her sweetheart’s fishing-boat at sea. Atthe right of the group three other
women are at work at the tiny rill, whose sweet water renders their work pos- ~
sible, and the centre of the group is a superb young female figure, a Diana of
the soil, who, her labor over in advance of the others, stands in regal beauty
even in her coarse attire, to ease her strong young muscles from bending over |
her completed task. Inthe right middle ground a girl carries a bundle of
cleansed linen off to be dried, and under the cliff two other female figures catch
water for domestic use in vessels at the source of the precious giftof nature. A
sweep of the coast makes a long crescent behind the washerwomen, whose
figures are thus relieved against the sea, and a grand and mellow harmony of
color enriches the composition.
| Signed at the right, Jutes Breton, 1570. Painted on canvas.
From the Governor Morgan collection, New York.
ey ee
SECOND NIGHT’S SALE.
|
Thursday, February 12, at 7.30 o'clock, P.M.
‘ fn the Assembly a, of the Madison Square Garden.
Be bot
.
I00
G, JACQUET
Winter
Vs}
144% X11
a
‘a are rates toward the left, a charming young girl, with a furred mantle over
her shoulders, is seen at bust length in profile against a background of blue
_ drapery. Her face has the rich and healthy color that comes from a brisk walk
on a cold day.
aoe
The sun is already under the horizon, and only faint reflections of its color
in the sky arerepeated in the sedge-rimmed pool in the foreground. Some
trees at the left give balance and variety to the foreground.
Signed in full on the right. Canvas.
I02
EDOUARD FRERE
Baa ea Love %\- wt
i i f2- wy
t 1614 x 123f
’ In a poor room, a widowed mother works as a seamstress, while she
watches her little child, which sleeps in a wicker crib. The surroundings are
those of poverty, mitigated by the natural good taste of honest womanhood,
and the impression of the picture is cheerful in spite of its sad subject.
Signed in full at the right, 1861. Panel.
103
J. A. GRISON
The Critic
8x6
A painter of the seventeenth century has received a visit from a patron.
_ The great man, gayly attired, is seated before the easel in the studio, com-
, ah menting severely on the picture upon it, if the expression of his purse-proud
a _ face may be rightly interpreted. The artist, whose rubicund visage and
shabby black clothes betoken him to be of a convivial nature, stands, listening
~ _ anxiously to the decisions of his patron.
Signed at the right, Grison. Panel.
104
G. H, BOUGHTON
A.
Going to eaact! (
20 X 14
‘h Puritan maiden has set out from the old grange, whose lodge and park |
form the oe to traverse the winter fields to the house of worship.
She carries her prayer-book in her hand. The ground is thick with snow and
the air is heavy with frost. The type and costume are those of eee at the
aeped of the Commonwealth. -
Signed at the left, G. H. B. Canvas.
ARLEMONT
¢
In the Studio = +
I4X7
A young artist of the period in which the Van de Veldes flourished, and
who might be one of the brothers himself, is seated in his studio contemplat-
ing a painting on which he is at work. He has his palette on his thumb and
his brush in his hand. Behind him the light enters through a tall studio win-
dow, and reveals a litter of books and other odds and ends, and a model of a
Dutch war-ship on the ledge.
Signed at the right, E. CHarLEMonrt, ’84. Panel. :
\he 106
JOSEF ISRAELS er .
se : 9 tH Duti Sy\
es “4 Home Duties ae
In the kitchen of a humble Dutch cottage the housewife sits at a table sew-
1314 x 204
ing, by the light of a broad window, through which the farmyard is seen.
Her babe sleeps in her lap with its head pillowed against her breast. An older
child, dragging a toy-horse by a string, stands beside her looking at some
chickens that pick crumbs of food from the floor.
Signed on the left in full. Panel.
SECOND NIGHT’S SALE.
CARL MARR
Sunday Morning
194 X 1534
In a village carpenter shop the apprentice boy sits reading on the morning
of the weekly holiday. A cat and her kittens play among the idle tools and
the shavings on the floor. Through a large window at the back bright sun-
light iliumines the many details of the scene, which are painted with elaborate
- care and realistic accuracy. Outside part of an orchard is visible.
Signed in full at the left, 1887. Canvas.
ee A 108 i
EUGENE ISABEY Mh vi é 4 | st
On the Jetty g | 3 te
13 X 19%
In the middle of the foreground a picturesque old timber jetty juts ou‘
‘into a harbor, into which fishing boats and trading luggers are beating to es-
- cape arising gale. Groups of figures crowd the pier to watch the incoming
craft. In the middle ground at the left on another jetty is the massive bulk of —
an old lighthouse, whose lantern has not yet been lighted.
Signed in full at the left. Panel. ity
109
CHARLES E, JACQUE
The Hillside Pasture
QX 14
On the slope of a hill rising toward the left and dotted with stunted olive
trees a shepherdess is seated. Her sheep browse along the hillside at the
right. In the distance the slope of the country reveals a plain brightened by
the sun, which leaves the foreground in shadow.
Signed in full at the right. Panel.
IIo
LUDWIG ~ af
The coma WK
12144 x 10
Facing toward the left,a piquant beauty of the last century conducts a
flirtation, with any one who may look at her, with her fan. A smile lights her
face, and the rose of invitation is in her hair. Her rounded neck is set off with
-a black velvet band that gives substance and brilliancy to its pearly and warm
flesh. teat Be
ae Signed in full at the upper right, 1889. Panel.
oe (eed III
My ce
Bear Qe ‘THOMAS COUTUR
Liberty in Chains
14 X 1044
One of the most magnificent allegories which the artist produced. The
poet and the patriot, shackled hand and foot, is a prisoner ina palace. His
brow is crowned with worthless bays, and a laurel wreath wilts and rots on
_ his idle lyre at his side. On his other side, an overturned vase disgorges the
polluted gold of bribery at his manacled feet, and an urn overflowing with
the ripest fruits of abandonment seduces his appetite. Sombre and sad, hesits
alone with himself among these corrupted and corrupting eda an
incarnation of the noblest human mentality laid in chains.
Signed at the right, in the centre, T. C., 1867. Panel.
II2
R. SWAIN GIFFORD
Midsummer, Dartmouth
12 X 24
is putting her household linen down to bleach. At the left, under an um-
brageous group of trees in the middle plane, is a farm-house and its out-build-
ings. The open plane on the right gives a view of a strip of sea to the horizon.
Signed on the left in full. Canvas.
iz |
er Hen
The foreground is occupied by a level and grassy field, in which a woman
A. VOLLON
; On the ae nae
16x WN
The scene is on the Seine, upon the lower river, where the stream accom-
modates the needs of the great manufacturing industries that cluster about the
city of Paris. The high left bank is crowned by factories, whose lofty chimneys
belch smoke against the sky. Under it some boats and barges are moored.
The right bank is covered with bushes, a lingering remnant of the country
which the advance of the great town is steadily stamping out. A boat and
boatmen are seen on the river.
Signed on the right in full. Panel.
114
GUSTAVE COURBET ane
ys
A Norther
20 X 24
| A beach of shingle crosses the foreground. At the left a boat is beached.
. The sea breaks on the strand in massive rollers. Across the horizon from the
le right the peculiar, sinister clouds which prelude a storm from the North Sea on ~
‘| the French coast roll in sullen solidity.
fl | Signed in full at the right. Canvas.
I ar ntiiiied
D. W. TRYON
Moonlight
20% x 3134
_ In the centre of the picture the moon, which is nearly at full, rises brightly
= = inaclearsky. Her light, diffused through the landscape, brings its larger de-
tails into visibility out of the obscurity in which the smaller facts of nature are
es; | lost. At the right foreground is a haystack. ‘Behind it a house shows, witha
|
|
a _ light in its window, and the dark bulk of a barn. This picture received the
Gold Medal of Honor at the American Art Association Exh ibition, 1887.
Signed in full at the right. Canvas.
ai
oe E10 oe
&. GEORGE INNESS 7).
e I
3
Twilight
24 X 30
left a portion of a tall tree is shown. Beyond the brook is a meadow, in which
lofty trees rise on the right, while in the middle ground crosses the rich foliage
+
j
i
§
A brook with rushy banks traverses the foreground, and at the extreme / 6 \ 0
_of a park, amid which the white summit of a stately country house may be dis- |
cerned. Cattle seek water at the creek and graze in the meadow, , ‘e
Signed in full at the left. Canvas, :
"1
|
eA
THE SENEY COLLECTION.
117
G. MICHEL
ane
The Old Oak iP
vi
Aaa
17% X 23
In the foreground is a dead oak tree, whose smaller branches have long
since fallen the prey to decay. At its base is the trunk of another, which has
been felled by the woodcutters. A grove of stunted oaks fills the middle
ground, and through their trunks on the right is visiblea landscape perspective.
On the left a woodcutter is entering the grove.
This picture, like many of Michel’s studies from nature, is painted on paper
and mounted on canvas. ;
118
JOHNSON-WHITTREDGE
Sunday Morning
1514 x 234%
This picture is the joint production of two artists who are distinguished
members of the National Academy of Design of New York. It shows the in-
terior of a New England kitchen. This portion was painted from nature by
Mr. Whittredge. Into it Mr. Johnson has introduced an old farmer in his Sun-
_ day attire, who, sitting at a table under the window, reads from the family
Bible to his wife. os
Darah oh The picture is signed at the left, ‘‘ W. Wuitrrepcs, figures by Eastman ;
Jounson,” and is painted on canvas.
IGHT’S SALE.
~
The Attack
16x 214%
*
; A party of Arab cavalry are attacking acastle. The horsemen gallop out :
s of the foreground on the right, under a heavy fusillade from the fortress, whose - 5 aa
walls extend in perspective from the left. Wild confusion, rendered more con- bea
fused by the smoke of the fire on both sides, gives the scene its spirit and ae
_ movement. Be:
ie ach Signed in full at the left, 1887. Canvas.
A. MAUVE
Home to the Fold ee
21's X 31% 2 / 2 é a
A shepherd in a blue blouse, assisted by his dog, is marshalling his flock
home to the fold from the pasture. The sheep are crowding in at the open
door of the stable on the left. In the distance, a cold and rainy sunset fades in
; the sky behind a horizon of trees,and the landscape is wet with recent }
showers. Al
Signed at the right in full. Canvas.
on
_ THE SENEY COLLECTION.
lA
<
Poulet 7
H. LEROLLEws Weve
Watching aad Migs
24 X 20
ri Night has fallen, and the good man has not yet returned to the farm-
ie, alae house from the fields. The two women of the house have come outside the |
i door to watch for him, one of them with her baby in her arms. They stand in
the road side by side, striving to penetrate the darkness with eyes sharpened
by anxiety. The rising moon just peeps over the summit of a hill which
forms the horizon, and over which passes the road by which the absent man
must come to those who watch and wait for him.
Signed on the left in full. Canvas.
I22
L/
‘ jo"
a CHARLES H. DAVIS
i}
The First Frost
20 X 27
The first frost has come during the night. Its rime whitens the earth in
the chill glow of the early morning sky. The trees of the orchard in the fore-
ground have been touched by it, and the whole portents of the season have
been seized upon by the artist with subtle skill.
Signed in full at the left. Canvas.
Pas ok ihe SECOND NIGHT'S SALE.
- _EDELFELDT met
v W. yyy Ae
hn Interesting Book
15 X10
A lady, in a white house-gown, is seated in an arm-chair. She holds the
latest instalment of a new) movel in her hand. Another young woman, ina
blue zeglige, sits on the arm of the chair and listens as she reads. The scene
-is enacted ina handsome room, and at the left a mass of flowers show in a
_ brazen jardiniére on a table.
Signed in full at the right, 1888. Panel.
124 jie
: J. C. CAZIN A &
-The Full Moon |
21X25
It is a bright and luminous summer night. At the right stretches a wide
and level plain, portions of which have been recently furrowed by the plow.
A road passes on the left into the distance toward a village, which is visible in
the middle ground, and in one of whose windows glows a solitary light. The
moon rides high in the sky toward the right, and the whole scene is one of
perfect placidity and repose.
Signed in full on the right. Canvas.
13 ,
3 a :
THE SENEY CO
A. H. WYANT ~
A New England Landscape
18 X 30
Early autumn is commencing to color the thickets and rob the grass of its
vivid green. In a stony and briery foreground some cattle forage for food.
A spacious distance reveals far away the smoke of burning brushwood on a
farm.
Signed in full atthe right. Canvas on a panel.
126
A. VOLLON
«
On a table are grouped some fruit, with a porcelain dish, a blue bottle in
brilliant underglaze, and a gilt ewer, painted with large and firm execution
against a dark background.
Signed in full at the left. Canvas.
ss SECOND NIGHT'S SALE.
fey
ONSTANTINE TROYON [ re
Sheep
tee p
+ : 13 X 16
In the centre a fine, well-fleeced old sheep stands, looking toward the
right, and almost in profile, at another, which is seen to the right, almost in
full front. A gray, rainy sky and a Jow-toned, level landscape form the back-
ground. The execution has the accuracy and force of a careful study from fee
“nature. y } ii = 4
Stamped at the left with the official stamp of the Troyon sale, held after =
- the artist’s death. Canvas.
128
C, F. DAUBIGNY
The First Catch
) 134% x 22%
At the left a verdant bank crowned with trees ascends from the water.
On the right the remoter bank of the river, which makes a turn in the middle
ground, iscovered with bosquets of bushes. At the left bank a fishing-boat is
‘moored, and a fisherman is landing the first catch out of his net. A flock of
ducks on the water are just setting out in quest of their morning meal, and
early morning brightens the luminous sky.
Signed at the left, Dausiany, 1873. Panel.
N. V. DIAZ
~ (e
Evening dy.
9% X 17 ae
Ina plain dotted with trees cattle and figures are seen in the foreground.
The sun is setting and its last rays harmonize sky and landscape.
Signed in full at the left. Panel.
)
130 p ,
JULES DUPRE or sf ot
The Braoe Ore :
16 X 32
A shepherd is driving his flock to the brook for water. The sheep appear
over the bank toward the left. At the right are some slender trees. Theshep- —
herd, on the bank in the centre, is calling up the stragglers of the flock.
Signed at the left in full. Panel.
SECOND NIGHT’S SALE.
131
C. F, DAUBIGNY )” “4 aay b CO
A Village on the Oise
14 X 22
On the summit of a oe river-bank at the right, the roofs and walls of
the village are seen above and along a stone wall, lighted by the sun in broad
masses. A flock of geese waddle up the bank from the water, and a figure is
’ engaged in some employment at the margin of the stream. At the left, the
other side of the river shows a rustic landscape, with trees. Onesofthreshan-
Signed at the right, DauBicny, 1875. Panel.
Tab Ce COROL
Near Ville d’Avray d,. cok
16 x 214
Trees shadow the right of the foreground, whose turf is bespangled with
spring wild flowers. The cool waters of a little lake make a mirror in the
middle plane for the shimmering sky. In the background are seen some hills,
__ with houses, and the figures of three peasants give life to the first plane.
Signed at the right, Corot. Canvas.
as
133
A. G. DECAMPS_ 4
8
The Sentinel _ ah
i
10% x 7%
At the doorway of a pasha’s house two soldiers are on guard. One, a
gray-bearded veteran, sits in the shadow of the portal on the step. The other,
at the left, a stalwart young Janissary, stands erect against the wall, with his
long gun in his hand. The sunlight of midday makes a mellow play upon
their figures in the lights and shadows of the palace wall. i
Signed at the right centre, DEcamrs, Canvas.
E, FROMENTIN pave
The Wheat Harvest”
13 X 22
\ A picture of the time when the artist had not yet devoted himself to per-
petuating the glories of Oriental life and scenery. It shows how he was
originally influenced by the example of Millet until he found his more individ-
ual and original method of expression. The subject, evidently drawn directly
from nature and painted on the spot, shows peasant women in the open field —
sheafing the wheat or gleaning the stray stalks that have escaped the harvester.
Signed in full at the right. Canvas.
eel: Z cu ai
_ SECOND NIGHT'S SALE.
“
The Fisherman’s Family
19% X 26
On the beach in the foreground at the left, the children of the fisherman
make a group beside part of their father’s latest catch, which has been tossed
upon the sands. Behind them is a beacon post with its box in which the lan-~
tern burnsat night. Fishing-boats are seen in the middle ground, and the
scene is brightened by a cheerful and peaceful sky.
Signed in full at the right. Canvas.
136
GEORGE INNESS
w
Sunset
1644 X24
The sun is setting at the left of the picture with final flashes of color in the
rifted clouds. The distance is a wilderness, already dim with the rising mists
of its streams and the falling twilight. In the middle ground at the centre a
sheet of water shows. The foreground is a grassy bank, dipping in the centre
and rising at either side, with a fallen tree and brushwood, and the scene is a
typical episode of the wildernesses of Northern America, seen at the most pict-
uresque period and under the most poetic circumstances of effect.
Signed in full on the right, 1888. Canvas.
THE SENEY COLLECTION.
137
F, D. MILLET
The Flower Girl
20 X 16
She is seated facing toward the right, and with flowers on a table before
her and in a basket in her lap. Her figure, which is seen at half length,has
the supple grace of youth, and her face is crowned with a wealth of golden
hair.
Signed in full at the right, 1886. Canvas.
138
A. MAUVE. ,
Evening Twilight V
22 X 30
At the left the farmer’s wife, with her baby in her arms, has come to the
door of the cottage to call her husband to his evening meal. Heis still at work
weeding out a vegetable patch in the middle ground. On the right of the pict-
ure is a paddock and a haystack, and between it and the farm-house passes a
road which loses itself up a rise on the ground fringed with shrubbery and
trees. The time is the early Summer season, when to secure a favorable harvest
the cultivator of the soil must spare no toil nor lose a moment of the time
available for labor.
Signed on the right in full. Canvas.
jae
- SECOND NIGHT'S SALE.
. «+c
JULES LEFEBVRE A
Fatima
21% x 18
The portrait ofa handsome Oriental woman seen at bust length, with the
ta face in three-quarter view! turned toward the left. The heavy black hair
# which falls upon the shoulders is confined above the forehead with a circlet of
— ; E silver wire hung with silver coins. Large gold hoops are in the ears, and
‘ around the neck is a necklace of coral and beads. A robe of blue cloth with
B _gold embroidery covers the shoulders, and the background is a light tapestry,
which gives the bold and spirited head a strong relief.
Signed on the right, above the shoulder, in full, 1888. Canvas.
T40
é
CHARLES E. esa
Stormy Weather 188
16 X13
(
A shepherdess is driving her flock home before a rising storm, which
shows in sullen gloom in the sky. The flock passes across the canvas, while
the dog, behind its mistress, calls up the stragglers. Some trees at the left of
the picture make a bulwark for the animals against the driving blast.
Signed in full at the right. Canvas.
THE SENEY COLLECTION.
: abs F
or
EASTMAN JOHNSON
The Bath
22x 26%
Ata purling spring in the woods a young mother is about to bathe her
babe. The little fellow has been disrobed and stands on the margin of the
spring supported by his mother, who lies upon the greensward, laughing at | ae
the timidity with which he views the water. At the right an elder sister of the ;
hero of the occasion, with her sleeves turned up, sits ready to assist in the puri- 2 a
fication of his sturdy little body.
Signed in full on the left. Canvas.
\ 142 e :
Oak Ji aw ee ‘.
¥
— "The Sailb i\\ AS ay
e Sai oat Ww
* Fe
” fz
‘The Invitation
8x6
4 Seated against the wall of a village ball-room, a Bavarian country-girl, in
_ gala dress, invites a partner to the dance with the rose which she twirls in her
_ hand. Her demure attitude of assumed repose, and the coquettish action of
her hand, are in admirable contrast and spirit.
/
Signed at the left, L. Knaus, 1888>~ Panel,
I5 X 22
Sy the extreme left a peasant woman. is driving some cows in a straggling et
procession along a forest road. The color of autumn in the foliage is made
splendid by the golden glow of the descending sun, which makes a burst of — Es ;
light in the distance, through the leaves, leaving the foreground in shade. Bs,
A picture remarkable for its fine and harmonious color and its freedom of 7
execution. : cae
; r
Signed in full on the left, Panel. , :
| ee Fade Zé e
Sets a ‘ROUSSEAU h- Clee
ge ) ih v} tN ae , :
RY NV‘ Evening ry ae
. } Ri ‘
ae :
8 rd }
134% x 8% y
Through the close-set stems of a wood, the warm color of a sunset sky is a
seen. The shades of evening already darken in the wood itself. At the right y
a little brook threads the forest. The left foreground is a grassy rising
ground, across which a figure passes as if to enter the wood. : tee
m : Signed in full at the left. Canvas,
\3
C. F. DAUBIGNY We pe i
| The Crane Covert
ly
124% x 214
At the approach of evening, the cranes have returned to their favorite
haunt. They are seen in the shallows of the stream which makes its winding
course from the left of the picture, composing themselves to the rest of secure
solitude as the last glow darkens in the sky. The middle ground and distance
show a rolling country, whose undulations are broken by scanty vegetation.
Signed on the right, Dausicny, 1872. Panel.
ee ot K,
ERSKINE NICOL Nv r,
24% x 18
A brawny rural tenant, who has handed in an appeal of some sort to the
squire, waits in the hallway while His Honor, in the parlor beyond, peruses’
the letter at his leisure. The applicant stands in a half doze, resigned to any
fate that may come to him, and patient to await its announcement. The types
are Irish.
Signed, E. Nicot, A.R.A., 1869. Canvas. :
165
ae ALFRED STEVENS
Meditation ma
27 X 20
: A female figure in pink, with black hair, is shown at half- Jen cee She
rests her head on her right hand and her left hand upon the right arm. © Ared -
drapery gives delicacy to the color of her dress and brilliancy to her complex-
ion. '
Signed in full at the left. Canvas.
HL LEROLLE-
Bringing Home the Flock
seeah
A shepherdess is leading her flock homeward at sunset through ¢ a field
where the harvest has been gathered. Clouds darken the last at hay SK the esky. a
167
H. BOLTON JONES
September
221% X 35%
In the right foreground is a pool fringed with rushes. A hillside of turf
with croppings of stone ascends to the left, and is traversed by a low stone
wall. Over the dip of the hill at the right a glimpse of distance is seen under
a sky with rolling clouds.
Signed in full on the left. Canvas.
168 |
GEORGE INNESS es 7 a / 4
y
A Virginia Sunset gee 98 g a
30 X 45
Scattering trees occupy the foreground. Beyond them is seen a forest,
among whose bare branches gleams the brightness of the sunset sky. At the
right, in the middle plane, is a cabin in the woods, and a woman is advancing
toward it out of the foreground. A pool at the left catches a faint reflection of
phe sunset color, and the ground is whitened with frost.
Signed to the left of centre, G. INNEss, 1889. Canvas.
p-G 1-27-65 #26 Reep-
THE SENEY COLLECTION.
169
G. JACQUET
i 96 ¢" e
oye
Roused from Reverie
. 213, x 18
Suddenly aroused from reverie, a charming woman looks with her full face
out of thecanvas. An expression of inquiry is in her eyes. Her left hand
rests upon her breast, as if to hold together the folds of a fichu of white lawn
which is draped over her shoulders. The figure is seen at bust length.
Signed at the left in full. Canvas.
17
yo sd See wana & hs 4
i 2 te Nite | , 28
2xlZ X 20
Her figure is seen at half length, with a green forest for background. Her
face is of a delicate and refined classical type, and her brown hair, which is Z
bound with a fillet above her brow, falls in wavy tresses over her shoulders. oe
Her face, as she touches the strings of an inlaid lyre, has an expression of ten- |
der rapture, as if responsive to the strains her fingers evoke. The figure is
shown in half shadow, and the picture is of a low key and harmonious in color.
Signed on the left, E. H. Canvas. ‘-
SECOND NIGHT’S SALE.
a ae | VE /oo1ps
AUGUSTE BONHEUR We 34 0}
Morning i in the Highlands
2814 x 39%
The mists of dawn have arisen from a Highland lake, and wreathe among
the crags and peaks that environ it. In the foreground a flock of sheep are
gathered on a jutting point, where, having come down for water, they await
the return of the protecting shepherd in humble patience.
Signed in full at the right. Canvas.
: 172
PIERRE BILLET oan ll
a ae o i) Y f 0d 4
The Mussel Gatherer ar
7 26% x 21%
- _ Astalwart young woman, barefooted and coarsely clad in a short sxirt of
red cloth, is awaiting the fall of the tide, seated on a boulder on the sea-shore.
The basket which she has brought to carry the mussels she is in quest of
-rests inverted on the stone, and she props her right elbow on it to support her
head, while her left hand is planted on her hip. The sea behind her is bathed
with the roseate flush of an afternoon that draws toward its close.
“ Signed at the left in full, 1886 Canvas.
-
~
bak 3
» 65s) ov
THE SENEY COLLECTION.
x
173
J. G. VIBERT
An Art School
24 x 18
In the foreground, at the left, the model is seated, with his legs crossed, in
a chair upon a podium. He wears the full uniform, red and blue, of a
French guardsman of the period of Louis XVI., and smokes a long-stemmed >
clay pipe. His figure is powerfully lighted by the gas concentrated upon him
by two reflectors. The litter of a studio fills up the foreground. Across the
middle extends a line of students, who draw and paint from him by the light of _
lamps, which are shaded with paper so that they may not radiate their rays. .
Signed in full at the right. Panel.
174
ADOLPHE SCHREYER
\
On the March
26 X 34
‘A war party of Arabs is about toford astream. The leader of the advance
guard, a grim and sinewy veteran of many forays, reins his black horse up at the
ford to call back a direction or warning to.the rest. The commander, wrapped
in a white burnous, rides haughtily in the van of the main body, followed by
his standard bearer and warriors.
Signed in full on the right. Canvas.
175
ALFRED et is
On the Coast vate 4
290% X 22
_ The children of some poor toiler of the sea are shown upon the shore.
__ The girl leans upon a stout staff, while her little brother presses against her,
_ staring in wonder, not unmixed with fear, at some object unseen to the spec-
tator, The pair are returning from some long and weary errand, and the
girl has rested the large bundle she has been carrying on the ground.
Signed in full at the left, ’83. Panel.
176
H. SALMSON
The Philosopher
29 X 21 / 09. 5 |
A little child of the sea-shore has come down upon the beach to await the 70) ee
incoming of his father’s fishing-boat. He is a sturdy urchin, with an intelli-
gent, tow-haired head, and a color made rich by sun and wind. He wears the
_ miniature costume of a sailor, a blue blouse, and breeches of a similar color
that leave his strong little legs bare ; and stands in the balanced attitude, per-
haps instinctively assumed, of a seaman on the deck of a vessel at sea,
Signed on the right in full. Canvas.
177
ADOLPHE ARTZ.
Evening
26 X 36
Weary of along trudge over the sandy path, an aged woman has seated her-
self in the shaggy grass. She rests with bent head, her staff in her left hand,
a picture of exhaustion and feeble old age. A little girl, standing beside her,
looks wistfully toward the distant village, whose church spire rises out of the
coming over the earth, as the evening of her life has fallenonher.
~
Signed at the right, Artz. Canvas.
z E
7 Ae nw *
sf
la a4 178 a
ew ae AN ote
VA fi-B. € C. COROT
a “rt Bathing Boys )
26x 21%
In a shallow stream sheltered by trees and thickets, and dotted with the
leaves and flowers of the water-lily, village urchins are bathing. While they
splash in the water, in the full enjoyment of its refreshing coolness, a sturdy
youngster at the right watches, with a stick in his hand, against possible in-
terruption.
ie Signed at the left, Corot, 1840. Canvas.
plain. It is yet a long journey thither for the grandmother, and evening is — .
23% X 31
>, The harrow, drawn by a team composed of a white and a brown horse,
ee is guided by a blue-bloused farm laborer. It breaks a rich, dark soil, that
promises a fruitful crop. Strong color and powerful execution.
Painted on canvas.
& 180
é
; ry N. V. DIAZ
Le Temple de !l’Amour Ht -
p+ 7
ri 27 X 15% | y
. In the myrtle garden of the Temple of Love, two cupids are enticing a fair
#3 young victim to the sacrifice with competitive allurements. Her figure is
b nude to the hips, from which a red drapery descends to the ground. She
4 ; stands in the centre, in a pensive attitude. On a flowery bank at the left, one
Me cupid whispers his temptations in her ear, while at the right, on the ground,
another impatiently calls her attention to his rival enticements. In the back-
ground, the marble portal to the Temple into which the puzzled girl is being
oe
invited shows against the rich, blue summer sky.
Signed on the left in full, 1857, Canvas.
THE SENEY COLLECTION.
28 X 41
The family are gathered at dinner in the kitchen of the farm. On the
right the father sits at the head of the table, with his sabots, which he has
removed to ease his feet, weary with labor, on the floor near his chair. At the
BN _ Opposite end, the mother serves the porridge. Two children sit with their
backs to the spectator, and facing them, on the opposite side of the board, is
* the baby in its tall chair. Beside the father the family cat sits contentedly
near the bowl in which she has been given her share of the frugal feast.
Signed in full at the left. Canvas.
182
‘GEORGE INNESS
The Coming Storm
30 X 45 | ae
“‘ tt
ae. driven by the wind from the left are obscuring the sky andshad-
b . “owing Ne ndscape. The scene is a wide meadow land, with a pool of water ace
it the right of the foreground and a clump of trees in the middle plane. Frost
¢-hag already touched the vegetation and given variety to its color,
Signed at the right, G. Inness, 1888. Canvas,
_ SECOND NIGHT'S SALE.
183
LUDWIG KNAUS
| Thoughts of Better Days
30% x 22%
Seated on his pallet in his garret home, a poor old man makes his break-
fast off black bread and dried fish. His venerable and intelligent face denotes
hima man capable of bringing philosophy to his support in his hours of trial.
His hat at his side and his staff show him ready to set out for another day’s
toil for a meagre subsistence, and the whole picture is a sympathetic and col- >
orful idyll of the life of the poor.
Signed in full at the left, 1888. Canvas.
4
/
/
W. L. PICKNELL
November
24 X 38
Under a chill sky, portentous of snow, crows forage in the ba ag
deserted fields which make the foreground. A group of oak-trees in the oy a5
middle distance, denuded of foliage, interlace their gaunt branches against the
lowering clouds. In the distance, a few lingering autumn tints still rai
1 tone / |
Gh
W
{
:
|
_ the season in spirit and effect. fi : 5 iy
a
||
|
|
landscape, which constitutes a picture of typical American scenery, faith
Signed in full on the right. Canvas.
Syy28 — . wv
if vv - A, EDELFELDT _ N
The Last Passenger ae
26 X 33
|
home at eventide in their boat. They row up to the shore to take on board a
little girl, who forms the last of their party. The boat, with three figures in
it, is seen at the left. The last passenger stands on a rock in the water at the
right. Over the quiet water, illuminated by the last rays of the sun, the moon
sheds a silvery gleam.
Signed in full on the right, 1884. Canvas.
186
ALEXANDRE CABANEL
Rebecca
"toe a
Rebecca, in the centre of the picture, leads her fleecy flock down from a
craggy background. The golden glow of evening slumbers in the sky behind
her. She carries over her shoulders a light switch as an emblem of authority.
She wears a simple white robe with a colored scarf over it, sandals on her bare
feet, and a flower in her hair.
Signed at the left in full, 1884. Canvas,
Some girls who have been picnicking in the woods are about to return ©
ME ee Pe Pe ee
SECOND NIGHT'S SALE. Doe
187 ; ’ ]
CONSTANTINE TROYON , sey Ee
Entrance to the Wood 6 Bae ee
| K' x 1004
2834 x 23% : | 4
On the left at the entrance to the forest some wayfarers rest upon the rich,
{
’ green turf. A manon horseback, who is about to enter the wood by a road on
the right, calls to them. He is seen under a branching old oak tree whose foli-
age, like that of the thickets and forest, shows the season to be autumn.
Signed in full at theleft. Canvas.
+ 188
: ~~
~
ee ee (Cr COROT y pose =
t Y \ Vv 4 Saeed
v S
Oak Charlemagne i
x ~
‘ eS
Ds. | /
4 184% x 25 f ti ‘
4 fi
7 ; At the left an umbrageous group of trees shades the ground, and at t
a base of the largest, a massive oak, a peasant woman picks mushrooms in the
ee grass. In the centre two women gossip as they driveacow. In the distance
« ; a stream of water crosses a far-reaching landscape.
q — This picture bears the double signature with which the artist was accus-
tomed to distinguish works with which he was especially well pleased. Onthe
right is Coror, and at the left the date, 1870, It is painted on canvas,
rs
226 THE SENEY COLLECTION.
ott 189
C. F. DAUBIGNY Ho g8 eae
The Washing: pant
1334 X 23
On the left at the brink of a river, to which a grassy bank slopes from the
right, some village washerwomen are at work. The bank is crowned with
trees, and on the farther shore a line of trees rises against the distant hills,
Signed, at the right, Dausicny. Canvas.
| > oe 190
ae J. L. E. MEISSONIER
“ ‘ Gy t Ake Gord
_ Bow! Players in the Fosse at Antibes
a fn 1734 X 30
a
Under the walls of the old Vauban fortress, which extend in a perspective
broken by their bastions, from the left, the experts of the town are indulging in
the favorite gameof the Provencal athlete. They form various groups along
the dry fosse, some playing, others discussing the game, and others looking idly
on, and the many figures are full of vivid life. At the right, in the road, aris-
tocratic spectators look on from a carriage. A clear and sunny sky gives the
i sharp, dry brightness of a perfect day in the south of France to the scene.
-~ This picture, which is one of Meissonier’s favorite and triumphant experi-
ments at difficult effects, is from the Secretan collection, sold in 1889.
Signed at the right, E, MEIssoniER, 1885. Panel.
a ey s
‘i i
scale
3 SECOND NIGHT'S SALE. BRT a
-— 191 S278
H. LEROLLE ,. . /62 Ss]
N ; \
Morning at the Farm
aN
29 x 28%
At the left the wall of a farm-house is seen and a stone wall enclosing the
farmyard crosses the middle ground. Over the wall, and through the foliage
of the trees which fill the yard, the brilliant light of early morning flashes in
broken beams. A peasant girl, carrying a pail, advances in the centre, and
behind her at the right two geese feed along the ground.
Signed in full at the right. Canvas.
192
F, ROYBET At. ae
49
The Secret
A party of free-lances, after a successful foray, are dicing and drinking
away their plunder in the common room of a Spanish cabaret. The period is
of the middle of the seventeenth century. Into the riot of the revel the stand-
ard bearer of the troop has entered at the doorway at the right, and the trum-
him, in a discreet whisper, the events that have passed in the tavern during his
.
peter, who has preserved his sobriety as befits an officer, is communicating to = |
_ absence. |
Signed in full at the left. Panel.
;
-
THE SENEY COLLECTION. _
The Farm
20 X 36
Under a clump of oak trees which occupies the centre of the picture, the
wall of the farmhouse is seen toward the left. At the right are some other
farm buildings. The foreground is a plateau, rich with a thick growth of
grass, and traversed from the left by a path leading to the farm, in whicha
figure isseen. At the right, in the immediate foreground, isa pool of water.
The color is the intense green of midsummer seen at its most powerfu! pitch
under a burning sky. ae
Signed in full at the left, Canvas.
- toh ae *
CONSTANTINE T Nes a
The Ewe Lamb ca “a
45 X 35% : . ; oe a
In the pasturage, a fine old ewe watches, with a maternal solicitude that _
is almost human in its expressiveness, her little lamb, which is just learning ==
its lessons of caring for itself. In the middle ground at the left are grazing
cattle and on the right a shepherd. The picture is a study of living models, of :
great accuracy of drawing and a masterly style of execution. s 44
‘Signed at the left, C. T. Canvas.
ea
SECOND NIGHT’S SALE.
195
Now; DIAZ :
a ME. After the Storm 4.
a per “ah oA ¢
| & : yw 32. X 3034
Sg 4 The rain-clouds are breaking in a gray sky over a rocky hillside. On the =
‘ right is atree. Rocks and brush diversify the ascent, whose grass is richly 7 i
ie green from the recent shower. A narrow and irregular path leads over the fe |
= summit of the hill from the right foreground, and under the tree on the right -
a female figure is visible.
2 Signed, N. Diaz, ’64. Canvas.
ee 196
{pr L7,HERMITTE
ie / h U
: i iy Noonday Rest
30% X 38%
The laborers in the haryest-field are resting after their dinner, indications
of whose consumption appear in the empty basket and the dry wine-bottles.
In the immediate foreground a girl sleeps, with her head pillowed ona sheaf
of wheat. Behind her sit a man and a woman—fine rustic types—who are
ae chatting with a woman who, with a’baby on her left arm, is carrying with her
right hand a sheaf of wheat to the stack.
Signed in full at the left. Canvas.
THE SENEY COLLECTION.
Uc é uf ' 197
ait
: ne S- ADOLPHE SCHREYER
Come Here!
46 X 36
A Wallachian horse-breeder has gone out into the pastures to reclaim his
vagrant colts. ‘He sits his steady-going and experienced old horse at the left,
and snaps his fingers to invite within reach of his halter a shy and yet not cow-
ardly little red colt of his herd that contemplates him from the middle ground
toward the right.
Signed at the right in full. Canvas.
oo YS
3 9 5b a 19
ee
a 1 O " T>® e ahae
. 1 ey
i 38 x 6r
KARL HEFFNER are
A broad and tideless river extends to the very horizon under the shadow of
a showery sky, which is lighted along the horizon-line by the last pale gleams
of ahumid sunset. On the bank at the right is a heavy and sombre growth of
trees, among which the gray and crumbling walls of a partially-ruined grange
are discerned. The shadows of the bank reach down into the water, and the
sentiments of desertion and of solitude are most poetically expressed.
Signed on the right in full. Canvas.
JEA
The Grand Inquisitor
45X58
The head of the terrible aan stands erect in the centre of the com-
position, a stern old man of an ascetic type. He menaces with a gesture of the
hand, in which he holds a crucifix, a nobleman and his lady, who are seated
under a window at the right. They are being subjected to a question and
threatened with the dread authority of the dark and merciless society for the
enforcement of their answer.
Signed in full at the right, 1886. Canvas.
200
mal BARON aes vy
The Decl a
48 X 33
In the centre a lady, leisurely putting on her glove, as if for-a prom f fe
listens to the proposal of a cavalier in black at the left. He bows deferentially
as he speaks, and his face shows the interest he feels in his words. The paav
‘accepts his advances with a somewhat indifferent expression. The costumes
are of the sixteenth century. The background is a rich Flemish interior.
Signed at the right, H. Leys, 1863. Canvas.
ho
- ‘THE SENEY COLLECTION
201
T. ALEXANDER HARRISON
La mal
tr
35% 7°
The moon is rising at its full, in a sky still faintly colored by the afterglow
of the sunset. The crests of the wave-lines in the peaceful sea are silvered by
its beams. The long rollers break upon the beach in the foreground, sending
their wash high up upon the sands, with fringes of creamy foam, and at the right
a patch of bare beach is seen. The delicate gradations and contrasts of color
caused by the conflicting lights, and the luminous atmospheric effect, ranks this
picture not only a masterpiece but asone of the great marine paintings of the
world.
Signed in full at the right and painted on canvas.
x
miki NIGHT'S SALE. .
|
_ Friday, February 13, at 7.30 o’clock, P.M.
In the Assembly Room of the Madison Square Garden,
202
GABRIEL MAX
St. T heresa :
I9X15%
_ _ The saint is shown at busi length, with her pure young face in three-
quarter view, turned toward the left and uplifted in prayer. She wears a
black nun’s robe, and a hood with white lining, with a coif and collar of
white linen, which give her face, by contrast with its vivid vitality of color, a
brilliant verisimilitude of life.
Signed in full at the upper right. Canvas.
i} =e
THE SENEY COLLECTION. |
CHARLES E, JACQUE
A Morning Call
1534 X 1234
r
Two rustic girls, evidently an elder and younger sister, are about to enter i
the open door of afarm-house. They stand in a courtyard paved with stone.
Farm buildings wall it in, and some fowl peck among the stones of the court.
A picture of ripe color and extremely delicate execution. .
Signed in full on the left. Panel.
204
CARLTON WIGGINS
Evening at Barbizon
13 X 20
In the gloaming of a summer evening sheep are advancing homeward
down a slope above whose crown the sunset shows between the stems of fruit- —
trees. A peaceful harmony of color carries out the restful suggestiveness of
the hour and scene. hs
Signed in full at the right, 1884. Canvas.
205
ar 7 JOSE DOMINGO
The Bravo
14% X 9%
He stands against a column at the gateway of a tavern, ogling some pass-
ing nymph of the street. He wears the costume common to the mercenaries
and bravi of the seventeenth century in Spain and Italy, and is a robust and
truculent figure. Figures are seen in the tavern at the right.
Signed in full at the right. Panel.
206
f£. ZAMACOIS
The Frightened Butler
6% X 4%
At the left a liveried butler, who has evidently been taking liberties with
the liquid contents of the pantry, makes a defensive stand with the handle of
his floor brush against a suit of armor set up on a stand in a dimly lighted
hallway. A firm but delicate execution, high finish, rich color and effective
chiaro-oscuro characterize the picture, which is one of those exquisite minia-
ture works with which the artist won his Parisian reputation.
Signed in full at the left, 1866. Panel.
J. FRANCIS MURPHY
Autumn
9X13
-In the middle ground at the right a part of a grove of trees shows, colored
by the frost but yet in full foliage. At the left, in the foreground, isa ug of |
water, and the sky is filled with rolling ee
Signed in full at the left. Canvas.
208
JOSEF ISRAELS
*
The Fisherman’s Daughter
13144 x 10%
) A young girl plods barefooted along the sea-shore, with a fish-basket on | ni as
her back. She is going to meet the returning boat of her father, from whose eit 7
catch the empty basket will be filled. The sea, with a high horizon, and the os)
sky, form a background for her sturdy figure, moving across the canvas from |
right to left.
Signed in full on the right. Panel.
209
C.F) ULRICH
The Wood Engraver
A 18% x 10
A young woman in a black dress, with a lace ruff at her throat and a red
neckerchief over her shoulders, sits with her back almost turned to the specta-
tor, in front of a window, outside of which a brick house-wall in sunlight is
seen. She is turned toward the right. The work-bench in front of her is
covered with the tools of the wood engraver’s craft. On the wall behind her
toward the left are a shelf with plaster casts on it and proofs of engravings. _
She is seated in a wooden chair, painted in a dull yellow.
_ Signed on the right, ULricu, ’82. Panel.
210
oe M. FORTUNY anp B. FERNANDI
Street Scene, Naples
.. 934 X 14%
aa This is a view of the street of Sta. Lucia, in Naples, painted by Prof.
Fernandi, of the Malaga Academy of Fine Arts, and animated with figures,
vehicles, etc., of exquisite delicacy and spirit, by his friend Fortuny.
— Signed on the left by both artists. Panel.
THE SENEY COLLECTION. fe
2iI
A, DE NEUVILLE iL: 4
The Outpost A oe
e Outpos
2044 X 12
The scene is the advance post of a Parisian suburb which has been shelled
by the Prussians. In the background are dismantled buildings. Across the
middle ground is an improvised breastwork, behind which, at the left, two
soldiers crouch watchfully. The officer of the guard makes his round, a stout ©
staff in his hand, his figure occupying the centre of the picture, young, reso-
lute, and ready for defence upon the first alarm. The time is winter.
Signed in full at the left, 1876. Canvas.
212
GEORGES MICHEL a Ms
Landscape
18 X 22
4
Ls A hill crosses the foreground, with a clump of trees on the left. In the
immediate left foreground is a log, and at the right a road which passes over
the hill. This road is seen continued through a vast distance of landscape,
diversified with trees and distant houses, illuminated in places by the light
struggling through the clouded sky.
Signed in full at the right (a rare occurrence in this artist’s pictures), G
MicuE1, 1824. Canvas.
le Fi
ee] THIRD, NIGHT'S SALE.
213
&
W. A. BOUGUEREAU I
Night
18 X Io
Night is typified by a graceful young female figure, whose perfect beauty
of form and color is only partially concealed by a flowing and diaphanous
drapery of black. She descends upon the earth from a sky in whose canopy of
darkening blue, stars twinkle faintly, while a faint flush of sunset still shows in
the clouds that hang over the horizon. Upon the ground which she approaches
in her descent, the waters of a little stream catch a pale light, as if from a new
moon, and owls hover inthe air. The picture is one of a series which was
painted to typify the divisions of the day.
It is signed in full at the left and painted on canvas,
214
GEORGE INNESS
Sunset at Nantucket
20 X 30
In the second plane, at the left, cattle barns, stables, and the offices of an
extensive farm are assembled ina fenced enclosure. A bare rising ground
makes a line against a sky splendid with the blazonry of sunset. Across the
meadows on the right cows straggle homeward to their stalls from the pas-
ture.
Signed in full at the right. Panel.
THE SENEY COLLECTION.
I5 , ir ccm
2
: ~ EUGENE FROMENTIN ty,
RB
A Wind Storm on the Plains of Alfa
2134 X 2534
The clouds are blowing from the right in a bitter blast. In the foreground
two mounted horsemen, who have been overtaken by the tempest, shroud their
faces with their burnouses. Their horses, also aware of the coming chill, lay
their heads together. A third horseman at the left has dismounted from his
steed and turns his back to the storm.
Signed in full at the right. Canvas.
216- | a
“J. C.. CAZIN : ee
La Maison du Garde oe i :
23% X 29
From an elevation in the foreground, over which a path passes down to a
the beach, the windows of the coast-guardsman’s cottage of rough stone over-
look along stretch of shore and a wide expanse of sea. Solitude surrounds his ca 4
windy watching place, to which approaching night adds its measureof lone-
liness. The sunset is dying in the sky, and at the left is seen the pale crescent
of a new moon.
Signed in full at the left, Canvas,
phe
| THIRD NIGHT'S SALE.
214 x 16
‘The young poetess is shown in profile, facing toward the right, at nearly
half length. She is seated in a chair, and has in her right hand ascroll. The
laurel wreath with which she has been crowned for her ode is on her dark hair,
and her face is of a very pure and sensitive type of girlish beauty.
eee
Signed in full at the upper right. Canvas.
A maid-servant, employed in the operation generaily known as house-
cleaning in an artist’s studio, varies her employment by a critical inspection of
_ its treasures and its curiosities. The varieties of sketches and studies, bric-a-
brac and other impedimenta of the painter’s workshop are rendered with close
fidelity, while the figure of the servant herself is of typical Parisian character _
and pert spirit. 7 ia
Signed at the left in full, Paris, 82. Canvas.
16
Fy e
THE SENEY COLLECTION.
219
18 x 28
In a marshy plain, bounded in the distance by a range of hills from right a
to left, Arab cavaliers are hawking at the herons and cranes which rise in Sh
clamorous terror from their coverts in the grassy pools. On the right the
party advances, while in the middle ground a falconer is seen giving his hawk a
its cast. Fleecy clouds blow in a bright blue sky. - be
Signed in full at the left, 1879. Canvas. a
220
F. D. MILLET # ks one
weet yt a
Confidences
244% x 16
Against the marble terrace wall of a classical garden two stately beauties
of the period are engaged in conversation. One, at the right, is attired in
white over a pink under-robe, and holds a scroll in herhand. The other wears
a similar costume of yellow and white. The pale tints and soft textures are
subtly differentiated against the marble, and the verdure of a garden shows”
above the stone in the background. tM
Signed in full on the right. Canvas. a
221
A. H. WYANT
Sunset
251% X 20
The waning glory of the sunset is reflected down a marshy brook into the
foreground, where, at the left, a tree rears itself against the gold and crimson
_~ a |
_of the sky. The atmosphere is suffused with the delicate and vaporous splen-
subtle harmony with the sky.
: _ Signed to the left of the centre in full. Canvas.
222
A. VOLLON
Still Life
28 X 351%
A bowl of cherries on the right, in the centre a brown crockery jar, and at
the left a pewter pot and tumbler, form a group upon a table. A fresh, rich
color scheme and energetic technique characterize the work.
Signed in full on the right. Canvas,
THE SENEY COLLECTION.
223
CONSTANTINE TROYON
| ye A Normandy Ox ee
21 X 26
A powerful, reddish-brown ox, with white markings, stands in the middle
of a field, facing to the right and nearly in profile. At the left, behind the
animal, are some trees. The distance on the right is a level field. The land-
scape is low in tone, and the ox of a powerful color and massive handling.
This picture was a favorite with Troyon, who kept it until-his death. It
is stamped on the left with the official stamp of the sale held after the artist’s
decease, and is on canvas.
224 ra
0 GEORGE INNESS |.“
— v
3 O Moonlight in Virginia
20 X 34
At the right a negro woman is boiling water in a pot overa fire. Behind
her a man of her own race prepares a slaughtered pig for scalding. At the
left are some bare trees, behind which are houses, and in the middle plane at
bs the centre a cabin with a large chimney. The broad brilliancy of the full |
ON moon on a night of late autumn gives the scene the illumination of day. 4
}
‘i ; W Signed in full at the right, 1884. Panel,
eA
“THIRD NIGHT’S SALE.
ere: Y JACQUET
The Falconer
26 X 32
A young lady in the costume of the seventeenth century is seen at three-
quarter length, standing. She wears a black hat, with a beaded border to the
narrow brim, and:a black feather; a yellow dress embroidered at the bodice
with gold, and over it a jacket of pearl-gray cloth, with puffed slashes of black
and white at the shoulder, and close-fitting yellow sleeves. A black scarf is —
draped in bands over the skirt of the dress. She wears a large pearl in her
ear, and a jewelled chain around her bust to carry the whistle for her falcon,
which perches on her uplifted right hand.
_ Signed in full at the right. Canvas.
226
ERSKINE NI OW;
Always Tell the ‘Eri
2514 X 20
The grandmother, seated at a table on the right, has intermitted her knit-
ting to administer a lecture to the stubborn urchin who has been luckless
‘enough to be caught in a perversion of the truth. The boy stands at the left
in a decidedly impenitent attitude. The grandfather looks on and listens with
approval to the moral law which his good wife is endeavoring to inculcate.
Painted on canvas.
227
EASTMAN JOHNSON Ny
The Pension Agent
25 X 3714
It was by this touching picture that the artist gained one of the greatest
impetuses to his well-earned reputation. The scene is in a farm-house, in the
humble room which serves at once for kitchen, family meeting place, and bed-
room for the crippled son, whose bed is seen upon the right, with his musket,
cartridge box, and canteen hanging over it on the wall. The pension agent —
sits at the window in the centre. At the left are the father and mother of the
mutilated soldier, who himself stands on the right supported ona crutch, and
detailing to the agent the circumstances by which he received his injury. The
old dog of the house watches him ashe speaks. His young sister, pausing in)
her work of peeling apples, listens with an awe-smitten and pained face ; and
even the poor serving-woman of the farm turns her head from her duties of the
moment to hear again the simple story of the young master’s sacrifice of him-
self upon the altar of his country. This thoroughly national and dramatic
composition was painted in 1867. :
Signed in full at the right. Canvas.
~
4
‘?
| ‘THIRD NIGHT’s sALEY | L 247
ENE ISABEY {f G2
| foie
The Wedding Festival
25 X 21
A bridal party descends the wainscoted staircase of an ancient chateau,
led by the bride and groom, In the foreground on the right a concert of
young girls sings, to the instrumental accompaniment of a band of musicians,
a chorus of congratulation. In the left foreground, pages in scarlet livery
| guard the table spread for the wedding feast. The bride halts on the lower
platform of the staircase to receive the pleasant tribute. The guests form
a procession on the staircase behind them.
Signed on left, E. I.,’74. Canvas.
229
Cc. F. DAUBIGNY
On the Marne
17 X 26
The low bank bears a growth of willows. Ducks swim in the water in
the foregrouad, and at the left is a barge. The time is morning and the
o
season spring.
Signed at the right, Dausicny. Panel.
x i 4
i, af a \
BI REE RRR FT at
THE SENEY COLLECTION. —
2305 7 :
JULES DUPRE afl ;
Marine | at
231% X 29 e'
,
The sea of the English Channel swells in long rollers under a gray and
humid sky. In the foreground the sluggish gray-green waves break in fringes
of foam over some unseen reef. The sea reaches to the horizon, unobstructed Pay.
by a vessel, in solitary majesty. ‘ a.
Signed at the left in full. Canvas.
231
Ey. N. V. DIAZ
ge | The Faggot Gleaner
Eo 18 X 21
From the right of the picture a broken and rocky path ascends toward the i
left through a dense forest. The sunlight, forcing a casual passage through ey <
the interlacing branchwork and foliage overhead, here and there glints like a
jewel upona tree-trunk or flecks the ground with a splash of gold which makes |
the surrounding shadows richer, deeper, and more mysterious by the contrast.
In the foreground on the left a peasant woman, gleaning the dry brushwood
and dead fallen twigs for her humble hearth, gives the picture its title. , :
d
Signed on the left in full, 1867. Panel. \ ,
* GS eae =
THIRD NIGHT'S SALE.
—'
w
- i g
From the river bank at |the left of the picture, which is shadowed by a
group of trees, the ford passes upward and across the stream to the right,
where are seen the walls of a water-mill on the farther bank, under some tall
trees. A man on horseback is crossing at the ford toward the mill. Executed © r By: j
with a light and spirited touch, cheerful in color and airy and tender in its a
atmospheric effect.
Signed on the left, Corot. Canvas.
: 233
CONSTANTINE TROYON
- Sunset
1344 x 18
Up the centre of the picture is a marshy creek, reddened by the setting of
the sun in asky diversified by broken and sombre clouds. At the right tall
reeds bank the stream in. On the left a couple of trees grow upon the bank,
and under them two figures show a peasant and his wife returning to their hut,
which is shown on the extreme left.
Signed in full at the left, 1851. Panel.
THEODORE ROUSSEAU
)
Autumn yee
15 X 224%
- Beyond a foreground of pasturage, which is in the shadow of a cloud,a
level plain extends to a boundary of distant hills. Cattle graze uponit, and the
smoke of brush fires rises in the distance. At the left are three trees.
Signed in full atthe right. Panel.
235
EUGENE DELACROI
fe tal
pent
NY
At the left, among the blades of a sword cactus, under whose green shafts
it has been sheltered,a huge serpent, aroused by a threatening sound, raises
its head to hiss defiance at its enemy. A Bengal tiger, in the centre, whose
approach has disturbed its rival outcast of the wilderness, halts with uplifted
paw and turns its savage head in the direction of the familiar challenge to
mortal combat. Its lithe flanks already quiver with the first movement = a
side spring which shall place its prey within its Srasp, ‘tn
From the Secretan sale, signed at the right, and painted ona ties i ;
In an orchard women are gathering from the ground the apples which
have been shaken from the trees. At the right foreground a robust young
~ peasant woman stoops to collect the fallen fruit, In the left middle plane
i ai others pursue their work. pee Reis. is ‘of a low tone, rich color, and broad
2 _ but finished execution.
On canvas, and signed at the right, J. F. Mitver.
i 9
A. G. DECAMP e bl
Cat, Rabbit, and Weasel
Io X 14
An illustration of a fable of La Fontaine in which the artist has combined
the expression of a story, fine animal characterization, and beautiful painting.
The cat sits in the comfortable attitude of her species on the right. The rabbit
F advances with natural timidity from the left. The weasel makes his approach
out of the foreground with the impudent boldness for which these courageous
little outlaws of the farm are famous.
Signed on the left, Decamps, 1836. Canvas.
lid srl ) = Riau a | i + Je } a, | ae ee, i s. Peed Soi TS. ws bait —.
‘ r > y ;
é i Z
THE SENEY COLLECTION
\
3 (0 es EUGENE FROMENTIN- \" las
hia
e i
The Return from the Chase i
16 X 13
A party of mounted Arab hunters are returning from the chase at the
approach of evening. In the middle plane at the right, cavaliers are seen in
the descent of a rocky gorge, about to cross a stream. Ascending a distant
hill in advance are other horsemen. In the immediate foreground, at the
head of the path, a huntsman on a white horse rests his steed, holding his two
hounds in leash. Another on a brown horse, behind, has dismounted. .
Signed in full at the left. Canvas. From the Secretan collection.
239
G. BOLDINI
ett In the Garden of Versailles
A) U a
A group of courtiers and of ladies of the court are conducting a flirtation of
compliment on one of the terraces of the chief palace of French royalty in the
last century. Their gay attire and spirits repeat the brightness and color of
nature about them, in the artist’s most brilliant and sparkling touch.
Signed at the left, Botpin1._ Panel.
W. LOWITH
The Duel
834 X 134
In the bare seclusion of the disused riding-school of a cavalry barracks
two men fight a duel with swords. Their seconds attend them, sword in hand.
At the right, three spectators look on. At the left, an officer of hussars
_ watches the fight seated, while the surgeon kneels to unpack his instrument
case. The furious action of the duelists and the earnest interest of the others
is admirably rendered ; the character of the figures is strong and lifelike, and
the color and painting even of the accessories is of the masterly quality
that warrants the sobriquet of the young artist as ‘‘the German Meissonier.”
Signed in full, 1886. Panel.
a2
4 “wg?
Ni
KNAUS
LUDWh
\ \ iY ‘
. - - \
The “Veteran
84 x6
The head of an elderly man of a fine, soldierly type. His hair is gray.
His mustache and imperial have a military trim. His complexion shows the
good health of a well-disciplined life upon which age makes few inroads.
Signed at the upper left, L. Knaus, ’89. Panel.
: DE ei eee
Pee Poe a ta! . ae e =, ce G
oy pe ee ME Garnet = ae
THE SENEY
242
C. Y¥. TURNER iL :
ing Ml
Contrabandist '
? 5
a
Down a rocky and dangerous mountain side, made more dangerous . es }
ite “snow-drifts and the driving storm, a mounted smuggler carefully leads his
; oer ~ pack-horse, laden with contraband wares. Both horses pick their way care-
fully over the perilous declivity. The mountain slope is covered with a scatter-
it ng growth of trees, stunted and warped by the blasts and covered with snow.
Signed in full on the right. Canvas.
17 se aes
THE SENEY COLLECTION.
Ny
249
H. LEROLLE
The Homeward Path
32 X 25
A shepherd girl is returning from the grazing ground under escort ee her 2
faithful dog. She climbs the road toward the village, staff in hand. The
moon is rising over a slope which is crowned on the left by a house, in one of E
whose windows a light shows. At the right a fence closes off a field path from
the road, and a few slender saplings grow by the roadside. ‘The distant village :
is dimly discernible, with a figure or two returning homeward in the middle
ground. The dog looks with a watchful eye at these personages, as if for f
assurance of his mistress’s safety against them, while the shepherdess plods
steadily along, weary of her day’s monotonous labor and happy at the Prospect, ‘4
of rest. ; ;
Signed on the right in full. Canvas.
aT
HIRD NIGHT'S SALE.
250
LUDWIG KNAUS
The Old Witch
i
28144 x 41%
On the outskirts of a village, the children returning from school are hoot-
ing and stoning a wretched old woman who appears in the middle ground,
; bent and haggard with age, advancing witha staff in her hand and smoking a
- pipe. One boy is about to hurl a stone at her, others shout abuse, while
_ smaller children fly in terror before her malignant approach. She presents a
determined and even combative aspect, as if accustomed to the ill will she
receives and defiant of it. As if to typify the ignorance out of which arises the
superstition of which she is the victim, and to symbolize the violence to which
it leads, a tempest is rising in the angry sky, and the shadow of its approach
darkens over the young persecutors of hopeless misery and their prey. It is
Said that this picture had a distinct effect in the more ignorant German com-
munities in compelling government protection for those unhappy creatures on
__ whom a debased superstition set its ban.
Signed at the right, L. Knaus, 1885. Canvas.
x
ry
a alee rae C37
THE SENEY COLLECTION
251
CHARLES C. JACQUE
The Shepherd
19% x 46
_ A flock of sheep are crossing an extensive plain, passing from the left to > i.
the right. The shepherd with his dog are on the right. The background dae
affords a perfect panorama of rustic employments: a plowman is at work, | z pis a<
weeds are being burned, a stage-coach comes along the high road, and farms oat ae
and a village are seen,
Painted on a panel, and at the right written, in French, in ink: “I certify
that this picture is by me. It was painted about 1856. Paris, 1886,CH. JacQUE.”
a8
252
ALFRED STEVENS
The Departure
3614 X 29
7
In the foreground, at full length, a lady in a summer costume of red and “a
white is shown upon the beach, looking out to sea. She rests her hand upon. = 4
ared umbrella, and follows a receding ship intently with her eyes. At the — i
right figures sit upon a breakwater which has been left bare by the receding es a.
s= tide, 1
Signed in full at the left, Havre, 1884. Canvas.
WILLIAM M. CHASE
In the Studio
A young lady, dressed in white, is seated in an aymechair in front of s
wall set off with pictures, draperies, and a shelf loaded with curious bric-a-
brace.
at
M
~
Executed in pastel, and signed on the left in full.
a
es) °
2 bi
CARL VON STETTEN M
wn fs ES
The Image Seller
;
ae
‘ 28 X 35
4
Z : An Italian vender of plaster images has set his wares up for sale on one of
. e the bridges crossing the Seine. A portion of his stock is displayed on the
be balustrade against which he leans. His extra supply is packed in a wicker
basket on the footway at the right of the picture. On the left the base of a
bronze lamp shows. A steamboat, passing on the river, is seen through the
balustrade, and in the distance the towers of the Trocadero are outlined
against the gray sky of a Parisian autumn or spring.
Signed on the right in full, 1887.
262 THE SENEY COLLECTION.
~ {? 255
/¥ | aes
a GEORGE FULLER
‘ & ?) 7, S :
1 aa Fedalma
42 X 30
She is seen at three-quarter length, in the size of life, holding a necklace
of jewels in her hands which she has just been examining. Other jewels are
on a table at her right. She wears a robe of white, filmy stuff, with a black
veil or scarf draped over her head, and her figure is relieved against a dark
background of indefinite character. Her face is young, innocent, and flushed
with health, and, like her bare arms, is exquisitely modelled.
Painted on canvas.
{
THIRD NIGHT'S SALE.
256 AL
at EUGENE DELACROIX { AA OF 32
yal
Selim and Zuleika \'
és
18 X 22 “are
ie
ab
: ]
Delacroix, who as an artist had much in him that inclined him to
sympathy with the romantic movement in French and English literature, and
especially poetry, drew out of Byron the subjects of several of his best
pictures. The most famous of these is the incarnation he gave to the dramatic
f Ws) eee a rt eS
VLE ERED. CIT PE IOAN, FOS 8S
and noble passage from ‘‘ The Bride of Abydos,” which is immortal in the
records of French art under the title of “Selim and Zuleika.’’ The moment }
chosen by the artist is covered by the XXIId and XXIIId stanzas of the poem, Br F :
_ when the loversin the grotto are pursued and menaced with a cruel death. a |
The exact passage that Delacroix meant to illustrate is undoubtedly this : =
?
Dauntless he stood. ‘‘’Tis come, soon past—
One kiss, Zuleika; ’tis my last.”
1 *
The picture shows Zuleika clinging to Selim in the cavern, while their
enemies approach. The composition is full of spirit, expression, and vital fire,
and of anoble harmony and richness of color. It is one of the artist’s later and
more thoughtful works, and shows how closely he must have studied even the
literature of an alien nation.
Painted on panel. Signed in full on the right.
c. F. pAuBIGNY” 9
Io X 17
Young trees in the full greenery of spring crown the river bank at the left.
The bank, clothed in grass, descends to the river, in which ducks paddle. Be-
yond the bank at the right is a distance of low, rolling hills. The verdure has
all the abundance and fresh, crisp color of the season, and the sky is warm in
subtle flushes of the light of early day.
Signed at the left, Dausicny. Panel.
Ne roe va
ie ys : GC & eA ‘as cd el
Lp The Old Farm
tr x 16%
On the right is a portion of an old French farm-house, viewed from its
orchard and kitchen garden. A pool of water is in the foreground. At the
right a figure is about to enter the house, and on the left another, carrying a
bundle of firewood, ascends the steps leading to the kitchen of the farm.
Midsummer brightness is mirrored in the sky and indicated in the luxuriant
vegetation.
Signed in full at the left. Panel.
1) 08325- 7 a
Be 2150: | a be is
| | Spring | . a
> |
eee 259
)
_ THEODORE ROUSSEAU Ae
‘
7
The Pasturage
154% x 21%
re
cA stream intersects the centre of the picture and is ‘crossed by a bridge.
_ At the left is a tree, and cows graze on. the plain. Houses are visible at the
a 7 "right, and an extensive prospect of pasture-land, rich in succulent vegetation,
‘stretches into the distance. Painted in a ripe harmony of color, and with much
solidity and force. zi :
Signed at the left, Tu. Rousszav. Panel.
260
NeoV & DIAZ,
In the Forest
13 x 19%
Early autumn has commenced to give to nature the warm flush that pre-
-cedes the bitter barrenness of winter. The trees are still in full foliage, and
_ the turf is rich and strong. Only a few leaves have fallen from the tree in the
centre of the canvas. At the left is the figure of a girl.
Signed in full at the left. Canvas.
A fisherman in the foreground is about to set out in his boat in the early
morning. His craft is moored in the rushy shallows of a little creek under a
willow bank. The mists of dawn still veil the distance. One of the Hundred
Masterpieces exhibited in Paris, 1883.
Signed at the left, Coror. Canvas.
be C,: GAZAN
3
ae the right, the snug little houses of a prosperous Dutch fishing village
2
ake) wren” X 32 3
cs
wdc
ce a neatly paved street. Here and there among them a window is still
SE ea ae
lighted. They front a dyke, overgrown with grass and planted with trees,
es left of which is seen the sea. In the middle ground a turning of the
i 3 ord shows a row of fish-houses and the slope of the dyke, on which are many
a0) ats which have been beached for.the night. The scene is lighted by the tem-
pered brightness of a summer moon.
Signed in full at the left. Canvas.
2 ie Moonli nag in Hp set is ie
263
¥
i : oS G. H. BOUGHTON
rc ‘The Council of Peter the Headstrong
25 X 30
Standing in the middle of his counsellors, in the council chamber, the
& _ doughy and isa Dutchman al down the law. Seated ss the council
a at the left j is a lofty chimney-piece, with some law-books on its shelf.
- Signed in full at the top, to the right of centre. Date, 1887. Canvas
backed with panel.
264
ALEXIS HARLAMOFEY
The Flower Girl
34 X 20
A gipsy girl, herself a true wildwood blossom, has been gathering the
humble flowers of the forest. Bare-footed, bare-headed, with her poor gar-
_ ments barely covering her body, she is a picture of hardy beauty tanned by
the fresh air and the sun. She is about to crossa stream.
Signed at the right, Hartamorr. Canvas.
268
265
a a H. LEROLLE
Gossip
32 X 26
In an interior brilliantly iliuminated with sunlight through a window on the
left, two ladies sit in conversation at a table, while a third is seated at the left
against the light and with her back to the spectator. The picture is a daring
and successful experiment in light tints, and whites in full light and shadow.
Signed at the right, LeERoLLE. Canvas,
266 re
JOSEF ISRAELS xt yt
eri, When One Grows Old hs
; 36 x 23%
Over the glimmering fire of turf a woman, so old that she can scarcely lift
her palsied hands to the welcome warmth, sits in a low-seated chair. She has
passed even the capacity for the lightest labor; and, like the decaying fire, is
left tosmoulder out, while the whole family, young and old, still toil to add
each his or her share to the income of the house. This picture is regarded by
the artist as one of his foremost works.
Signed in full on the right. Canvas.
267
SIR J. E. MILLAIS
“ie The Love-bird
36% X 25%
A little girl stands erect, her figure turned to the left, and her face look-
oy forward at the spectator. Her brown hair falls over her back from |
under a lace cap, and the neck of her gown of flowered brocade is edged with ; ae
lace. Her left hand depends at her side. On her right, which is uplifted,
oe : perched a paroquette, of the species known as love-birds. The background
is a rich old tapestry
"Signed i in monogram at the right and dated 1883. Canvas.
268
e : ; | 4 Pri
«JULES PUPRES” 46 ee
| . a Se yy afl i
32 X 39%
4s
’
_ The sky is filled with clouds which are rolled into heavy masses by the
wind. Inthe centre a boat with sails struggles against the rising gale, and
another sail is seen on the horizon toward theright. The sea is comparatively
: ~ quiet, but announces its growing agitation in the foam-fringed waves which |
break in lines of short rollers across the foreground.
Signed in full at the left. Canvas.
aay
HE SENEY
CONSTANTINE TROYON
Summer-time
20% X 30
A vast and verdant champaign extends under a sinking summer ene
is intersected in the centre of the canvas bya little rivulet, walled in with tur
banks. In the middle ground the brook is shadowed bya bosquet of willow-
trees, and some women are washing clothes upon its bank. In the sp cious
meadow-lands at the right grazing cattle are seen. The distance is diversified
by trees, in scattered clumps and singly. The blue sky is brightened by fleecy
\
clouds.
Signed in full at the left. Canvas.
a a a ec
; _ THIRD NIGHTS SALE.
270
N. V. DIAZ
The Virgin and Child
j
i
40X 24
| - Seated in the centre 3 a charming type of pure womanhood, attired in a
red and blue robe with white linen draperies to relieve it. She sustains upon
oe a her knee a chubby little boy, who, witha touching grace, reaches out his hand
ie love and charity to a poo little bird that chirps a greeting to him from the
a ground at the left. Above this beautiful group hover some cherubim, and the
i ergs | is a forest.
- This picture, it is to be noted, is one of which Diaz was especially fond. It
a) ee with him to commemorate his love for his wife and the death of his son,
| which nearly broke his strong and ardent heart. He was frequently requested
to paint altar-pieces, but almost invariably refused to do so. He said: ‘‘I
have only one true altar-piece in my mind, and that belongs to the chapel of
_ my heart.” This picture was known to many of his friends. Into what direc-
. _ tion it drifted after his death was not known. Mr. Seney’s purchase of it was
Ss a purely accidental. The charm of the picture attracted him, and he knew
nothing of its history at the time. He bought it as a magnificent work of art,
and only later learned of its peculiarly interesting associations. 2
Signed at the left, N. Diaz, ’52. Canvas,
THE SENEY COLLECTIO
ot
Mes
CHARLES H. DAVIS
The Curfew
29 X 46
‘** Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds.”
Mr. Davis has illustrated this verse of the elegant Mr. Gray’s ‘‘ Elegy in a
Country Churchyard” with a landscape which is going to sleep in the last
light of day. The sun has descended, but radiates its fading glow from the ;
centre of the picture.
Signed in full at the left. Dated 1884. Canvas.
272
J. C. CAZIN
The Village Orchard
32 X 39%
At the right of the foreground is seen a patch of road. From it to the |
middle plane extendsa stretch of land which has been plowed for chitivacion. ee
Beyond this field are arow of fruit-trees and the houses of a village, behind
which, on the right, some poplar-trees show.
Signed in full at the left. Canvas.
273
ROSA BONHEUR
The Choice of the Flock
32 X 40
A beautiful white ewe, with silky fleece, stands in the foreground facing
_ toward the right and seen in profile. Another sheep is seen behind, and the
trunk of a tree shows upon the left. In the middle distance on the right a
“0 group of sheep browse, and a pleasant adscee of rolling ground and shrub-
bery forms the distance.
Sienna i in full on the right. Canvas,
274 by
A. EDELFELDT | Nise
Lydia and Horace
44 X 28
Lydia is seated on a marble garden seat in the centre. She wears a
peplum of pale yellow color, and gold ornaments, and is of the voluptuous type
ot merry womanhood that the poet describes in his odes to her. Leaning over
the back of the seat at the right is Horace himself. His cynical but good-
humored face smiles as he utters epigrams at which Lydia laughs.
Signed in full at the right, 1888. Canvas.
18
2 THE SENEY COLLECTION:
em
Uv 275. pe
. Ly 7
7. b ¢?- Pe ee
Deliberation
2044 x 13%
Facing toward the left and seen at full length, a powerful man, in costume
of the fifteenth century, stands erect at a closed door leading from an ante-
chamber into a more private apartment. His heavy sword is shortened at its
hangers, as if to be ready tohis hand. His brooding and thoughtful face, the ©
typical face of the sfadassin, is bent forward, and his eyes are on the ground.
Signed at the right, E. Meissonier. Panel.
2'76
~
CONSTANTINE Be ote
fr Sheep in a Foret at
ae
18 X 14 rae
a ee
RE cae Venramenay
— In the foreground a flock of sheep are advancing, driven by a shepherd.
The path enters a forest and the ground is covered with withered leaves. The
sunlight, through a break in the foliage, lights the leaders of the flock. The
background, seen through a vista of the trees, is an open country, under a
tempestuous sky, with the light concentrated in its centre.
Signed at the left, C. TRoyon, 1849. Panel. From the Collot and Faure
collections and the Secretan sale, 1889.
‘THIRD NIGHT'S SALE.
i wie:
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_ The Myrtle Wreath Fe!
-
22x18 :
An Italian girl, seen at half length and in characteristic national costume, _
is seated in the shade of a myrtle thicket ina garden. The wreath which she ,,
has been weaving lies in her lap, and she looks up as if at the interruption of |
an approaching step. As in all of Corot’s figure pictures, this shows fine
drawing and color, good character, and a firm technique.
Signed at the right, Corot. Canvas.
E -_ . 3 f
\ ~
| iy BUGENE rox MENTIN G
7 . On the Alert
}
- 24x 16%
A body of Arabian cavalry advance from the left over descending ground,
with a higher hill behind them. One bearsastandard. A cavalier leads the
cavalcade at the right, watchful of the advance into a country beset with
enemies.
Signed in full at the left. Canvas. wea ‘te te
Meee eT Pec. 7, 1733 AK Se F Se0— te”
S87, BOCHEV/ 4 He
(2 (8. Ft 2B AT ot 26
276 + +~THE SENEY COLLECTION.
279
F, mae K
Lahde ape wit! * caetle
1814 x 26
In the centre of the middle ground, on the bank of a little river, isa clump
of willow trees. At the left, beyond the river, a road passes from left to right.
A grove and hills close in the horizon. The water, coming into the foreground
between grassy banks and patches of sedge, reflects, in its unshadowed sur-
faces, the brightness of the midsummer sky.
Signed on the left, Dausicny, Canvas.
280 fa
N. V. DIAZ {~” en.
In the Pyrenees bk Ke
. oe
; ig 16 X11
One of if not actually the latest complete picture of the artist, painted at
a the period when his growing ill health caused him to spend much of his time .
i | fp in the milder climate of the south of France, with excursions into the moun-
tains when the weather was favorable. Thelong and craggy range of the
mountains which divide France from Spain forms the background, with an
expansive landscape between them and the spectator, diversified by trees,
Signed in full at the left, °74._ Panel,
17 X 25
At the marge of a placid stream, a grove of willows suck their sustenance
from the refreshing flood. The foreground, enriched by the penetrating hu-
_ midity of the river, is ripe in grass enamelled with wild flowers, from which a
country girl at the right of the picture is plucking the material for a rustic
bouquet. In the distance a fishing village is seen.
Signed at the left, Corot. Canvas.
282
The sky is Clearing, after a heavy rain-storm, over the plains of Barbizon.
At the left a shepherd drives his flock across the plain. The crimson sunset is
dimly reflected in a pool in the foreground. The sun shows as a red disk in
the clouds. Some trees diversify the plain, and in the distance the border of
the forest is seen across the horizon.
Signed in full at the right, N. D1az,’64. Panel.
THE SENEY COLLECTION.
283 pe
C. F. DAUBIGNY.,,, f- (“
ra be
The Gipsies Mbp
Js
10% X 19
ie In the centre is a little group of fruit trees. Under it a male and female
gipsy make their camp, while their donkey watches them. A road passes the
group, leading to a farm whose roof is seen at the left behind fruit trees. On
the right a grassy stretch of pasture is bounded by an orchard. The time is
spring, as the blossoms on the fruit trees indicate.
Signed at the left, DauBiGNy, 1869. Panel.
284
CONSTANTINE TROYON °
Lf
i — The Shepherd bh: fo
"| a a V .
21144 x 18
In the foreground, the shepherd is marshalling his flock into the forest.
His dog is beside him on the right. He wears his cloak over his left shoulder
and carries his heavy staff under his right arm. In the background the path
| passes out through the outskirt of the forest. A warm and powerfully har-
monious color, the most solid quality and great vigor of execution, character-
ize this work.
Signed on the left in full. Panel.
THIRD NIGHT'S SALE.
J. B. C. COROT,
nas UF
The Dance Ay the Nymphs
19X 264,
The fair divinities of the sylvan shades make their worship of the dawn
at the verge of an Arcadian grove. On the left is a clump of graceful yet
stately trees, which are repeated by others in single growth toward the right.
In the middle of the picture, some nymphs dance in groups under the trees,
while from the left two others, belated by oversleeping, as it might be, hasten
to join in the measure. A lake and distant hills are seen through the tree
trunks toward the right, and the sky shows the pulsating luminosity of com- |
ing day, into which the sun will presently send its piercing shafts of opal-
escent flame. A tender shade of morning twilight still enriches the color of
the foreground without darkening it. At the extreme right, among the trees,
a solitary nymph is seen, saluting the dawn with a chalice filled with morning
dew, as the laws of the golden age prescribe, in her hand.
The picture is signed at the right, Coror, and is painted on canvas.
P-B, 6/3 /14H, #05; REP
THE SENEY COLLECTION.
286
Cc. F. DAUBIGNY | het “Sy a
Autumn on the Oise 10 we ae
23 X 33% :
A boat is moored to a bushy, sloping bank on the right, with a figure in it
and one upon the shore. This bank makes a point in the middle ground
around which the river disappears. The farther bank, on the left, is shadowed
by tall trees.
Signed on right, Davsicny, 1873. Canvas,
OE -. cane
es le C-GAZEN ) - aa
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Fadil
_ Weary Wayfarers @
Bis
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26X32 - EE at iat
Night is approaching, and rain clouds are darkening the sky. The farmer,
in the middle ground on the right, is completing the labors of the day. On the
windy heath in the foreground, in the centre, a poor wandering woman sits,
with her babe in her lap, while at her feet, stretched on the turf, her husband
sleeps the sleep of exhaustion. Cazin, who paints the figure with great force
when he chooses, here introduces it, as he rarely does in his landscapes, with
pointed effect.
Signed at the right, J. C. Cazin, 1888. Canvas. ae
re
aes a THIRD: NIGHT'S SALE,
Dr ; i | 429
yo a, DAUBIGNY | ates if ad
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The Creek
12% x 19%
< In a winding creek, bordered by willow trees, a fisherman is preparing in
his boat for the labor of the day. The landscape, with its scattered trees,
_ placia water, and rushy banks, is seen in the harmonizing light of a morning
Signed at the left, Dausicny, 1853. Panel.
Bw
Bio 8: G@ COROT
es Cueil ette
At the margin of a grove of birches and les, two village girls are gath-
ering wild flowers. A third comes to join them through an opening in the
grove, beyond which is seen a placid little lake and its verdant farther banks,
with white-walled country houses. The time is early summer, the vegetation
is full of refreshing vitality, and the sky gleams with light not yet invaded by ~
ee: a eo fervor of the burning sun.
| ‘
JOSE DE VILLEGAS
The Halberdier
37% X 23%
At the left centre, bolt upright and facing to the right, a gorgeously uni-
formed veteran of the early seventeenth century stands guard in a splendid
ante-chamber. He is seen in profile, holding a halbert whose staff is covered
with crimson velvet and studded with gilt nails. He wears a black hat with
_ variegated feathers, a fringed buff coat with green plush sleeves, knee breeches
of claret-colored velvet, and blue stockings. Embroidery and ornaments of
gold and silver make his variegated attire more splendid. A sword belt crosses
his coat and sustains a heavy sword. Behind hima magnificent oriental rug
forms the portiére of the doorway he is set to guard, and his evidently confi-
dential friend, a yellow hound, looks up to him, at the right, with privileged
familiarity. The artist seems to have essayed in this picture to bring every |
brilliant note of color of which the palette is productive into harmonious appli-
cation, and to have succeeded. .
Signed in full at the left, and dated 1875. Painted on canvas.
—
A} MAUVE
répuscule
26 X 18
seq" A shepherd drives his flock) along a road, which rises in the centre of the
ture, returning to the fold at the close of day. The pale light of a wet sun-
aeset illuminates the centre of a sky in which rainy clouds are rifted by the rising
wind. A clump of trees at the right are outlined in silhouette against the sky.
= ee Painted on canvas and signed in full at the right.
29% x 37%
At a pool in the foreground some cows are drinking. On the left, beyond
the pond, is a group of oaktrees. A cowis being driven by a man from a barn
in the right middle ground, which slopes upward from the water, toward the
pool. In the centre the farm-house, on the summit of the slope, shows in
_ shadow against the splendor of the sunset, which pervades the whole picture
with a rich and luminous glow of color.
Signed in full at the right. Canvas.
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THE- SENEY ‘COLLECTION. es
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Moonlight — Av? je
ot
38 x 33%
The light of the rising summer moon silvers the surface of a stream bay dansl
foreground, whose waters are otherwise shadowed by a group of large trees <
on the right. At the left some small willow trees grow on a little islet. The
figure of a fish poacher in his boat is revealed in the moonlight, but the perfect ae
solitude and repose of the night holds no threat of discovery for him. | j .
Signed in full at the left. Canvas. # :
e
, iM
; 204 ip oA i}
‘ 1 |
6 ) N. V. DIA | 4?
The Approaching Storm
33 X 41% |
Bs
In the middle of a foreground, whose turf is broken by outcroppings of
rock, isa shallow pool. A tree ison the right. Among the rocks a figure is
visible. The approach of the storm is manifest in a sky filled with tumultuous
clouds, whose shadows rest upon the darkening landscape and render its savage _
picturesqueness doubly picturesque.
Signed on the left, N. D1az, ’70. Canvas.
Two massive and powerful hounds are eagerly seeking along a field for
the scent of their quarry, which they have lost. The dogs are painted in the
dimensions of life, and exhibit in a wonderful degree the movement and spirit
of nature. They are seen in a simple landscape, held low in tone and rich in
color, and which affords them a vivid relief, and their execution dates from
the artist’s most masterly period of productiveness. Troyon, as a painter of
dogs, is held to be at his best. He once said of this picture : ‘‘ It isa portrait
of two of the few true friends I have ever had.”
Signed in full at the left. Canvas.
286 THE SENEY COLLECTION.
| i
(4h, | cam RANCOIS MILLETGS~
piel : Ney GP 4
Ge ot ‘Waiting
iti. 3254 X 47
It is the long-absent son that these two poor old people ever seek in their
waking moments and in their dreams. As the day dies, the aged mother comes
forth to scan the deserted road, shading her eyes against even the dull sunset.
The father, whose staff must do him duty for his eyes, gropes his blind way after
her, feeling step by step for the door-stone that his weary feet have trodden so
often during a life of labor, trouble, and faith. He stands in the doorway of
the cottage at the right, feeling for his next step. His wife, inspired to hope
by some passing sound, is already in the road, eager and alert. On the seat
beside the door the cat, herself startled by some unusual sound, bristles her fur
and stands on the defensive. This picture, known first by Millet’s own title
‘“ Waiting,” but also frequently called ‘‘ The Blind Tobias,”’ is ranked by the
permanent judgment of criticism in the loftiest vein of feeling which the artist
has expressed in his works. He himself classed it with ‘‘ The Angelus,” and
4 its simple and sincere religious feeling caused it to be accepted as a companion
to this masterpiece.
Signed in full on the right. Canvas.
THIRD NIGHT’S SALE. 287
297 .
me CaF
JEAN PAUL LAURENS {(\( [.
The Separation So yt
47 X 37
This picture represents the final separation of Robert II., called the Pious,
son of Hugh Capet, and King of France from 996 to 1031, from his wife Bertha.
The king is seen in the middle ground, bowed in prayer and despair on the
double throne which his wife has abandoned, leaving on it her splendid royal
mantle and her crown. Bertha, passing out of the throne room through a cur-
tained archway, appears in the foreground in the ante-chamber on the left.
Signed in full on the right. Canvas.
298
(Hy - |
ve JOSEF ISRAELS |
Infancy and Age
¥ 48 x 58 Nd
Toward the right, in a humble interior of modern Holland, a lusty baby is
. seated in its tall, antiquely carved chair, in which, no doubt, many generations
of babies have been propped up. Facing it, at the left, a weather-beaten old
fisherman engages his grandchild’s attention by showing a toy soldier.
Signed in full at the right. Canvas,
The young mother wheels a barrow filled with grass for the household nv i
mals, on which a little girl rides. Another child noe beside its mother,
back as if to take a last survey of the aon of his sii s toil
Signed in full on the left. Canvas.
304
J. B. BURGESS
The Frolic after the Wedding
48 X 75
: - pines}
The bride and groom are seen in the centre at the portalof aSpanish
church. Their friends overwhelm them with chaff and congratulations, beg- ;
gars appeal to them for a share of their good luck, and in the foreground boys “a
scramble on the pavement for the coppers tossed broadcast by the happy bride- _
groom.
Signed in full at the right, 1884. Canvas.
305
JULIUS L. STEWART
The Hunt Ball
49X79
all”? ‘was a much more exacting and difficult subject, completely mastered.
nae shows the cotillon in progress at acountry house, the men in their costumes
‘ = v of the chase as far as their red coats are concerned, and the ladies in full dress.
fl ‘The dance proceeds with great animation and spirit, directed by a leader who
a, 1 marks the time with taps upon a tambourine. Guests sit around in conversa-
z a ‘ tion, and the whole composition, which is filled with portraits of friends of the
artist, is a remarkably realistic yet thoroughly artistic transcription of actual
g _ life in the higher circles of French society.
Signed in full at the left, Paris, 1885. Canvas.
KE. VAN MARCKE>
\ 4
Rich Pasturage
39 X55
“00:
A great drove of cattle are scattered over a wide and luxuriant pasturage,
enj oying its profusion of succulent provender. The country has the aspect of YU
an alluvial land, whose soil is perpetually enriched and rendered fruitful by
moisture. In the foreground, cows and calves graze ahd drink about and at oe
pool, and at the left are the stately outriders of a grove of tall trees. On th
color, and a brilliant effect make the picture well worthy of its title.
The death of the artist has been recently announced. He had been a sufferer 5
from nervous exhaustion for some years and had produced little. With him
passes away the last of the cattle-painting masters of the Troyon school, of
which master he was a Zrotégé and pupil.
Signed in full at the right, 1876. Canvas.
THIRD NIGHT’S SALE.
307
EUGENE ISABEY
St. Hubert’s Day
66 X 49
|
Upon the chosen day of the year for the good saint who keeps those
- huntsmen who do their Butiss by him sane, sound, and in good fortune, and
< _ who does not forget their gallant coursers or their faithful hounds, the dogs
are being poe to the church door to be blessed. The church, a structure
Its portal has been hung
The hs we chant their hymn to
company of ladies and gentlemen gather to watch the venerable father of the
aA va flock bestow the annual benediction on the hounds. ‘The whole left fore-
ccna is filled with the baying packs of the cavaliers, who sit on horseback in
the open square in front of the church, with many ladies in even more sump-
tuous attire among them. Stalwart huntsmen restrain the dogs in leashes.
2 At the left, children of the townsmen, frightened by the clamor of the excited
brutes, seek protection of their parents. Behind, in the street of the town,
whose roofs make battlements against the breezy sky, a mob of curious prole-
hat
__ clamorous packs.
This masterpiece is painted on a panel, and signed at the right, E. Isabry.
AMERICAN ART ASSOCIATION,
. MANAGERS,
— 4 0-t
SPECIAL NOTICE.
ie Y the courtesy of Mr. George I. Seney and The
American Art Association, Managers, —
Issued Tuesday, January 27th, 1891,
will contain about
FORTY ILLUSTRATIONS ©
of some of |
THE MASTERPIECES
included in
Bene SENEY COLLECTION.
————— = “ 2
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