EZ Zz * — Order_of Sale Paintings Ow te Early English Modern Ba ccoony Schools FROM THE Sedelmever Galleries 6, RUE DE LA ROCHEFOUCAULD, 6 PARIS TO BE SOLD BY AUCTION AT The Ortgies Hrt Galleries 366 FIFTH AVENUE, NEW YORK _ THURSDAY EVENING, APRIL 14, 1898. AT 8:15 O’CLOCK Robert Somerville, Auctioneer LIBRARY aie : M. KNOEDLER & CO, i Se aa : 556-8 FIFTH AVE. ve Ra oy NEW YORK § i Conditions of Sale. 1. The highest Bidder to be the Buyer, and if any disputearise between two or more Bidders, the Lot so in dispute shall be big ey ately put up again and re-sold. Snares teas ae 2. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money z7— required, in default of which the Lot or Lots so purchased tobe = — immediately put up again and re-sold. i : 3. The Lots to be paid for and taken away atthe Buyer’s risk and expense at the end of the sale, with all faults and errors of description, Messrs. Ortgies & Co. making no warranty whatever. 4. To prevent inaccuracy in delivery and inconvenience in the settlement of the Purchases, no Lot can, or any account, be removed ~ during the sale. 5. The Auctioneers will not be liable for non-delivery of any = * e. article above the amount paid by the purchaser for such article. 6. Upon failure to comply with above conditions, all Lots 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,ifhe . thinks fit. Mee Be Y, eon The authenticity of every Painting in this Collection is guaranteed by CHARLES SEDELMEYER, 6 Rue de la Rochefoucauld PARIS is by Ssuae of studies for f the Mode Ke oO aS) "ee a) —— iz} £8 erie in color, “They went . Blakeslee gave considerable Reynolds and a Romney, the $8, 00, poe was a fine portrait of a es and, as has been said, is one e best examples of this Englishman’ 8 2:. sf. Ss o9 tones (5% Ase — ce ia! om : ia) nan cee ce es — oO (a) ae} ao a jos oO m ae the buyers present were R. Hall myo Cs Lambert, George «A: . Blakeslee, Rowland Knoedler, Mag Stanford White, L. G. Bloom ory a3 "Ogden, E, Brandus, ae as. Scripps of Detroit, and many of the | dealers, The total amount of the sales was 2,430. A list of the principal pictures, prices and the buyers, where the names | were given, is appended: é | PAINTINGS OF THE EARLY ENGLISH ae - SCHOOL. i Gainsborough, okie: 45 sce Le Nain; | -Brandus . ay $7,900 | Reynolds, “portrait “of. Mrs. Bernard: ban! ee OP AMAOR IGE isk Suki. vies kde be lelve lsc 5,900 | Romney, portrait of Miss micaner Gor- bi oden; tT. J. FUT OO ae 8,000 | Opie, ‘portrait of Mrs. Coxe; ——.......... 2,500 | Shee, portrait of Mrs. Norton; me ay. Bie EMMA NTIS Conseil uece, iss ones. ek 1,200 Constable, “The Embarcation of King George IV. from’ Whitehall, on the eda aal a of the opening of ‘Waterloo pweriGges Rando pi ARENT ele iy dees 2,500 cer Lake Thun, _ Switzerland; Ty Miller Miele dies Bar Sale Pan ha oN aha earch was 4,400 PAINTING On? Te EARLY FRENCH SCHOOL, Largilliere, portrait of James Francis i Edward Stuart; ——.......... FED Sep aI GF $1,800. PAINTINGS BY MODERN ARTISTS. Corot, Lake Nemi; Knoedler.. . $4,100 Munkacsy, Flirtation; Brandus. . Pantano, oul Von Brozik, Punch-and-Judy . in "the PIOMICR ewe OLIN TAINS hae dice suis ee tty 1,500 Reading the Bible; Lambert. ............ 2,400 Von Pettenkofen, ‘Encampment of Bo- hemians .... . 1,600 Charlemont, The “Artist Van de Velde in His Studio; SPELLS, ewe curse ite Wtewing swio ue ‘A Cup of Yi Med at ea aa Van Dyck’s Studio........ | Lessi, The Card Players... 1,500 The Violinist of the Convent. We uae wiuers 2,300 HP eVOaGine Al VOC UM CTU. isha be cie'uvc ec oy at ae D00. Meissonier, La Vedette...............005 gece lng lie hae White Horse; Robert C. Ogden.. 750 Fortuny, A Spanish Lady (aquarelle).. 300 | Study of a Field; George F. ‘Brownell 125 | Interior a Courtyard (sketch); Blu- ie ATVOB EOD ee callin s cigigad were’ ai tie’ ashlee, aie toe otal 140, Three Studies for “‘The Choice of ik’ 7 : Mode!l;” Edward Wasserman.,...sss0s 610 | { EN Early English and French and Modern EBuro-) péan Paiatings Sold at Auction. A sale of twenty-seven early English and | modern Huropean paintings and forty-one can- } vases by Hugéne Jettel was held at the Ortgies Galleries, 366 Fifth avenue, last night. There | was a large attendance of collectors and dealers, \ and while the sale did not realize as much as it was hoped it would when it was first arranged, | better prices were received for many of the pic- tures than had been expected. . The Jette! pictures brought all the way from } $100 to $700. Among the purchasers of them. f- were Robert ©. Ogden, J.S.Scripps, John D. Crimmins and Justice Truax, and several deal- “ers. Among the pictures sold were the fol- lowing: HARLY ENGLISH. Portrait of Miss Le Nain, by Thomas Gainsborough, R. A.; E. Brandus, $7,500. - Portrait of Mrs. yee by Joshua Reynolds, P. | R. Au: T. J. Blakesl2, $5,500 | "Portrait of Miss Eleanor Gordon, by George Rom- l ney; T. J. Blakeslees, $0,000. Portrait of Mrs. Coxe, by John Opie, R. A.}3 2,500 ' Portrait of Mrs. aoe ag by Sir Martin Shee, P. R. A.¢ | J.D. Crimmins, 41,20 The Embarcation of Oxine George IV. at Whitehall | on the Ore .sion of the Opening of. the Waterloo | Bridge, by John Constable,——--, $2,500.- Lake Tnun, Switzerland, by Joseph M. W. Turner; Mr. Randolph, $4,400. EARLY FRENCH. Portrait of James Francis Edward Stuart, by Nich- ' olas Largilliere; ———, $1,300 MODERN EUROPEAN. Encampment of Boh2mians, by August von Petten- kofen; C. Lambert, $1,600. Reading a Document, by Tito Lessi: ———, $1,500. A ©Oup of Tea, by Edouard Charlemont, ———; 2,550. ‘ Reading the Bible, by Vacslav von Brozik; C. Lam- bert, $2,400. The Card Players, by Tito Lessi; , $1,500. Punch and Judy in the Home, by Vacslav von Brozik; J.D. Crimmins, $1,50 La Vedette, by Meissonier; ———-, $3,400. Lake Nemi, by Corot; ———-n, $4, 100. The Artist Van de Veldein His Stu dio, by Edouard ‘Oharlemont; KE. Brandus (on order), $7, 660, ae Ach of the Convent, by ‘tito Lessi; ———, } 2,3 f Van Dyke’ $ Studio, by Edouard Charlemont; ———, | ' $2,800. | The total sales amounted to $82,430. The | eollection consisted of selections from the . Sedelmeyer galleries in Paris, and the authen- |. Hier he pictures have been guaranteed. | When they were brought to this country it was | intended to sell them privately, but owing to their having been delayed in transit by the ac- Gident to the steamship La Champagne a public sale was decided on. Robert Somerville acted as auctioneer: “modern Huropean tion at the Fifth Avenue Art Sixty-seven pictures by meyer galleries, in Paris, evening for a total a egy vases sold, SOr ee the Austrian lands or works, although hav m yet sufficiently known in. them, sought after T ranging from $110 to $ and. in Holland,” sold for Ke 00. Thi prices which the r sured the more. notable, cons present depressed condition eri trade due to the :war agitation. Fischoff, Mr. Sedelmeyer’s partner and } manager of the sale, expressed iened ow a its conclusion as being well satisfied with | — the result. ay The gallery where the sale took was well filled when Auctioneer Sor called the first number at 8 P. M.- leading dealers and collectors were pr ent at this the last important art sa the season, and there were many nent men and women in attendance, highest figure of the sale, $8,100, jwas 4 by Charles Blakeslee for acenb’s charenett ing and effective portrait of Miss he, uae , Gordon, G. Miller paid $4,400. for the mer, an early example, “ Lake Switzerland,’ and Edward Brandus Gainsborough’ s pr epee 3 portrait of Le Nain for $7,500, the Sir. Je Reynolds “ Portrait of Mrs, B . markably well preserved, rich i mellow in color, for $5,500, John mins paid $1,200 for Sir Martin Shee’ $s Por | trait of Mrs.° Norton,” and Ra Ha oe zik’s admirable genre, ‘ Home.’’ The four small examples of Fortuny, in- cluding three studies and an aquarelle, sold well. George F. Brownell paid 3125 “Study of a Field,’ Mr. Blumenstiei ee for the sketch “Interior of a Courtyard,” |) | and Edward Wasserman $610 for the studies ‘ made for the painting ** hoosing a Model.” Meissonier’s ‘* White Horse ’’ went to R. fey Ogden for $750, and ‘Corot’s e Nemi” to Knoedler & Co. for $4,100, while Edward | Brandus bought | Munk acsy’s. af Leer genre, : Plirtation ” for $5,500, an 4 ments “Van de Velde in Ells Studio " oF | Among the buyers of the Jettels Judge Truax, George T. rownell, . | oe James Scripps of Detroit. 'The. en was || conceded by the dealers aha tit = have fF been unusually successful. } wer ~ 2+ A COLLECTION 7% 7 Ok EAINTINGS REPRESENTING LEADING MASTERS Early English | MODERN EUROPEAN SCHOOLS Pe eC IALLY SELECTED FROM The Sedelmeyer Galleries 6 RUE DE LA ROCHEFOUCAULD | PARIS ON EXHIBITION AT Che Ortgies Galleries 366 FIFTH AVENUE, NEW YORK FROM APRIL oth TO APRIL 14th, 1898 AND TO BE SOLD BY AUCTION ie AT 8:15 O’CLOCK THURSDAY EVENING, APRIL 14 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 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 paid for and taken away at the Buyer’s risk and expense at the end of the sale, with all faults and errors of description, Messrs. Ortgies & Co. making no warranty whatever. 4. To prevent inaccuracy in delivery and inconvenience in the settlement of the Purchases, no Lot can, on any account, be removed during the sale. 5- The Auctioneers will not be liable for non-delivery of any article above the amount paid by the purchaser for such article. 6. Upon failure to comply with above conditions, all Lots shall be resold 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 at- tending the same. This condition is without prejudice to the right of the Auctioneer to enforce the Contract made at this Sale, with- out such re-sale, if he thinks fit. PREFA TORY It is a most unusual thing that a collection of paintings con- taining representative works of the highest tmportance by leading masters of the Early English school comes to be offered by public auction in the United States ! The collection herewith exhibited was brought to this country by Mr. Eugene Fischhof, son-in-law and partner of Mr. Charles Sedelmeyer, of the noted Sedelmeyer Galleries of Paris. Mr. Fischhof brought these works with the intention of pre- senting them privately to the attention of the leading amateurs in the different cities, but this plan was interfered with by the acci- dent and long detention ez route of the steamer, ‘‘ La Cham- pagne,’’ by which most of these pictures were shipped. When they finally arrived, the season was so nearly ended and the period of Mr. Fischhof’s possible stay in America was so very limited, it was determined to offer the paintings at public sale, rather than return them to Europe or hold them in storage here until next year. Despite various untoward conditions in the political world, it was believed that the importance of these works would attract such attention and competition that their sale in this manner could not result in serious loss. To those who may enjoy the privilege of seeing these works of early English and modern European masters, the pictures will express more in their own favor than can be conveyed by any printed description or comment. To those living at a distance, however, from New York, it is hoped that the illustrations and text of this catalogue will give some slight idea, at least, of the sterling character of the collection and its component parts. * * * It is very rare that works of such quality as the portrait of Miss Le Nain, by Thomas. Gainsborough; the portrait of Mrs. Barnard, by Sir Joshua Reynolds; the portrait of Miss Eleanor Gordon, by George Romney; the portrait of Mrs. Norton, by Sir Martin Arthur Shee, and the portrait of Mrs. Coxe, by John Opie are assembled together in one collection to reflect honor upon the greatest school of Portrait Painting the world has ever seen. Another portrait, in artistic relationship to these, though of a different school, is a famous work by Nicolas Largilliere, a French painter belonging to the century before that of the great Englishmen. This.picture represents James Francis Edward | Stuart—son of King James II. of England. And not only are the early English portrait painters repre- sented :—the two men most potent in early English landscape art also have contributed to this collection. John Constable is repre- sented by ‘‘ The Embarcation of George IV. at Whitehall on the occasion of the Opening of the Waterloo Bridge ’’—a picture in which the more tender side—the subtle, quiet, finished manner of the artist finds expression. While the picture by J. M. W.. Turfier=is ome “of his earlier works, it has in it the promise of what was to come after it. But it also has in it efficient performance as well as high promise, and would be an exceedingly interesting picture if its author were even entirely unknown. Among the men of the modern European schools who are. represented, there are several giants. Meissonier, Pettenkofen and Fortuny stood at the head of the artists of their respective countries. Each of these men possessed certain of the character- istics of the others, but each also was most distinctly individual— absolutely unique in his line. While the Italian painter Lessi comes very close to Meissonier in accuracy of drawing and subtlety of technique, he, too, is individual in his expression, and works out his artistic salvation in a manner quite his own. Charlemont is another artist who is a master of detail, and his work is different from that of any of the others. He is remarkable for the strength and brilliancy of his color—a worthy descendant of Pieter de Hoogh in this particular. Munkacsy, ‘the painter of ‘the ‘‘ Christ before Pilatey™ sine ‘‘Calvary,’’ the ‘‘ Mozart’’ and other great works which have attracted the attention and admiration of the art world, is another of the modern painters represented. Munkacsy and his former comrade, Brozik, occupy quite a different field from that of Meissonier, Fortuny and Lessi. With Munkacsy detail is suggested rather than closely imitated ; his technique is broad and sweeping ; he marches to the sound of trumpets, with banners flying and drums beating. Brozik is rather more conservative; his work is most carefully studied, and his drawing is remarkable for its precision. He has received wide recognition, and has been the recipient of many distinguished honors during the last few years. * * %* The greatest of modern—indeed of ancient and modern land- Scape painters was Corot, and Corot is here represented by a thoroughly characteristic and beautiful work. It was painted in that enchanting region whence Corot drew inspiration for many of his most charming pictures—Lake Nemi, in Italy. Another landscape painter—not so great nor so widely known as Corot, but with some of the characteristics of Corot, Daubigny and Rousseau—a man who works in the right spirit; who seeks not only to represent, but to interpret Nature as well —is Eugene Jettel. By him there is shown a comprehensive collection of pictures; a collection that shows his manysidedness and that reveals not only his versatility but his spontaneity. Jettel’s reputation is established, but the future has much in store for him and his work. His is still a growing reputation which promises rewards in future for the investments of to-day. * *k * Not only is this collection of paintings remarkable, but the suarantee of the absolute authenticity of every picture in the collection is a remarkable departure from the usual custom regarding works of art sold by auction. And this, as well as the collection itself is to be commended. The reputation of Mr. Sedelmeyer as one of the first experts of painting in Europe, and the standing of his house for the last forty years, give this guarantee very practical value. GHAR savas UR 7. New York, March 25, 1808. THE AUTHENTICITY OF Every Painting in this Collection | IS GUARANTEED BY Charles Sedelmeyer 6 RUE DE LA ROCHEFOUCAULD PARIS THOMAS GAINSBOROUGH, R. A. PORTRAIT OF MISS LE NAIN oe Y S 3 eae THOMAS GAINSBOROUGH, R. A. Born at Sudbury, Suffolk, England, in 1727; died in London, August 2, 1788. At the age of fourteen he went to London and for four years was a student in St. Martin’s Lane Academy. He was a pupil of Gravelot, the French engraver, and studied draw- ing with Francis Hayman. He returned home from London in 1744 and, in 1760, settled in Bath, where he devoted himself especially to portrait painting. In 1774 he went back to London and achieved such great reputation that he was considered the rival of Sir Joshua Reynolds in portrait painting and of Richard Wilson in land- scape painting. In 1766 he became a member of the Society of Artists, and he was one of the Foundation Members of the Royal Academy. The great charm of Gainsborough’s work is in its reserve, its subtle beauty, and its invariable refinement. While his color has not the sort of ‘*martial’’ splendor that one finds in the works of some of his contemporaries, it is always exquisitely harmonious, and its power grows upon one. It hasa sensitive quality. Gainsborough, more than any other artist, portrayed the grace and elegance of his time. His interpretation of character was always of the best that was in his subject, and while his portraits are strongly per- sonal and are wonderful in their expression of vitality, they all have an air of distinction that, no doubt, often proceeded more from the artist than from his sitters. With such power to ennoble his patrons, it is not strange that Gains borough achieved such great success in his profession. I PORTRAIT OF MISS LE NAIN Canvas, 29% x 24% inches. From the collection of A. Wright, Esq., Liverpool. Life-size head and bust of a handsome young woman, nearly facing the observer. She is garbed in a pink dress, with low corsage and with a filmy gold embroidered gauze scarf lightly | thrown around her and held in place by her right hand. Her | brown hair, combed out from her head, falls to her shoulders. She wears a light head-dress, with gold threads running through it. The figure is seen through an oval opening, with gray-green background. REYNOLDS, SIR JOSHUA, P. R. A. Born at Plympton, Devonshire, England, July 16, 1723; died in London, February 32, 1792. He went to London in 1741 and became a pupil of Thomas Hudson. After less than two years of study, he returned to his home and painted portraits. He estab- lished himself in London in 1746. In 1749 he went to Italy to pursue his studies further, and continued there during three years, particularly studying the works of Titian and Paul Veronese. In 1768, upon the establishment of the Royal Academy in London, Reynolds was chosen its first President. He was knighted by King George III. in 1769. He held the Presidency of the Royal Academy for twenty-one years. On the death of Allen Ramsey, in 1784, he became Painter in Ordinary to the King. He was buried in St. Paul’s Cathedral, near the tomb of Sir Christopher Wren. Ruskin calls Sir Joshua ‘‘ the Prince of Portrait Painters ’’ and ‘‘ one of the seven colorists of the world,”’ ranking him with Titian, Giorgione, Correggio, Tintoretto, Veronese and Turner. Of him says Allan Cunningham: ‘‘In character and expression and in manly ease, he never has been surpassed. He is always equal—always natural—graceful, unaffected. His boldness of posture and his singular freedom of coloring are so supported by all the grace of art, by all the sorcery of skill that they appear natural and noble. Over the meanest head he shed the halo of dignity; his men are all nobleness, his women all loveliness and his children all simplicity: yet they are all like the living originals.”’ 2 PORTRAIT OF MRS. BARNARD Canvas, 50 X 40 inches. Three-quarter length figure of a lady, seated, the face turned slightly to the left. She wears a dress of some light material with a flowered figure. Partly thrown about her is a robe of red velvet. In her right hand she holds a book. She wears bracelets of pearls and there are pearls wreathed in her dark hair. There is a vista of landscape beyond the figure, and the head is relieved by a back- ground of dark cloud. Asa characteristic example of the work of Reynolds, for richness of color and excellence of preservation, this picture is noteworthy. BARNARD PORTRAIT OF MRS: A ap iks P. 7 SIR JOSHUA REYNOLDS L — 5 A ‘ ., - t ‘ py ® F y (ga oes - ~ ~ t . < ‘ ‘ —? = GEORGE ROMNEY. PORTRAIT OF MISS ELEANOR GORDON Ae O O ROMNEY, GEORGE Born at Dalton-le-Furness, Lancashire, England, December 15, 1734; died at Kendal, November 15, 1802. Studied for a time with Steele—a painter at Kendal—and then supported himself by painting portraits in the North of England until 1762, when he went to London. In that year and in 1765 he gained prizes from the Society of Arts for his pictures ‘‘ The Death of Wolfe’’ and ** The Death of King Edward.’’ In 1773 he visited Italy. Two years later, he established himself in London, where, until 1747 (when he removed ,to Hampstead), he divided public patronage with Reynolds and Gainsborough. He painted with refined and modest coloring, with great breadth of treat- ’ ment and often with exceeding grace and sentiment. His work is never with- out charm. His flesh-tints are fresh and his treatment of hair, though slight, is truthful and facile.— Cyclopedia of Painters and Paintings. 3 PORTRAIT OF MISS ELEANOR GORDON Canvas, 49 x 3934 inches. Inscribed, ‘‘ Miss Eleanor Gordon.”’ Three-quarter length, life-size portrait of a very attractive young woman with dark hair and eyes, seated in a red velvet chair, with her face slightly turned to the left, but her eyes looking toward the spectator. She wears a loose white dress with a red silk sash, and red ribbons in her hair. In her hands, lying in her lap, she holds a piece of music. The background is an idyllic landscape, with sunset glow over distant hills and deep blue sky above. Two trees with rich brown autumnal foliage are seen beyond the figure. The face is a charming one and the flesh- painting represents Romney at his best. It is like life itself! The pose is easy, natural and graceful, and the work as a whole, while simply and broadly painted, is full of refinement. OPIE, JOHN, R. A. Born at St. Agnes, near Truro, Cornwall, England, May, 1761 ; died in London, April 9, 1807. He began to paint when ten years old, and received orders for portraits at seventeen.. In 1780 he went to London, where he was introduced to Sir Joshua Reynolds, who became his friend. He was elected Associate of the Royal Academy in 1787, and Royal Academician in 1788. In 1805, he was made Professor of Painting in the Royal Academy schools. ~ 4 PORTRAIT OF MRS, COX8 Canvas, 46 x 36 inches. Three-quarter length portrait of a handsome young woman of vivacious expression, with light hair and blue eyes, seated facing | the observer. She wears a dark red gown with low neck and short sleeves. Her right arm rests upon the high end of the seat upon which she is sitting, and the hand rests upon her left cheek. Her left arm reaches to the seat, slightly to the right of the figure as viewed by the spectator. The background is mostly blue sky, with a suggestion of landscape in the lower portion of the com- position. At the right are dark tree trunks with dense foilage. JOHN OPIE, R. A. PORTRAIT OF MRS, COXE x “SIR M. A. SHEE, P. R. A. PORTRAIT OF MRS. NORTON / a O 4,0 SHEE, SIR MARTIN ARTHUR, P.R. A. Born at Dublin, Ireland, December 20, 1769; died at Brighton, England, August 19, 1850. Pupil of the Dublin School of Design. He achieved some reputation in his native city as a portrait painter, and then, in 1788, went to London. In 1708 he was elected Associate of the Royal Academy. He was made a Royal Academician in 1800, and was elected to the Presidency of the Royal Academy in 1830, receiving at the same time the distinction of Knighthood. 5 PORTRAIT OF MRS. NORTON Canvas, 45.4 x 35} inches. Three-quarter length portrait of a lady, seated, facing the ob- server. She wears a white satin gown with ruche of lace and gauze, a crimson hat with white feathers, a necklace of pearls, pearl earrings and richly jeweled bracelets. From beneath the red hat escape clusters of dark brown ringlets. A fur cloak, lined with pink silk, is thrown across the red chair upon which she is seated. we a gs » 1 0 CONSTABLE, JOHN, R. A. Born at East Bergholt, Suffolk, England, June 11, 1776; died in London, March 30, 1837. He became a pupil of the Royal Academy in 1799. Later, he studied with Joseph Farrington and R. R. Reinagle. After painting portraits and historical pictures for some time, he turned to landscape art as his real vocation and exhibited his first picture in 1802. He was elected Associate of the Royal Academy in 1819 and Royal Academician in 1829. He found early recognition in France, where, among all British painters, he was the first whose works found high esteem. His influence had much to do with the evolution and growth of the ‘Barbizon School’’ of painting. When his ‘‘ Haywain’’ was shown in Paris, in 1825, Constable was awarded by the King a gold medal as a tribute of the appreciation in which it was held. 6 THE EMBARCATION OF KING GEORGE IV. FROM WHITEHALL ON THE OCCASIONS ORasae OPENING OF THE WATERLOO BRIDGE Canvas, 13% x 19% inches. From the collection of J. Orrock, Esq.* A view up the Thames toward the city. On the water, near the foreground, are a number of boats with brightly costumed figures going aboard. Across the river, a stretch of buildings borders the shore, and, in the distance, one sees the arches of the bridge and the familiar dome of St. Paul’s. There is a tender blue sky with light cumulus clouds. Bright green trees grow near-the shore at the extreme left. This is one of the brightest, most luminous pictures that has come from this artist. It is exquisitely pure and beautiful in its coloring, and has a silvery quality that is both exceptional and remarkable. *Mr J. Orrock is a great connoisseur, and is considered in England the highest authority on the early English masters—especially Constable. 2 : qOaIdd OOTYALVM JO DNINAdO :‘NOILVOUNVEWA AHL “VY ‘ATAVLSNOO NHOfP CNVTYAZLIMS ‘NOHL AYV1T ‘VM MANUAL M "WT yor TURNER, JOSEPH MALLORD WILLIAM Born in London, April 23, 1779; died there, December 10, 1851. Premedieted ine schools of the Royal Academy in 1789. He studied perspective under Thomas Malton and architecture under Hardwick. He was elected Associate of the Royal Academy in 1799, and Royal Academician in 1802. About the same time, he visited Scotland, France and Switzerland. In 1807 he became Professor of perspective in the Royal Academy. He visited Italy in 1819, 1829 and 1840. At his death, he left the pictures in his studio to the nation. 8 LAKE THUN, SWITZERLAND Canvas, 27% x 35% inches. [This work, which was an early production of the artist’s, was bought from Mrs. Dalton, widow of Mr. Dalton, a friend of Turner, who received it direct from the master himself. } A view across the lake, which is bordered by high mountains, the summits of which are partly lost in the clouds. A large rocky promontory juts out into the water in the middle distance. The sky is filled with masses of rapidly moving clouds. There isa feeling of wind and storm. & tae) Be ball an ot anes mye \ 4 ‘ i wwe . Fy 2 SNVIWSHO” AO LNAWdWVONA “NEAONNALLAd NOA LSNONV | PETTENKOFEN, AUGUST VON Born in Vienna, 1821. Pupil of the Academy in Vienna. Served in the Austrian army, in which he gained the rank of captain. When his term of service ended, he returned to the brush and became the foremost painter of his country. From his experiences in the field and with the Hungarian contingent of the army, he has drawn the subjects for many of his works. He was made a member of the Vienna Academy in 1866, of the Munich Academy in 1867, was knighted in 1870, and was made a Professor in 1880. 14 ENCAMPMENT OF BOHEMIANS Panel, 9% x 16 inches. Signed at the right, ‘‘ Pettenkofen.”’ A gypsy family is seen under a tent, ona plain. Two horses are tethered outside. There is a luminous blue sky with light clouds. The figures are painted in the most careful yet artistic manner ; each isa masterpiece of modeling and expression. The horses are drawn with knowledge and power and with wonderful suggestion of vitality. The effects of atmosphere and distance are expressed with subtlety and truth. In color this painting is refined and harmonious in the highest degree. 45 CHARLEMONT, EDUARD Born at Znaim, Moravia, 1848. Pupil of the Vienna Academy, under Engerth, and, later, of Makart. He visited Italy, studied in Venice, traveled in Germany and France, and finally settled in Paris. 'He received a medal at the Salon, Paris, in 1883, and a gold medal at the Exposition-Universelle of 1889. Was made a Chevalier of the Legion of Honor, 1895. Charlemont’s art received its chief inspiration from the early Dutch and Flemish masters. He is an artistic descendant of Pieter de Hoogh and of Van der Meer of Delft. In brilliancy of color, refinement of execution and virtuosity he has norivals. Among the works which have given him greatest reputation were his celebrated decorations for the foyer of the Imperial Burg Theatre in Vienna. The pictures by which he is represented in this collection are from the collection of M. Faure, the distinguished singer, of Paris. 15 THE ARTIST VAN DE VELDE IN: Hist ie Panel, 37 x 28% inches. Signed at the right, ‘‘E. Charlemont, 1890.” The painter, facing the spectator, is seated before his easel, intently engaged upon his work. Inasmall apartment at the side, the curtain at the entrance to which has been withdrawn, stands an attractive young woman wiping a plate and watching the painter through the doorway. In the near foreground, at the left, is the model of a full-rigged ship. The painter is garbed in black satin, with broad white lace collar and cuffs, and with a purple velvet cap on his head, out from which long curling brown hair falls over his shoulders. The young woman wears a yellow dress, blue apron, white cap and white kerchief. Over the top of the easel hangs a mass of rich green brocade drapery. The wall is covered with rich tapestry. Upon it hangs an old map. The picture is painted with most careful attention to details, and is rich and splendid in color. 46 EDUARD CHARLEMONT. THE ARTIST VAN DE VELDE IN HIS STUDIO “4 A CUP OF TEA EDUARD CHARLEMONT. CHARLEMONT, EDUARD ag i [See No. 15.] 2s eae “> 2) 4 | 16 Ree Or “PEA Panel, 15 x 12% inches. Signed at the right, ‘‘E. Charlemont, 1884.” A dark-haired young woman in pink silk dress, with long, pointed bodice, a broad, pointed linen kerchief, and wearing an elaborate white lace cap, stands beside a table, pouring cream into a cup of tea. Upon the brown wall behind her hangs an ancient map, and partly covering it hangs a black felt hat, witha clay pipe passed through the band. In technique and rich coloring, this work is comparable with somewhat similar compositions by the early Dutch masters. 17 ati o? VAN DYCK’S STUDIO Panel, 2034 x 13% inches. Signed at the left, ‘‘E. Charlemont, ’82.”’ Interior of a handsome studio. The artist, in black satin costume with slashed doublet and sleeves and broad lace collar, facing from the observer, stands in front of his easel, upon which is the growing portrait of a beautiful young woman. At the right sits a man in a redcloth costume with brass buttons, observing the artist’s progress. Over the back of the chair in which he sits hangs a bit of blue velvet drapery. A_ broad brimmed black hat is hung on the top of the chair. There are rich tapestry curtains and various objects indicative of the wealth and taste of the painter. Below the easel falls a mass of bright green silk drapery, giving a strong color note. y, a We EESSES LEO Born in Florence, Italy, 1858. Member of an artistic family. His father was a worker in mosaic, and three of his uncles were painters. He studied for a time in the Academy at Florence, and some years later was a pupil of Antonio Ciseri for a short while. He studied architecture and perspective with one of his uncles. In 1880 he went to Paris and immediately began to achieve distinc- tion. Gold Medals, Paris Salon 1895, Munich pees Highest Award, Berlin 1897. While Meissonier was not actually Lessi’s master, he was so virtually, for in each of Tito Lessi’s works one finds those remarkable effects of light, the delicacy of touch, the regularity of drawing and love of representing the smallest objects, which certainly must place him forward in that school of painting where precision, conscientiousness and honesty are the supreme points of excellence. He appears to bea disciple of the Flemish or Dutch rather than of the Italian painters— a descendant of Terburg, Teniers or Peter De Hoogh. * * * Throughout Tito Lessi’s work there is constant evidence of ihe sincere and truthful; each picture has been the object of special study, of careful thought and elaborate working-out, and each seems to contain the plenitude of his qualities.—‘* The Italian Metssonier,” Art Journal, London, February, 1897. The comparison with Meissonier is the first that occurs to every critic when he becomes acquainted with the art of this skillful Italian. To invite such comparison would be presumption on anyone else; it is not so in Tito Lessi. Having remarkably good sight, a firm and delicate hand, indomitable patience, and a love of accuracy and completeness in the representation of objects whether living or inanimate, it is natural that Lessi should paint very much on the same principle as did Meissonier. Still, notwithstanding a coincidence of gifts and tastes, there is clear evidence that Lessi looks at everything with his own eyes. The resemblance of his work to that of Meissonier is more in clearness of vision thanin style.* * * His art, though technically most accom- plished, is in our time rare by reason of its scrupuious honesty, by its modesty and by the keenness of insight that it unobtrusively displays.—/Philip Gilbert Hamerton, in Scribner's Magazine, March, 1894. 18 THE: CARD BLAYVGERs Panel. 9% x1134 inches. Signed at the left, ‘* Tito Lessi.”’ Three men, each with intent expression, seated about a round stone table, out-of-doors, engaged in a game of cards. The figure nearest the spectator wears a coat of pink satin; the man next him is in black, and the one across the table has thrown off his coat and hat and appears in shirt-sleeves and red. vest. His discarded red coat lies across a chair in the foreground. Beyond the figures, one sees the end of a country house and a thicket of rich greens, with the sparkle of sunshine penetrating the foliage and jewel-like touches of blue sky showing through. In character of subject, composition, color and technique, this picture particularly suggests the work of Meissonier—with whom Lessi is so con- stantly compared. TITOSLESSI.-1 HEF CARDSPLAYERS LESSI, TITO a [See No. 18.] wy? or 19 THE VIOLINIST OF THE CONVENT Panel, 18% x 14% inches. Signed at the right, ‘‘ Tito Lessi.”’ Standing near a window, in an apartment of a convent, is a young man in a dark gown, nervously playing a violin. His face reflects the elevation of his soul and his love for his art. A middle-aged monk in a white robe and a black cowl is seated in the foreground, and a younger man, similarly garbed, sits at the end of a table, at the extreme left. Both are impressed by the play- ing, which evokes retrospection—perhaps introspection. The table is covered by a rich crimson brocade, and upon it are books and music. An eagle lectern. with an ancient missal, rises at the right. The upper windows are of bright-colored glass, and a green curtain hangs at the side of the window. In subject, feel- ing, composition and color, this is one of the most successful of Lessi’s pictures. In technique it is most admirable. 20 i oa READING A DOCUMENT Jv 0 Panel,-934 x 12 inches: Signed at the right, ‘‘ T. Lessi.’’ Two men are seated near a table, under a large window. One, facing the spectator, reads from an ancient parchment folio which he holds in his left hand, while he gesticulates with his right. Facing the reader, sits the second man, with profile toward the observer, leaning forward with intent expression. The reader wears a coat of flowered gray velvet, with broad lace _ cuffs, and black knee-breeches. He is seated in a large red velvet-covered chair. The listener has a red velvet coat embroi- dered with gold, and gray breeches. On the table are books, writing-materials and a lamp with a green shade. Thereisa green chair, also, piled full of old books and manuscripts. The gradations of light in the apartment are expressed with rare truthfulness. The painting, throughout, is finished with the utmost detail, yet with a breadth of handling closely recalling the work of Meissonier. 99 We rf \ ‘ j / 0 U O O ve MEISSONIER, JEAN LOUIS ERNEST Born at Lyons, France, February 21, 1815 ; *ciedminmaanies January 31, 1891. In 1830, Meissonier went to Paris and studied four months under Leon Cogniet. He formed his technique mainly, however, upon careful study of the Old Masters—particu- larly those of the Dutch school. Medals: third class, 1840; sec- ond class, 1841; first class, 1843 and 1850; Medals of Honor, 1855, 18607 and 1878; Chevalier of the Legion of Honor, 1846; Officer, 1856; Commander, 1867; Grand Officer, 1878. Member of the Institute, 1861. One of the founders and the first President of the Société Nationale des Beaux -Arts, Paris. pa) \ LAYVEDE LTE Panel, 1734 x 13%. Signed “‘E. M.” at the right. From Meissonier’s studio after his death. A Guardsman, with alert expression, standing erect in the foreground. In the distance, two other soldiers are slightly but deftly indicated. The soldier is studied in the most careful and comprehensive manner, yet is painted with broad and simple technique. Every strap, every buckle, every button is in place and fulfils its function. The landscape, while merely suggested, is rich in warm greens and browns; and the sky, filled with bright, luminous white clouds—with a patch of clear blue showing through —is painted with close observation, knowledge and fine effect. 22 THE] WHITESUORS ts Se Canvas, 11% x 8% inches. Signed ‘‘E. M.’’ at the left. From Meissonier’s studio after his death. The horse, in the foreground, stands facing to the right. The animal is drawn with wonderful accuracy and spirit, and is painted with all the vigor and spontaneity of the first impression. At the extreme right of the composition, a red horse is hastily sketched in—and even in the few strokes by which this is accom- plished, one may recognize the brush of the master. The fore- ground is a sandy road; beyond it is a suggestion of rich green foliage under a luminous blue sky. *Study of the Emperor Napoleon's Horse. 56 paeRC Tat Deiat eNEISSONIER: LA VEDETTE = ee j \ 2 7 : 7 , = : So) r . ~ : 4 Y - b 2 , - ‘4 . ‘ . a . ii < : * Pe. " . his oak . : j +-