Monee. aa PREP NRT. wen * Pa eee, patetan Se Sees ha of Y my Reh i aot pints i H 4 : 4b 4 ¥ AAT Ace } FAW Seeecant rc Mate nna Mohn Cha Peseta int ee iRitiey cede i : ; f ‘ t tee re 4 i Hate Wale uf at + te ee a aasu its a et eer aea uth 4 Aa tlh: g atefeh ery ee pti RASS S anaes 856-8 FIFTH AVE. NEW YORK j vid i Frade had ; ; Collection Mee Oo tiff om on | p i ; Heya. i; Star ALUN ao ee LSE SM 7 Rt 4 eal a di is rt Sone, ee woos HNN os initia eta aliny Ma Pe CATALOGUE OF THIRTY-ONE CANVASSES CELEBRATED COLLECTION MELE 11 BOULEVARD De La MADELAINE PARIS, FRANCE At Strictly Absolute Sale By Auction ON THE EVENING OF | Friday, January 14th, 1910 AT HALF-PAST EIGHT O’CLOCK AT THE FIFTH AVENUE ART GALLERIES 546 FIFTH AVENUE, Cor, 45th Street James P. Sizo, - - AUCTIONEER poe : THE ALEXANDER PRESS, : a ; 114-116, West 27th Stee oon i ere uae he . ‘steatt New. York, FOREWORD. ROUGHT up in the midst of affluent Art, “knowing his Paris well,’’ and becoming more and more deeply _ impressed with the zeal in collecting, of those who also grew to know and to respect the intelligent Art ambi- tion which long ago constituted Paris an Art Mecca, the owner of the Canvasses narrated here himself determined to become an Art collector some twenty years or so ago. His taste was distinctly of the romantic and graceful School that was born and cherished in dainty and brilliant French Court Epochs, and it was daintiness and brilliancy quickened and intensified by romantic or tragic story that most allured him, and that gave greatest zest to his quest. Monsieur de Mélé had no desire to assemble a Col- lection of heroic or surprising Canvasses; the charm of the Epoch, the personality of the Artist, the subjects they gave themselves up to with greatest abandon, a bijou Collection of a purely and intimately representative character—this was his ambition. With exceptional privilege among wealthy and distinguished Art Collectors between whom and himself the “entente cordial’’ was strong and of long standing, he found many unusual opportunities to gratify his desire, and to such result that since he so entered upon his quest, the “Collection Mélé’” has become known as a bijou Collection of extraordinary interest and importance, and has been visited by Art authorities of the highest dis- tinction; it is also the recognized source whence have come many gems of the Schools to which he devoted himself now to be seen in great public Art Institutions like the National Galleries, London, which he has enriched with two gifts, and in splendid Private Collections. Repeated and urgent rumors of the breadth and strength of the present Art awakening in America have induced Mons. de Mélé to place these charming Canvasses from the Collection in his Private Galleries at command of the American public. 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 immediately put up again and re-sold. 2. The purchasers to give their names and addresses and to pay down a cash deposit, or the whole of the purchase money sf 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 purchase 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 himself respon- sible if the lots be lost, damaged or destroyed, but they will be left at the sole risk of the purchaser. 4. The lots to be taken away and paid for, whether genu- ine and authentic or not, with all faults and errors of descrip- tion, at the buyer’s expens and risk, within Two Days from the sale; THE FirrH AVENUE ART GALLERIES not being responsible for the correct description, genuineness or authen- ‘ticity of, or any fault or defect in any lot, and making no -watranty whatever. : 5. To prevent inaccuracy in delivery and inconvenience ‘in settlement of the purchases, no lot can on any account be ‘removed during the sale. 6. If, for any cause, an article purchased cannot be deliv- ered in as good condition as the same may have been at the time -of its sale, or should any article purchased thereafter be stolen -or misdelivered, or lost, the undersigned is not to be held liable in any greater amount than the price bid by the purchaser. 7. Upon failure to comply with the above conditions, the ‘money deposited in part payment shall be forfeited; all Lots uncleared within the time aforesaid 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. THE FIFTH AVENUE ART GALLERIES are in no ‘ways responsible for the charges or manner of delivery of ‘goods purchased at thewr sale. JAS, Fy.olLO,Atctioneer- NATTIER ‘ No. 13. Mme. Adelaide of France, as Diana 1 FRENCH SCHOOL OF THE XVUI. CENTURY A CHILD’S FIRST STEPS From the Collection of Baronne de la Fontaine Height, 25% inches; width, 2734 inches CHAPLIN (CHARLES) 1825—1889 PORTRAIT OF MDLLE. INEZ BLANQUI Daughter of the famous Publisher and Economist, Adolph Blanqui, and niece of the»celebrated Politician, Auguste Blanqui. Mdlle. Blangui was betrothed to the artist. She died in 1854. Signed (lower left), “Charles Chaplin” Date (lower night), 1853 From the Collection of the Mazes-Blanqui family — _ Height, 30% inches; width, 257 inches 4 OF DUTCH SCHOOL, XVI. CENTURY (PRIMITIVE) MADONNA Date (lower right on sword), 1565 From econo of Gen. Baron de Posson Height, 29 inches; width, 34% inches 4 MOLENAER (JEAN NIENSE) 1668—DutcH SCHOOL THE WARM FOOT Signed and dated (the date is somewhat sbicnea at lower ae: right, J. N. Molenaer ae From the Fonte of Gen. Berea de Posson Height, 17% inches; width, 25 inches 1OY 9 IsloyD ‘esduepisey MON SIT je inopedwiog ef xp smnbiey ey} Sunusseig ‘AK smoy ‘oz ‘on ZVId DECAMP (ALEXANDER GABRIEL) 18031860 MARCHING SOLDIERS ee eee te the lower left This Painting is from Decamp’s own Private Collection Height, 16% inches; width, 13 inches BEECHEY (SIR WILLIAM) HOOL. ENGLISH Sc 17531839. 7 on * ’ E rata the Collection. of Cen: Baron ae Po osson e A width: 1954 ancltes ght, 23% inches Hei % § ‘ ‘ soe : | O = : woes © S 5s = as Le 5 Sie = fo ee, i oe oe! >) so » a Del Sy : re A O > S cs Me Ya) ~ 5 a | Ree iran S . Sea es | ee 8 ) ae | SOC ae < a fe e: | : : | ‘er ae on iz ee ee cea) : so 2 nes nh ae alee aM | a dn ntti Bias Sac ee ten c bbe sd ee TRL Meas ‘, B in” LARGILLIERE (NICOLAS) 1656—1 746 PORTRAIT OF A GENTLEMAN OF THE COURT OF LOUIS XVL -; From the Collection of Baronne de la Fontaine Height, 32)2 inches; width, 26 inches GREUZE Young Girl with Rose Nov Zi; 1699—1767 ine S = F rom the Collection of Baronne ele Boats inches | Height, 1524 inches; | AE 254 | 5° CHALLE (CHARLES MICHEL ANGE) 10 1718—1778 GIRL WITH CHERRIES From the Collection of Baronne de la Fontaine Height, 15 inches; width, 22)2 inches Mays 1642 Co ee a : _ LUCREZIA ae sz One of the best known and most tragic works of Guido | at his best period. | ‘ ne : Dated “Anno 1612” at upper fete - From the Collection of Marquis d’Ossun Height, 21 inches; width, 18 inches 7 ¢ a 12 COYPEL (CHARLES ANTOINE) 1694-1752 THE ASTONISHED MAGDELENE “TI am He who ye seek”’ This Painting was exhibited in the National Galleries of 1729 where it obtained instant and pronounced success. The expression on the face of the Magdelene created a great sensation. [he works of Ch. Coypel are exceedingly rare, and as a rule are only to be seen in great Museums. Signed and dated From the Collection of Baronne de la Fontaine Height, 32 inches; width, 2534 inches BOUCHER Innocence Asleep No. 22. 3 NATTIER (JEAN MARC) 1685—1 766 PORTRAIT OF MADAME ADELAIDE OF FRANCE AS DIANA Daughter of Louis XV. at the age of twenty From the Collection of Gen. Baron de Posson Height, 3632 inches; width, 29 inches 14 DAUBIGNY (CHARLES FRANCOIS) 1817—1878 THE BANKS OF L’OISE Signed Daubigny on lower right. Also has red seal C. D. From the Collection of Monsieur Garnier, Daubigny’s Nephew Height, 17 inches; width, 27% inches HGHER (FRANCOIS) © o Bee ee SUMMER f ae From the Collection of Baronne de la F ontaine | ae Height, 16 inches; width, 13 inches - we, ¢ "From the Collection of Baronne Height, 16 inches; } width, 13 . - my < Bung sue Puyd ve “ON LAAONV'T 16961736 __GALLANTS GATHERING IN A PARK abt. 2 Pa a cet te AOS TE LET NEL CSET — rhs Plitite has been ei cued as the work of Antoine | Watteau i in all the Collections in which it has appeared. Experts say that the left side is the work of Watteau, but that the ght appears to 0 be the work of Pater. From the Collection of Baronne de la Fontaine Height, 27% inches; width, 24 inches 9) P 18 VIGEE LEBRUN (MARIE LOUISE ELIZABETH, MapaAme) 1755—1842 YOUNG GIRL PLAYING THE MANDOLIN | Portrait of the Artist at the age of sixteen | From the Collection of Gen. Baron de Posson Height, 24 inches; width, 1934 inches NATTIER Spring No. 25. —_* = Sa ae Sa eae 4 = _ This Painting bears the characteristic personal signature _C. D. in ink Acquired from the Collection of Monsieur Garnier, _ Architect, Nephew of the Artist | Height, 21% inches; width, 46% inches 20 DIAZ DE LA PENNA (NARCISSE VIRGILE) 1809—1878 LOUIS XV. PRESENTING THE MARQUIS DE LA POMPADOUR AT HIS NEW RESIDENCE, CHOISI LE ROI Signed (N. Diaz) in lower right This Painting was ordered from Diaz in the year 1848 by Monsieur Duc, a rich collector of that period, who was also a pupil of Diaz. Purchased by Monsieur de Mele from the widow of Monsieur Duc’s son. Height, 222 inches; width, 29 inches my NATTIER No. 26. Summer 21 GREUZE (JEAN BAPTISTE) 1725—1805 YOUNG GIRL WITH ROSE Greuze’s favorite model at the age of fourteen From the Collection of Baronne de la Fontaine Height, 18 inches; width, 15% inches 22 BOUCHER (FRANCOIS) 1703—1770 INNOCENCE ASLEEP From the Collection of Baronne de la Fontaine Height, 1632 inches; width, 1234 inches Autumn 27 NATTIER No. 20 | 2) @ NATTIER (JEAN MARC) 1685—1766 DIANA AND ACTEON Acteon surprised Diana in the bath, and was therefore meta- morphosed into a deer by the goddess. ‘This is one of the most remarkable works of Nattier, and is unique because of its mythological subject. This was the identical painting that won for Nattier the sobriquet ‘““Bleus-Nattier.”” This Painting was purchased contemporaneously with the “Four Seasons” from the Collection of Lord Pembroke, Count de Montgomery, etc. Height, 2512 inches; width, 31 inches 24 LANCRET (NICOLAS) 1690—1743 BLIND MAN’S BUFF From the Collection of Baronne de la Fontaine Height, 2334 inches; width, 29/4 inches Hs) é NATTIER No. 28. Winter 25 ee NATTIER (JEAN MARC) 1685—1766 SPRING Supposed to be a portrait of the Demoiselle de Nesle From the Collection of Baronne de la Fontaine Height, 5124 inches; width, 38 inches 26 NATTIER (JEAN MARC) 1685—1766 SUMMER The Model who posed for this Painting is presumed to be Mademoiselle de Nesle From the Collection of Baronne de la Fontaine Height, 51 inches; width, 38%4 inches DROUAIS Marquis d’Ossun No, 29. . 4 ; - os * r Bie at gh ee Ue ok om whee a a - 7 b be i's 27 ¢ Q Je NATTIER (JEAN MARC) )}”: 1685—1766 AUTUMN This is a Portrait of the Princess de Beauvau It is well known that two portraits of this beautiful woman were painted by Nattier. This one representing her as Autumn, and the bust portrait described in “The Works of Nattier’” (page 120) by Mons. Pierre de Nolhac. Per- taining to the Collection of Lord Pembroke in 1882, it afterwards passed to that of his son, the Count de Mont- gomery, whence it was purchased by Monsieur de Mele in 1903. Height, 5132 inches; width, 38% inches 28 NATTIER (JEAN MARC) 1685—1766 WINTER Considered a Portrait of La Marquise de Nesle From the Collection of Lord Pembroke Height, 5122 inches; width, 38 inches REMBRANDT No. 30. Portrait of the Dutch Admiral, De Floen Adlererona 29 DROUAIS (FRANCOIS HUBERT) 1727—1775 PORTRAIT OF THE MARQUIS D’OSSUN Ambassador of France to Madrid and “Grandee d’Espagne’ under Louis XV. Secretary of State to Louis XVI., also under-Secretary to the Duc de Choiseul. When Louis XVI. on ascending the throne appointed the Marquis d’Ossun Secretary of State in remembrance of the reunion of the family, then accomplished, he ordered this portrait to be painted by Drouais. ‘The table and arm chair shown in this painting actually pertain to the Mobilier National,~and are now in the Musee du Louvre. This portrait is consid- ered one of Drouais most important canvasses, and is de- scribed at length in the “History of the Reign of Louis XVI.” in the National Library. From the Collection of the Family of the Marquis d’Ossun Height, 86 inches; width, 65 inches > Le. 30 REMBRANDT (PAUL VAN RYN) 1608— 1669 PORTRAIT OF THE DUTCH ADMIRAL DE FLOEN ADLERERONA Who was related to Gen. Baron de Posson, Commander of the Netherlands Cavalry, on the maternal side From the Collection of Gen. Baron de Posson Height, 2134 inches; width, 17 inches eBYdUOD FB] Pp SOUIN SOT ‘TE ‘ON OTTIANW ol MURILLO (BARTOLOMEO ESTEBAN) 1613—1685 LOS NINOS DE LA CONCHA Murillo painted two canvasses known under the same name, Los Ninos de la Concha. One may be seen in the Musee del Prado at Madrid. The one here shown differs from that in Madrid in four pronounced ways: ‘Three angels form the angelic group in the Madrid canvass, while in this there are four in the group. In the painting in the Prado, one end of the Rod of St. John the Baptist (that on the _ side of the cross) touches one of the angels, the other end resting on the earth covering part of the foot of Jesus. The proportions of the two rods are entirely different. In the canvass at Madrid the rod rests on the neck of the Christ, but does not cover his feet. In that painting also the ribbon of the rod is rolled to the cross, while in this it rolls along the length of the rod and the ““Agnus Dew’ is plainly legible. In the painting at Madrid the rod turns in the opposite direc- tion from the rod in this one. The painting at Madrid was among the first of Murillo’s great works and the composition is cold. ‘This is painted in much warmer lines. From the Collection of Gen. Baron de Posson Height, 41 inches; width, 48% inches \. if { i Ff ‘ i siguiente hicon made iii bg ¥ mat ahs Hist nuk cea tte aa Sse < ee