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' ' . ? 5 bk ir VLA eu . a are i gel ‘ ioe eR tGay ean 5 : 1 Ph Wid , ' a 4 ’ + ant Pe a " ¥ . . . if 4 ies Ue ea Saat ‘ . . . 4 Ae vd i a ny eee a \ae ) wi a, 4 ; ais oe gi f the pictures owned by Mr. Felix ‘Iisma | Gapome, vibtrer Gh ‘the Waten’s MS f this city and Philadelphia, which were “pm 7, Rose ; Id last night in Mendelssohn Hall by the Dupré/ ‘Pasture “and Cows”; 2 = merican Art Association. Several of the: ihenry Reinhardt tie Wide aa ts Wats erste ~ forks were of exceptionally fine quality,, Daubigny, Hauling Logs in. AU Cscat id the newcomers bought them at con-) tumm”; Mr. M. D. Sterer..-.--essees cel siderably less than their true yaite. The! Millet, ‘Shepherdess and eee ie ae tor al sum yielded by the twenty-five can-' Otto Bernet, agent.....,.1,...- Seas p Ses was $48,050. | Hobbema, “Le Chemin du Moulin” {45 e “The canvases were obttained largely’ MP. DSLOLNEL |.) Sastre Pena edie oe Sie Lae Rom well known dealers, and some were, Daubigny, “Landscape”; Mr. A Penw | ( fequired by Mr. Isman from artists them-| @eton ...... 0 teeters ij, eee elves. For ‘the fine large canvas by Jo-'Clays, ‘Coast. of Zealand”; Mr. A. Basis ihe feph Bail entitled “Nuns Saying Grace, "| IES Es Cotes Ashe caa ew po Meee vee pe CIES | é6y which Mr. Isman paid the painter} Bock, “Sunset, Near Heilsum” ; Mr. : (0,000f. and imported at a total cost | Stahton B.\WMetealt, J. “inwde. Redasta boca 23,000, ‘the sum of $5,500 was obtained, Blommers, “A Happy Home’; Messrs.” ee b'The five Millets also were sold at a low iKnoedler'& Gb.0 AES cas ta oe igure, varying from $1,100 to $5,300 each.|Caziz, ‘A Quiet Retreat’; Mr. M. D. Nhe highest price vaid for any. of this} Sterier, ob eae Recetas veseee Dp juintet was for “Spring,” a romantic and) Isabey, ‘Smugglers. Surprised’: Move, eautiful conception of mythology. : L. Pendieton ENE Ls old arpa SO IS ete ‘The pictures which brought $1,000 or! Bail, “Nuns Saying Grace’; Mr. Mie é hore each are given below, the Name of! PP UStErn er tA S. Vater eae @ artist being given first, then the title,! Millet, “Winter’: Messrs. ‘Durand he purchaser and the price:— PUG iain ecules eater agay ee fe boty dine liliet, ‘“Phe Road’; Mr. Benjamin | Millet, “Summer’’; Messrs. Durand: © PRMIGURE ewes oy cccetgcssre se caee cy eaecra dine ss $1,300 | ihr Boe Nine EGE SELON ST biaz, “Women of the Harem’; Mr. | Millet, “Spring, Daphnis and chiossye PORT PS COTE: atc ca se bo ssp dese be re ee 1,600! Messrs. Durand-Ruel . ae 7 vs oh Rousseau, “The End of the Forest’; The three last named Millets were. PMY, J. EON. oe Meee ee tent 2,000 | decorative panels, and were purchase a igabey, “Massacre. of St. Bartholo- ; Mr. Isman from the Messrs. Durand-Rwel _mew’’; Mr, M. D: er Orner re SS valent a be Has? Paris. Es MEN ea PRO poy ws Ba se iy "Millet. “The Road,” Benjamin ‘Wolfe, "i300; Diaz, ‘‘Women of the Harem,’’ M.D, Sterner, | $1600; Rousseau, “The End of the Forest,” | J. Hilton, $2000; Isabel, ‘‘Massacte of Ste | Seraniomiew, ** M. D. Sterner, $2500- Couhet, | * Winter in the Forest,’ J. Hilton, $1000; ‘Jerome, ‘‘Tiger -on the Watch,’ R. L. Rose, $1100; Dupre, **Pasture and Cows,’’ Heury TR et Age oe Reinhardt, $2150; Daubigny, tlauling Logs in E Me if at W Pri Autumn,’’ M, D_ Sterner, Raa Millet “‘Shep- a as ‘herdess and Fleck,’’ Otto Bernet, agent, $1100; ae s ent a rices Rang Hobbema, ‘‘Le Chemim du A Oke: Sterner,. : ‘$1100; Danbi . *‘Land ,” L. Pendleton, ing From Eleven Hundred to Ronen Claes ecaunee an we taaee ee ae ; | Meyer, $1700; Bock, ‘“‘Sunset Near Heilsum,’’ Fifty-three Hundred Each | Stanton B. Metcalf, $3150; Blommers: ‘tA | Happy Home,’’ Knoedl Co.. $2100; Cavin, a —-—- : “A Quiet Retreat, . DD. Sterner, $5500; From: ‘The Inquirer /Burean. ] Isabey, ‘‘Smugglers Surprised,’’. L. Pendleton, | WANES ty, © : .. | ($1000;° Bail) “Nuns Saying Grace,’ M.. D. NEW YORK, Feb. 3.—Prices which Sterner, $5500; Millet, ‘Winter,’ Durand- were exceptionally low marked the sale Ruel) $1100; Millet, “Summer,’’ Durand-Ruel, of the pictures of Felix Isman, of Phila-| $2200: Millet, “Spring, Beverley oad “Ohloris:’* . D d-Ruel, . $5300. delphia, which were disposed of tonight aed ace a, Saiameomenttn a at Mendelssohn Hall by the American Art “Association. Several of the works were of exceptionally fine quality. The total. sum yielded by the twenty-five works was $48,050. ‘The eany asses. were | obtained largely from: well-known. deal-| ers, though some were acquired byt Mr. Isman from artists themselyes, The fine Jarge canvas by Joseph Bail entitled “Nuns Saying Grace,” for which Mr. Isman paid to painter 100,000 francs, and imported at a total cost ‘of $23... , went for $5500. The five Millets were also sold at a low figure, varying from $1100 to $5300 rae the highest price paid for any | of this guintet was for “Spring,” a. ro- mantic and beautiful rendition of my-{ thology. The pictures which brought | $1000 or more each are given below: 2 ee ) Female Nude,” Asti; Ke Reset onetnie. «cca. 650 | “ aren AUGUSTE FIRMIN RENOIR _ FRENCH — (1841- G GIRL READING §5°3 ee PASTEL —- Height, 24 inches; width, 201%, urs / es ee x v5 Or Pile ie group of French creche the two who ae > most enisy stood the test of time in ate matter of culti- oe ena for it ae become Be cd that apart 3 a from his extraordinary skill in the rendering of the fugitive : expression, he is a colorist of rare imagination. Perhaps the most characteristic phase of his art is to be found in his sub- as jects of young girls and children. At any rate, no artist has 7) ee captured more completely the fluent qualities of attractiveness in girlhood and childhood that are essentially French. The . secret, so far as one can pin it down, is that he of all the im- __pressionists has been the most subtle analyst of light in its nuances of expression on flesh and fabrics. Consequently he has surpassed all in rendering the qualities of caprice and tenderness, ripeness and fragrance, firmness and elusiveness, | ean and in giving them so elastic and spontaneous expression that : - my : a ‘3 they seem to be the attributes of natural life. For it has been x well remarked that his subjects never give the appearance of. : having sat to him; he seems to have caught them unawares. — In the present example a young girl is seated in a chair reading, her figure, facing to the left, beg shown in pro- file as far as the knees. She holds the book in both hands, | poising it free of her body. A bow of blue ribbon with pu plish tones surmounts her hair, which in hue varies ae to the light from reddish-brown ‘to pale corn. The face is softly rounded and warm and luscious in color, enveloped i in i slightly bluish atmosphere. A corresponding envelope of hee * | tinges the white of her chemise, above the ruffle of which ap- a pears a glimpse of the small firm bosom, and the shapely z curves of shoulder and neck. Below it is an indication of oe green corset, while the skirt is a reddish-brown, forming a aie comparatively flat support to the rounded relief of the deli- cately modeled arm. Signed at the lower right, Renor. Purchased from Mess. Durand-Ruel, Paris. AN FRANCOIS MILLET ; FRENCH "a (1814-1875) ae tf THE ROAD on J3°° PASTEL Height, 16 errees length, wn Oe ‘ ial Maur S instinct for essentials and his train ape render Ae ne them are jaar all exhibited than in sh oats ee Thea, than i in 1 this severely simple scene with its frugality of accessories. Everything is vital to the expression of its ap- pearance and its spirit. Intersecting, in the centre, a stretch ; a of brown soil, sparsely patched with stunted vegetation, a farm road slopes gradually back to a horizontal sky-line. The road- ! way is of the same soil as the field, striped between the horse and wheel tracks with corresponding vegetation that is ip: sprinkled with indications of white flowers. It is bordered on ay each side by a little gully, in which the drainage has encour- i ay aged a more generous growth of herbage. At the summit of the pasture, on the right of the road, is a spinney of young ‘ trees, fledged with green, in front of which the figure of a ; _ shepherdess is inconspicuously placed. Her dull red cap and dark blue skirt afford most carefully calculated accents of color. Near her a sheep is lying down and others can be seen | a: at the top of the roadway, reaching up to browse in the hedge i g which encloses the spinney. At the left of the roadway, s shoved 2 against the sky, is a boulder, near which are two little meagre __ trees. Under them some of the flock are lying, while two a ne sheep stand detached from the rest. The effect of these ob- jects, sparingly and sharply cutting against the sky, coupled with the suggestion of an extended spaciousness on the far side of the knife-like edge, is extraordinarily expressive. ‘The monotony of the pasture, on the right of the roadway, is re- lieved by a few yellow flowers, and by a large boulder, from behind which grows a small, compact, umbrella-shaped tree. Signed at the lower right, J. F. Muzer. . Purchased from hes Petit, Paris. Ipav 28 hg ON. ie Mb. fo8Xx ~ PB EXXK— See /geg oN, “098 No. 3 NARCISSE VIRGILE DIAZ DE LA PENA FRENCH ? a + hd $a (1802-1876) / {60 WOMEN OF THE HAREM tee one ee i: Height, 16 inches; length, 231% "AY 10. Jy Pare THE Spanish origin of Diaz nowhere more betrays itself than in his figure subjects. Light and color play their part in his -landscapes, but under the control of the artist’s love of nature. - Inhis figure pictures, and particularly those in which the motive is Oriental, he permits his imagination to sport unfettered. He orchestrates a color scheme that owes no allegiance to any- thing but its own inherent harmony, and invests it with a magic of light effects that are assembled solely in response to his own exuberant inventiveness. ‘Thus his canvases glow like masses of vari-colored flowers in sunlight, or as profuse arrangements of richly tinted fruits. They exhale a gaiety, luminousness and sensuousness, being purely the creations of a painter’s joyous imaginings. _ he present characteristic example of this phase of Diaz’s art represents a bevy of brilliantly attired figures, disposed in a garden scene, the background of which is framed with the ruddy brown and tawny-olive foliage of overhanging boughs. It is massed against a sky of translucent greenish-blue, which shows a burst of white over the horizon. Upon the ground in the centre of the front plane of the composition — stands a_ hookah on a tray. Behind it reclines a lady whose costume consists of a rich brown Turkish jacket over a full sleeved ; chemise of pearly lace, above a skirt of rosy golden hue. At _the right of her a maid sits cross-legged, nursing a sleep ‘baby on her lap. She inclines her head toward another ¢ irl, seated beside her, whose head, also inclined toward hers, is i distinguished by a cap of geranium-red. At the extreme Rae sits a woman, draped below the waist with a fabric of deep sapphire-blue. At the left of the central figure stands an attendant, holding a toy-spaniel, while farther to the left is a woman, whose hands are folded on the lap of her saffron-_ - colored gown. In the shadow, behind, appears a girl in a Be brown jacket, with a red drapery hanging from her left ee 2 The ensemble presents a harmony of jewel-like colors. — : Signed and dated at the lower right, N. D1az, ’64. eS: No. 4 THEODORE ROUSSEAU FRENCH (1812-1867) THE END OF THE FOREST * PANEL ) we, ee In. A Ta ois Tuis picture is a replica in smaller size of the same subject in the Louvre, which was acquired by the French government in 1855. It is reproduced in Richard Muther’s “History of bP) The forest is behind us and we are look- ing out from under an arch of foliage over the flat country toward a horizon, rosy with the twilight afterglow. It is a characteristically beautiful example of Rousseau’s intense and reverential feeling for the spiritual in nature; the foreground presenting a strenuous realization of the vigor and stability Modern Painting. of natural forms, the vista beyond a mystery of sensitive sug- gestion. The trees, which are massed on each side of the fore- ground, are the oaks which he loved best of all trees to paint. At the left there are two main trunks exposed fully to view, a third showing behind them, while a shattered stem leans outward from the group. Correspondingly on the right there is a shattered bough, the recent fracture showing raw and red, while another limb lies against the trunk from which it has flects the glow of the no in Sone of rose and cream anti ie lavender. Silhouetted against these hues are the red body fk and white face of a cow, standing in the water, facing to the | right. Another has just entered the pond behind her ar stoops to drink. Reedy vegetation appears above the surf of the water as it nears the opposite bank, where a small tree that leans abruptly to the right spreads a faint mass of y lowish-green leafage athwart the sky. A cow stands beneath it, and on each side two others dot the level pasture. 'The lat- ter recedes vaguely till it merges with the horizon, above the line of which are visible a small tree and bush. The rosy — vapor that fills the lower sky cools gradually to lavender and fe finally to a vapory blue. Signed at the lower right, Tuy R. Purchased from Georges Petit, Paris. JOSEPH BAIL FRENCH fe i ss: BOYS BLOWING BUBBLES ee Height, 251, inches; length, 311, eu Gp Cys ae oe with a taste oy ees for the fascina- painting that is unrivalled. If for no other reason . than that the a world, as he views it, is spotlessly, brilliantly clean, fragrant _ with the wholesomeness of clear light. He is a “luminarist,” ri _ who has brought the plein air of out-of-doors into the inte- riors of domestic life. ‘The scene of the present picture may be a kitchen. At any rate, a well-scoured kitchen table ex- tends from a window on the left across the front of the com- position. At the right end of it stands a boy in a brown jacket-jersey, with an apron around his legs. Resting his left hand on the edge of the table, he leans over a green earthenware bowl, filled with soap-suds. As he blows through a pipe their surface is agitated into foam and bubbles. Mean- while, on the far side of the table near the window, stands another urchin, one-hand firmly planted on the table, while the other holds a pipe, removed from his lips. To it is sus- peea its. fae the a of ae wad, ; on: lie a cloth and po ladle and i in rue 4 ity of life, both human and AGT that is the ¢c virtue of this artist. Signed at the lower right, Batt, Josepn. Purchased from Messrs. J. E. Caldwell & Co., Philadelphia, who pro painting direct from the artist. _ - FRENCH (1804-1886) 7 { owt “0 2 AS yA E OF ST. BARTHOLOMEW ~~ .M assacre of St. Bartholomew, which mee ne No uate - 2 icc commenced on the night of August 23, and, lasting several days, produced a role of carnage, lak tied at 20,000 to yu 000 lives. The wretched pe | SPA OT eo ee Sia S =) DMD = b= esa ta Laur) o) ee} cr 7 oO Nee 5 f o) ©} i on tS or = oe) ta ie?) pe) La] io 2) eed » oP @) bar) _ =) ce DM cr = io) =) I ae ‘The episode depicted in this picture represents a deviation | ti - from, Isabey’s usual choice of subjects. For he belongs in | K ee E the company of Watteau, except that while the latter painted r _ the romance of the Court life of his own time, Isabey studied an imaginary world of the past; the picturesque period of Pompadour and Rococo, of velvets and satins and elegant posturing. Yet, living in the days of Delacroix and Victor 1G sears. Hugo, he caught also something of the romantic spirit of the ROO an first half of the Nineteenth Century. There is a hint of turbu- _ lence in all his work.. In the present example it is more pro- — a) nounced, yet one may note that the subject is generalized; that there is nowhere an accent of individual poignancy. The ‘ a scene represents the interior of a church, with the pipes of 7 an organ rising majestically at the left of the composition a: in two tiers, supported upon columns. ‘To the level of the — _ top of the latter a staircase mounts from the floor, leading _ to a gallery which intersects two of the massive round pillars — of the nave. Above the balustrade appears a surging mass of figures, the murderers and their victims, while some of the __ latter are being flung from the gallery and hurled down the stairway. Halfway down the steps a woman lies prostrate, and at the foot another is rushing with arms extended toward a woman who is praying beside a pillar on the right. Another — , woman, at the left of the stairs, clasping a baby to her breast, ee is dashing frantically toward a group in the centre of the fore- ground. Here a man is seizing a woman by the throat, while a child clings to her skirt and her husband is stretched a corpse behind her. The floor at the left of the foreground presents a confused havoc of armed men, their victims and piled up bodies, in the centre of which stand three white-frocked monks, stirred to demoniac rapture, holding aloft the crucifix, while one of them is also brandishing a rapier. | Signed and dated at the lower right, E. Isasey, ’86. peer Mi ues Collection of M. Philippe George, Paris. /89/- # 3/-Jeo MNXX%— Collection of P. A. B. Widener, Philadelphia. Purchased from M. Knoedler & Co., New York. Widssssn batt bb 405 —~ L0bKO Hat 1ofob _ BP Sxxx= No. 7 GUSTAVE COURBET FRENCH (1819-1877) WINTER IN THE FOREST / Height, 29 inches; length, 36 inches Vn uf ig Daas “REALISM—G. Courbet” was the sign, at once a declaration and a challenge, which Courbet hung over his separate booth at the Paris Exposition of 1855. His art was a protest, both against the classicism of the Academic School which under the leadership of Ingres was trying to revive the manner of Raphael, and against the Romanticists, whose vision was con- stantly toward the past. The present was his theme and his business to represent it as he saw it, free of personal coloring, letting the thing itself that is represented furnish its own sug- gestion to the imagination. Quite a remarkable example of Courbet’s point of view and method and also of the intrinsic truth of his motive is realized in the present picture. It rep- resents a scene in some forest in winter. There is a pool in _ the foreground, on the far side of which stands a young stag, whose antlers are just sprouting. He sniffs danger. For, hidden from him, behind a boulder on our side of the pool, stands a hunter, leveling his gun to take aim. He is at the foot of a steep bank that rises to the right, composed of diag- onal strata of slab-like rocks. ‘The contrast of their darkness - Z | ‘nae ‘nal with the white of the snow is interrupted by the rosy gray of the dried leaves of oak bushes, which are scattered bet ‘a boulders and massed at the top of the elevation. The w the far side a little glade extends back to the recesses wood, bounded on the left by a bank, where dead f the snow with golden brown. It is crowned by a apparently an evergreen, for the masses of its forn ally smothered in snow. At the end of the glade tl bushes, between the stems of which a peep of blue y appears, spire gracefully against the cold blue sky. whole scene not only presents an extraordinary ree actual appearances, but is instinct with the crysté and hush of the air, so characteristic of a forest w snow. Signed at the lower right, G. CourBET Purchased from Mess. Berheim, Paris. ROM ihe ialation of a high plateau in the immediate fore-. g ground a tiger watches me invasion of ae kingdom of solitude VS iz h ii, Feeding from the ae like a moving snake. The “oa s oe Peer s body, as he crouches on his hind quarters and straight- ens his forelegs to lift his head, is tense with vigilance, the tail stiff and curling at the tip with excitement. He casts hf 3 a faint violet shadow in front of him, while the sun gleams on his richly striped pelt, heightening the brilliance of its contrast to the pale sand around him, the aridity of which is meagerly interrupted by tufts of wiry vegetation. The plain below is an uniform drab, broken only by the dark miniature masses of horsemen which are enlivened with specks of white and red. ‘The lower slopes of the opposite hills are dyed to an _ orange-yellow by the sunshine, while the walls of rock above bei ON THE WATCH ee oe i bight, 25 he: length, RI inches (fe ee Gere them are shadowed with lavender and the saa and platforms show white and pinkish buff. Toward 1 a peak, streaked with yellow, rises like a cone against + sky. The picture is a characteristie-product of Gé to Egypt, from which he returned in 1857 with a he sense of color and the beauty of light, while his bent o: that was naturally toward the academic, had become. by the romantic suggestion of Oriental life. Signed at the left of the centre, J. L. Gereme. 4, ee tT one ae ore Purchased from M. Knoedler & Co., New York. <_. € veh i _ FRENCH -_ (1812-1889) g it eae ro o Pa ASTURE AND COWS Se. | 2 : a ee or 35 inches, length, ied inghes — ee fe mz ak nonce his usual pre meee in dramatic intensity, Dupré has here presented a ne of eae tranquility. The blue of ae ages a ‘the left of. hie foreground. Meanwhile, c on the right of the fc reground the light is interrupted by an oak tree of one- sid ed growth, with a bare branch projecting at the top. In the shadow which the foliage casts appear two cows. One is lying down with her face to us, while the body of the other is seen ir in profile as she feeds, apparently ne: vy Bigned at the lower left, J. Dupre. Purchased from lhe ie Petit, Paris. q 0° No. 10 EUGENE LOUIS GABRIEL ISABEY me FRENCH he (1804-1886) THE FISH MARKET Height, 393, inches; width, Pie os. Ri Tue peculiar esprit of this artist’s style is admirably repre- — sented in the present canvas. The exuberant prodigality of the composition reveals the buoyancy and raciness of hisimag- ination, tinged with a suggestion of romance, delighting in the piquancy of the rococo and coquetting with the natural. He is the irrepressible gallant of the French romantic movement, of which Delacroix was the profound and serious protagonist. In this example the shore slopes up from the foreground on the right of the composition. Some large flat cream and pink fish are lying on the sand and behind them stands a fisher-girl. Daintily dressed in a white cap, black bodice and panniers over a plum-red skirt, she would be at home in a fancy-dress ball. But at present she is trying to sell a fish that she holds in her hands to a handsomely dressed lady and gentleman. His costume consists of a powdered wig, black velvet coat and breeches and a green satin waistcoat, while the lady is attired in an elegant pale blue pompadour gown with voluminous — train, open over a petticoat of a darker tone of blue. Be- : i y 4 Fy a Ma tog iy aoe who delicately holds se. ( ‘Other fisherwomen are seen higher ; in Bia wail, supporting a terrace. 7 cia rocks a group of ailhcats with bare e enlivened with fishermen. ~ ac om he lower left, BE. Isazey. 40 “e Pe Noam CHARLES FRANCOIS DAUBIGNY FRENCH . od “HAULING LOGS IN AUTUMN Height, 31 inches; ed ave WO Jim (1817-1878) In this unusual and presumably early example of the ave ae a road, curving around from the right, ascends between steep i banks to the front. Two powerful oxen, red with white mark- ings, are hauling up the incline a timber wagon on which rests a a tree trunk. A man in blue trousers is seated on it, talking to the driver who has left his team and walks beside him. The banks are tangled with the gnarled and curved roots of beech trees, which have been laid bare by the falling away of the soil. A few golden-brown and red leaves lie on the ground, while others are interspersed with the green foliage growing on the trees. On the right hand is a curiously stunted trunk, from which project two slender upright stems. Farther back on this side appears a tree, massed with orange-yellow foliage. — It stands on the far side of the roadway whence meadowland, sprinkled with trees and intersected by a farm road, leads back to wooded hills that are wrapt in violet atmosphere. Buoyant white clouds float loosely in the sky, which at the zenith is clear blue. ‘The picture is radiant with the coloring and senti- ment of early autumn. It is a highly interesting example, full a aie of Dackicay’ s art, since it o of his consummate skill in summarizing ene. It was in no haphazard way that he ined ae ry thesis - One sees” him here in the preliminary st uge of an ysis, studying ces and rendering exactly the ies of form and structure. In the search for these he te of the brilliance " the light as ¥ poet a oe 4 ad = i 4 iS aunt er Died hi tae = at the ree: an C. Daveteny. ction of bof Habiges Petit, Paris. — ion A. J. im Philadelphia. one El - g NAX rae s —< » in tee oe ee ie No. 12 JEAN F RANCOIS MILLET FRENCH (1814-1875) SHEPHERDESS AND FLOCK Height, 3614 inches; length, 47 inch | Phe A conspicuous feature of the compositiofy is the fruin 1 oF round tower that crosses the summit of the pasture. Pierce by an arched entrance, it projects its silvery-drab mass sin < a creamy sky. It is surrounded by a sort of chevaux de rise, — ; a bristling, tangled fence, composed of tree-limbs, which eek Pe men, one of them distinguished by blue trousers, are repairing. 3 | Two scraggy little trees interrupt it on the right, and on the . left appear two taller ones, while in the distance on this side ae are the indications of a few cottages. The pasture, yellow aS and dried with summer heat, slopes down to the foreground, __ where a shepherdess is tending her flock. The shorn bodies _ of the sheep are bunched at the left, one of them lying a little removed from the rest. The girl, stick in hand, stands at the right, motionless, in that attitude of habitual indifference to . the surrounding nature, which gives such a poignancy to Mil- let’s creatures of the soil. Yet the girl’s form, with a blue kerchief lying over the head and the firm upright figure clad in an olive-tawny gown, has the dignity of mass and rhythm — t bs eile te the natural appearances of SS a . aang of delicate ee while the 1O0ee I y — LE CHEMIN DU MOULIN. i ca No. 18 aon MEINDERT HOBBEMA a DUTCH (1688-1709) Height, 37 inches; length, 4914 inches ‘ ae yee dtr my Tue inexhaustible picturesqueness of a watermill and its su ar- % roundings is here, as so often in Hobbema’s pictures, the mo- hy tive of the subject. The front plane is occupied with | wal a tinged a greyish-olive, on the far side of which, filling the right ei half of the composition, lies a small pasture. Near a wooden é step affixed to the bank for the convenience of washing linen, a is a tree stump, while farther to the left grow two slender, — broom-shaped trees with loose whitish foliage. Still farther to the left is a group of sturdy oaks, whose foliage forms a united — mass above the inlet of the pond. This stream is barred by Pe q a rail and posts which check the swift current of the water ’ and stir it into foam. In the rear a fall of water pours - from : Bs a wooden chute which parallels the wall of a red-tiled build- — ing. At the extremity of the latter another building abuts at — right angles, having a mossy roof with red coping tiles. Both | buildings are constructed of timber frames, filled in with plas- ter. At the left of the scene a road comes around from behind the buildings. A dog marches along it in advance of a wagon, — ‘team, of horses, one white, the other brown, the ing seated on the latter. On the floor of the wagon an old man and woman. A horseman rides beside eee and a man on foot follows it. On the far ous of n arch af Purine tike, 4 prairie schooner. It is Jit.) i ie PAUL JEAN Cl ays FLEMISH (1819-1900) COAST OF ZEALAND — Height, 291, inches; length, 53% in the rhetorical style of representing marine subjects at bring to his study of the sea and shipping the vision, | to facts with which other artists were studying the I: His pictures exhibit a truly Flemish skill of solid p impair their largeness and unity of feeling, since every has been viewed through the all-embracing medium of li In this example the water of the harbor extends me front, its tawny-olive surface dyed with the creamy reflections _ of the sky, which is fermenting with scattered, swollen masses = of warm white cloud. At the right of the foreground a group of shipping is moored, conspicuous in front being two brown- a hulled barges, similar to those which ply up and down the — . ; Scheldt and Rhine. Their sails are hanging loose, those of the foremost vessel consisting of a purplish-red squaresail, a white mainsail and tawny-buff topsail. The barge to the right of this one carries a reddish jib and white mainsail. Farther — q n wae ~ the casei right, J. Crays, 1877. ra a n Catalogue of the P. J. Clay’s Sale, Paris, 1900. -#/0 - Jon Maxx . ae fr dachal -Adlu, al from M. Knoedler & Co., New York, 1904. OS2L/— Jew 1ofox BAX KK < No. 15 CHARLES FRANCOIS DAUBIG FRENCH a 1817-1878 LANDSCAPE Height, 27 inches; length, 57 eG DavupigNy may or may not have ae to a upon this canvas, which was included in the sale of his after his death. It is not a finished picture in the o: acceptance of the term; yet it is difficult to see how i be MONEE as a yicietie peste — the ee artist’s method of laying in his composition. a seems done with rapidity; certainly with a free and vigorous : cation of the brush, fully charged with pigment, treatir surface in masses, yet with great variety of color tone and already with suggestion of the individual =e acterization of the scene. From the foreground extends. a es level stretch of ground, which, as one sees so often in France, 5 escapes monotony by reason of the variety of cultivation with — as which it is broken up. For it is apparently one of the sections __ of ground in the neighborhood of every village, subdivided into lots, where the peasants grow their separate crops of — vegetables and cereals. The rich brown soil is streaked with On the other hand they spread more generally : where the light of the setting sun still lingers. : angs over the hill already alluded to, a primrose orb, . a blur of mist. Eo the a of it Hives popes rise Agree tape ornare imeem nese arr rors & ag ge ee ead a vi ae CR Ne ‘ Bye ot i eat . , es F : “aul Q | No. 16 eT JEAN LEON GikROME i =g id | FRENCH ‘sa (1824-1904) VISION DU CAPTIF DE ST. HELENA wae Ge | Upon a rock at the left of the foreground stands ai chained by one leg to an iron stake. An imperial erc above his head, surrounded by a golden aura. As dashes up against the island of his captivity, he loo the ocean, where a phantom enemy is emerging water and deploying in the air-like a swarm of flies. — direction a column of cavalry of the Guards can be dis in another a battery of artillery. Meanwhile the day down; the zenith has already paled to faint grey-blue, and a — bar of orange cuts athwart the rosy oe of the make ty y- Height, 35% the Cire water. Signed at the right of the centre, J. L. Gerome. — Purchased from M, Knoedler & Co., New York, who procured the painting dees from the artist. Art, Maw 297 ba har SXKK— sd: Iw sion # AUEK— Beetoraty DE BOCK DUTCH (1851- —) _ SUNSET NEAR HIELSUM ra Height, 42%/, inches; length, 4934 inches ene eminence. Like the other leaders.of the School, he 2 As fi ‘st and foremost an accomplished technician, with a vig- =i “orous ae fluent brush-stroke ae ae poly Bie mak es ee, live vividly before one’s eyes. He also shares his ese s affection for the unostentatious sentiment of the Dutch landscape, where nothing clamors for recognition but all unites in a harmony of never-failing human compan- a -ionship. The present picture shows a narrow river, crossing _ the composition horizontally and separated from the spectator “a f by a strip of grass. The margin is feathered with flags and -__-pulrushes. Along the left of the farther bank a row of wil- é lows fringes the water’s edge, above the grey-green foliage nits of which appears a long red roof, adjoining a taller building with a white gabled end. Beyond is a line of four poplars, spiring against a sky that is scattered with clustering creamy, fees aa Fb. xxx ~ 082 . Siph afah 8 EXXX — salmon and rosy drab clouds. A sim occupies the right of the sky jandle ; The middle distance at the might sh shows soft olive-green in hue, extending to trees appear the cheneeeedt of a church » mounted by a little spire, two red-tiled h brown roof and a single windmill. ‘The effect of as evening approaches, is admirably expressed. _ Signed at the lower right, THEo. DE Bocx. Purchased from M. Knoedler & Co., New York, 1906. ne ASTI ITALIAN ive Ww 7 < yore Se hs Z Contemporary lp 42 | FEMALE NUDE 2 Re Height, we ‘inches; length, 68 inches (. (2. HE rede figure of a woman is reclining upon a sofa which, red with a creamy and tawny material, extends across hole of the foreground. Her head, at the left of the ition, i 1S raised upon a cushion, over which streams the ant waves of her auburn-brown hair. The left arm is with the hand on the crown of the head, while the a. lies oo8 the sofa, paralleling we pees: The right ‘Blgned at the lower right, A. Asti. Purchased direct from the artist. BERNARDUS JOHANNES | DUTCH , (1845- +) A HAPPY HOME - Height, 531, ny wh fz? 64 inches Amone the pandeed Dutch painters of the oe ee Blommers has long enjoyed a reputation, second only to pak - of Josef Israéls. To some extent he has suffered from his” Bp popularity, being tempted to over-much and hasty produc ~. tion and to catering to the public’s love of excessive senti- if S mentality. It is therefore refreshing to confront so sterling : an example of the artist at his best as is represented in this aa picture. For it is painted with magnificent assurance and matured deliberation, and embodies a fundamentally human | sentiment. ‘The simple meal, which has been served in a pew- ce ie i. ter dish, being finished, the young husband and wife linger — ey d q at the table to indulge in their mutual devotion to the baby. ag The man, with his hat on and dressed in a buff-brown waist- __ aa coat and greyish-drab shirt, sits at the left of the composition. 5 He has removed his pipe from his mouth, and with his elbow on the table rests his chin in his hand, while with head on one side he gazes smilingly at the baby. The latter lies on the knees of the mother who is seated in profile at the right of at the child, whose little arms are n is dressed in a tawny-drab jacket and a her blond hair being seen against the re- lace. The interior is simple, but marked rt that betoken the good housewife. & Son, New York. Is are laid on her lap, while her JEAN CHARLES ca [Nese FRENCH (1840-1900) A QUIET RETREAT Height, T11Y%, Pips ot width, 51 inch Me) ; THis picture represents an unwonted aspect of Cazin’s For the landscapes of his later life and the estimation in w they are held may tend to obscure the fact that his e reputation was based on figure subjects. Many of t executed in the late seventies and early eighties, involved se 2 SS ae tural themes and established the vogue for interpreting the a | spirit of the old story under conditions and in surroundings — of modern life. They were also in line with the art of Poo for the motive was balanced equally between the landscape and the figure, the former contributing its quota to the senti- , ment of the picture. It was this feeling for the relation be- ae tween human life and its natural environment that, even a: tere : Cazin had discontinued the painting of figures, determined the quality and expression of his landscapes. Human spirit __ seems to penetrate the hush of these vacant places. In the present picture we have the hush without the va- cancy, for the expression of the lady as she sits reading per- vades the spot, and the latter’s pensive quiet mingles with her ——_ a absorption. It is a retreat, presumably in the artist’s garden, where a summer house, constructed of bulrushes held in place with strips of split hazel, occupies almost the entire back- ground. Through the opening one discerns a seat, but the lady is sitting on the ground immediately outside, her book resting on the end of a simple wooden bench. Her left hand is held between the leaves, while the right supports her head. The auburn hair is dressed closely to the head, and her shapely neck rises above a simple gown of deep slaty-blue material. i The lower part is hidden by a bushy mass of phlox with lav- t ender rose blossoms that grows underneath a winding sapling, which is lashed near its foot to a supporting stake. On the ground at the left is an open book, on the pages of which lies a yellow spray, shaped like a poet’s wreath, while near by are three apples, one of them showing a cross-cut. At the right of the foreground a cream-colored china bowl is reflected in the water of a tiny pool. Farther back, on this side of the picture, a shrub, bunched with needle-like foliage, clusters at the base of three tree-stems. iE iE Signed at the lower left, J. C. Cazin. Exhibited at Exposition Arts Decoratifs, Paris, 1882. Illustrated in Dumas Art Annual, Paris, 1882. - FIK M.X. Gaak ee Purchased from M. Knoedler & Co., New York, 1902. eat Z, 4. Mare) dion Lmda /700 #37 LY oMS.AX Dusfot 4. Gross 7 AO.8XX Yueh Bop saya uma posited in 1899 4 A Saths Sr fine S00 LAEXAX ouw/i fy * No. 21. ‘EUGENE LOUIS GABRIEL P ISABEX PRENCH, 4") oe “A ae hy ae (18041800) aaa a a at SMUGGLERS SURPRISED Height, 60Y, inches, length, oui THE scene is one of romantic impressiveness, easily associated in the imagination with grim tales of wreckers and the excit- i. a ing episodes of smugglers. The coast looks inaccessible; a a 7 forbidding wall of nearly vertical rock, built up by some > natural convulsion with > layers. of ‘Titanic masonry, “and crowned with bastions and towers of living rock that have Bb ; withstood the time-long bombardment of the elements. Itis further protected from assault by advanced redoubts in the — form of jagged reefs and rocks around which the sea boils and © a ‘ tosses into foam. The shore is to be approached only by small | dl boats warily: truly a likely haunt for smugglers. It would seem that a vessel has been sighted and under the impression __ that she is foreign the smugglers have pushed off in their boats, laden with kegs of French brandy. ‘They are massed beneath the cliffs at the left of the foreground. Meanwhile the vessel has run up the tricolor and fired a shot from her stern. All is confusion and excitement. In the boat nearest the front two men, keeping a lookout, are crouched in the bow, which is rearing up on the crest of a wave. They have passed a word of warning, and a man in a red cap and blue jacket, who seems to be in command, is standing by the gun- wale shouting directions to the occupants of the boats in the rear. Meanwhile the crew of his own are hurriedly casting overboard the incriminating evidence of the brandy kegs. The summits of the cliffs still glow with the warm reflection of a rosy olive cloud which, however, toward the right of the sky grows dark and threatening. The lower rocks are wrapt in shadow, against which the boats and brightly dressed figures make a bouquet of varied and lively color. Signed and dated at the lower right, E. Isaney, 1837. Collection of Aquado, Paris. Collection of M. de Romeuf, Paris. : Collection Boussod, Valadon §& Co., Paxts.- Sly MOR — # a] — £M/ xX— Purchased from M. Knoedler & Co., New York, 1903. I8IF, B.brte 8.02 b. ¥ Fucked htarfokR g Uhioned Man 26405 MLK. /08 43 Yo bo“ 8xx —~ No. 22) JOSEPH BAIL | FRENCH (1862- ) NUNS SAYING GRACE Height, 60 ” ae OLE is strikingly exemplified in this handsome canvas. The latter, is also characteristic of much of his best work in the cnc of subject, since this artist has shown a preference for scenes of convent life and of institutions maintained by nuns for the care of young women. Doubtless the reason is the exquisite order which prevails in such surroundings, and the fastineae i tion of the simple dignity of the white-frocked garb which as in this picture, is the habit he prefers. Indeed, Bail may ist a have been influenced in this direction by Zurbaran; at any rate _ he rivals the Spanish Seventeenth Century painter’s treatment of the white-frocked monks in their choice and simple environ- ment. With Bail, however, the other’s severity of style gives | ; way to a charming amenity, one may almost call it a spirituel coquetry, due to the loveliness of his effects of lighting. Here the nuns are assembled for their déjewner, standing behind their chairs around three sides of a large table. Two are at the head of the table and six on each side, ey with, heads bowed tt ea rods Lage dbs hd ut + ry aL Ra its artistic interest. For the figures are seen to floor and, with the exception of the profile of the fore- - va no faces are msible. It is a perspective 2s white cing tang for form eis an exquisite delicacy. A corre- spo ndi ding charm « of painter-like quality appears in the treat-_ [ the white tablecloth and the objects of still-life ar- i Ee eercnous among these are three white No. 23 JEAN FRANCOIS MILLET FRENCH (1814-1875) WINTER DECORATIVE PANEL Height, 81 inches; Gai Rrrwh In 1864 Millet to his great joy obtained a commission to execute four decorative panels for the dining-room in the mansion of M. Thomas de Colmar on the Boulevard Hauss- mann. Having received an inkling from his friend, Sensier, of the possibility of the work, he had planned a series of de- signs, more elaborate and costly than M. Thomas had been expecting. However, through the persistence of the architect, M. Alfred Feydeau, they were finally accepted and Millet, on April 4, 1864, writes to Sensier: “I am extremely pleased with the order which you announce and which has been con- firmed by a letter from M. Feydeau. It is like a happy sur- prise to me, for in truth I am so little accustomed to things of this kind, that without thinking it impossible I did not dare count upon it. Praise be to God! It is for me to do my best.” The artist executed the panels in his meagre studio at Barbizon, where there was scarcely room to hang them In another letter to Sensier he describes a visit of his patron to view the progress of the work and concludes with sly humor: “Certain people have said to him (Thomas): ‘You must in- deed be a man of great taste to have dared ask M. Millet to do these paintings,’ etc. And he congratulates himself for the audacity that the strength of his taste has given him, for he does not seem to think that Feydeau biased his taste in the least.” Millet chose for his subjects the “Four Seasons,” three of which are in the present collection, while the fourth passed into the hands of the late King Leopold of Belgium. In preparation for his work the artist visited Fontainebleau, studying particularly the decorations by Rosso and Prima- ticcio of classic subjects. He comments on them to Sensier: “The costumes of their characters are ridiculous, their taste doubtful, but what creative force! And how strongly this rude simplicity reminds one of the antiquities of the times! It is as simple as a fairy tale and real as the ingenuousness of olden times.” The final sentence might be applied to these decorations of Millet’s, for while treating his subjects poet- ically he has preserved his own fondness for rusticity and real- ism. The themes, in consequence, as he has represented them, have all the artless charm of a true fairy tale. The subject of “Winter” is borrowed from Anacreon, who tells of how a childless couple welcomed Cupid into their home, when he was like to have perished in the snow, and were re- warded with what they most desired. At the left of the com- position half of an arched entrance is seen, in which the figures are grouped. With his back to the masonry stands an old man, whose rubicund face has a white moustache and beard, while an ivy wreath surrounds his bald head, as if he had just left the banquet. As he stoops, his right hand raises his ’ 5 heron golden-brown mantle sie as x body. ‘Two strings of holly-berries I | hair and her costume consists of a yellow ¢ . vel ' | greenish-blue tunic, which is sprinkled with heartshaa i j vices. Cupid stands in the snow, with one foot on the d : a Hone his fees under his a His only arti : part of a stunted tree-trunk. The scene at the right presents a cheerless vista of snow with vague indications of trees. a Signed at the lower left, J. F. Mivier. © Purchased from Mess. Durand-Ruel, Paris. AN FRANCOIS MILLET FRENCH "-— suMMER DECORATIVE PANEL ml Tur | Pee instances under which this panel was painted are < i described under No. 23. Standing in an attitude of splendid re freedom and unconscious assertion a young girl faces us in the 7 “cent tre of the foreground. Her form, mellowed in color by ee xposure to the sun, is nude save for a geranium-colored drap- ae y as far as the knees, fastened around the waist with a gold ci | _ band and slightly looped up on one side with a strap. Her ag right hand, planted on her hip, holds a sickle, the left is lowered > Ae to support a winnowing basket. Her corn-colored hair falls in a : a braid over each breast, and her head is crowned with wheat- | sg be ears. We think of Ceres, and there is enough in the dignity and beauty of this figure to suggest the classic goddess of the harvest fields. Yet she is no marbleized academic figure, but “li 2 Mees . _ palpitating with life; a girl of the Barbizon fields, supple and strong and wholesome; her face serious with the realities of toil, but with a nature which toil so far has only developed into the plentitude of girlish maturity. At her feet lie a basket Height, a inches; width, 52, KO ates pane of loaves and a sack of grain. In the rear spread the harvest fields, yellow in the sunshine. Immediately behind her at the left some sheaves are piled, on which the magnificently robust forms of two women are partly visible, reclining in luxurious sleep. At the right is a group of workers, reaping, gathering and binding the sheaves, while in the left distance wheat-ricks are seen, with the harvest wagon alongside. So far the theme has been a pean of labor; but in the distance on the right another note is struck. The classic idea is reproduced more closely in a suggestion of pagan simplicity.and joyousness. A company of nude figures are disporting themselves under the shelter of a grove of trees. Signed at the lower right, J. F. Miter. Purchased from Mess. Durand-Rvuel, Paris. No. 25 JEAN FRANCOIS MILLET ; FRENCH (1814-1875) kK > SPRING, DAPHNIS AND CHLOE Shee DECORATIVE PANEL Height, 81 inches; width, 43 inches Ree ed. CRE For the circumstances under which this panel was painted see No. 23. In his younger days Millet had earned his livelihood by painting nudes. ‘They were not to the taste of Diaz, who, however, may have changed his opinion of Millet’s capacity to treat the nude, when he saw this panel. For by that time he would have realized that his friend was occupied not with the coquetries of the figure, but with the expression of life in its living rhythmic movement, as represented, for example, in the present picture. What an exquisite suggestion of youthful vigor in repose have these young forms! Daphnis, the shep- herd boy, had been taught to play the pipe by Pan and was beloved of the Muses; he was the first of mortals to enliven the fields with bucolic songs. We see him seated on a bank, beneath a terminal statue of Pan, which is crowned with _Jeaves and hung from the waist with honeysuckle and apple blossoms. Nor has the boy forgotten to place on the slab ‘oy * a ee Te + =: Ae, ec he below an offering of three cake 1 while he holds on his knees. a nest, =o thrushes, whose beaks are ajar for the crumb xe) his sweetheart is handing them. Chloe is ne : a, knee, at the feet of her young lover, nude to ) the we an old rose drapery descends to the ground. the mother-thrush and her mate are fluttering, foot of a tree a goat is fastened, suckling her kid. of the cae is closed in poe a grove oe ae roses sprinkle the pore yas where a bag, cts be >. a bur % of dried flags, are sre near the youth. Signed at the lower right, J. F. Mitzer. Purchased from Mess. Durand-Ruel, Paris. AMERICAN ART ASSOCIATION, e | Managers. Tuomas EK. Kirsy, ; ' Auctioneer. ISTS REPRESENTED AND N TETR WORK Z 4 ie ee es pe AZIN, Pye BAN Meet a iS at Quiet Retreat Ks RBET, ats a Winter i in the eet : aa Vik ‘DAUBIGNY, Cuartes Francois — —- Hauling Logs in Autumn Landscape DE BOCK, eve sii Sunset near Hielsum DIAZ DE LA PENA, NarcissE VIRGILE Women of the Harem DUPRE, Jvtes Pasture and Cows r OF ARTISTS REPRESENTED AND _ THEIR: WORK CATALOGUE NUMBER 18 22 19 20 14 11 15 17 Le. MeINpERT ISABEY, Eveixe Louis Gavrren Massacre of St. Bartholome Smugglers Surprised The Fish Market MILLET, Jean Francots Shepherdess and Flock Spring: Daphnis and Chloe Summer — The Road Winter RENOIR, Avcustre Firmin Young Girl Reading ROUSSEAU, THtopore The End of the Forest ala DTA tN Nl AE SE i i i. a ay ih GETTY RESEARCH INSTITUTE “TINEA 3 3125 01662 9814 RRC & RN es rf ’ ‘ $7 er piss hese one Sabet wes Sa ‘ : ieee ie ees ory Cena i EA cathe at Fis in SLOSS re NUE Wie ley hay ere i ; FRR cme en siys voters ine " : i See Mies As ; ne Pa wetaee te nacg ee, 4 eae ; ; ; qtneueres me ene f ect Z ( ake briny: eee yen td Pere) adeeb : Breen vey u SS Shlaai 8 5 Pi SGrs hee vg aattC ee aN a ey SVaShbe : bie x raps ‘ SW seni SCN Cte ou MERON seek Math oeteanea a ‘ PIM eaidiny A BEES read awis toes Peas etparane hn dieheds Gaby ‘ bess TEATCEN Pipa mt oN eE Uy E Ov unhed wien ed E . . Bon erurie . 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