~ 
 Bg 
 
 Stas 
 
“ f 
 
 : 
 i ate 
 Pe 
 
 i yi! , 
 
 oe 
 
— 2 
 
 ee ee 
 
 oy - 
 
 vo. 18. George Washington. Charles W. Peale 
 
CATALOGUE 
 
 oy - 
 70 Carly American Patutings 
 
 OF 
 
 HistoricaL IMPORTANCE AND SUPERIOR QUALITY 
 
 BELONGING TO 
 
 George Reuling, FA.D. 
 
 : of Baltimore, Marpland 
 FOLLOWED BY A SMALL COLLECTION OF CHOICH PICTURES 
 CONSIGNED BY A GENTLEMAN IN THE SOUTH, 
 
 INCLUDING 
 
 THE Famous Furtt-LenctH Porrrair oF GEORGE WASHINGTON, ONCE 
 OWNED BY GENERAL LAFAYETTE, AND PAINTED BY CHARLES WILLSON 
 PEALE, AND OF ANDREW JACKSON BY THE SAME ARTIST; HENRY 
 CLAy, By JOHN NEAGLE, AND ANOTHER OF THE SAME 
 BY REMBRANDT PEALE. 
 
 THREE DIFFERENT PorTRAITs BY GILBERT STUART, INCLUDING ONE oF Miss 
 PHILIPps A RELATIVE OF THE WASHINGTON FAMILY; THE BATTLE OF 
 Bunker Hitt spy Cot. JoHuN TrumButt; THE LAUNCHING OF 
 THE BRIGANTINES BY PH. RoTHERMEL; Portrait oF Miss 
 RIEMAN By GILBERT STUART NEWTON, ETC., ETC. 
 
 TO BE SOLD AT AUCTION 
 
 TUESDAY EVENING, APRIL 7th, 1914 
 
 AT 8:15 oO CLOCK 
 
 AT 
 
 Che HMlerwin Galleries 
 
 16 East 40TH STREET, NEW YORK 
 
 WHERE THE COLLECTION WILL BE ON VIEW COMMENCING 
 THURSDAY, APRIL 2nd. 
 
 TELEPHONE 1106 Murray HILL 
 
Conditions of Sale. 
 
 1. All bids to be per Lot as numbered in the Catalogue. 
 
 2. The highest bidder to be the buyer; in ail cases of disputed 
 bids the lot shall be resold, but the Auctioneer will use his judg- 
 ment as to the good faith of all claims, and his decision shall be 
 final. He also reserves the right to reject any fractional or nominal 
 bid which in his judgment may delay or injuriously affect the 
 sale. 
 
 3. Buyers to give their names and addresses and to make such 
 cash payments on account as may be required, in default of which 
 the lots purchased to be immediately resold. 
 
 4. The lots to be taken away at the buyer’s expense and risk 
 within twenty-four hours from the conclusion of the sale, and the 
 remainder of the purchase money to be absolutely paid on or 
 before delivery, in default of which the Merwin Sales Co. will not 
 be responsible if the lot or lots be lost, stolen, damaged, or 
 destroyed, but they will be left at the sole risk of the purchaser, 
 and subject to storage charges. 
 
 5. To prevent inaccuracy in delivery and inconvenience in the 
 settlement of purchases, no lot will be delivered during the sale. 
 
 6. All lots will be exposed for public exhibition before the sale, 
 for examination by intending purchasers, and the Merwin Sales Co. 
 will not be responsible for the correctness of the description, 
 authenticity, genuineness, or for any defect or fault in or concerning 
 any lot, and makes no warranty whatever, but will sell each lot 
 exactly as it is, without recourse. 
 
 7. Terms Cash. Upon failure to comply with the above condi- 
 tions any sum deposited as part payment shall be forfeited, and all 
 such lots as remain uncleared after twenty-four hours from the 
 conclusion of the sale, will be resold by either private or public 
 sale at such time as the Merwin Sales Co. shall determine, without 
 further notice, and if any deficiency arises from such resale it 
 shall be made good by the defaulter at this sale, together with all 
 the expenses incurred thereby. This condition shall be without 
 prejudice to the right of the Merwin Sales Co. to enforce the 
 contract with the buyer without such resale. 
 
 THE MERWIN SALES COMPANY, | 
 16 East Fortieth Street, 
 New York. 
 
 S. L. PARSONS & CO., Inc., Printers, 45 Rose St., New York. 
 
 2 
 f 
 : 
 i 
 j 
 i 
 ¥ 
 
| 
 
 Vie 
 
 Foreword 
 
 So rarely are Colonial and Revolutionary portraits offered 
 
 at public sale, that the presenting of a collection like that de- 
 ___ scribed in the following pages creates an-event in the history 
 
 of ‘American Art. The interest in stich a sale cannot be local- 
 ized, but appeals. to the whole country, to the patriotism of all 
 
 Americans, to the pride which every individual must feel in 
 
 ‘seeing the life-like presentments of those who were the chief 
 
 actors in making this country the great nation that it is to-day. 
 Historical Societies, the collectors of early portraits, and the 
 
 connoisseurs of good paintings, should be particularly inter- 
 ested, as the probability i is that many years may elapse before 
 
 an assemblage of like character and similar importance may 
 pass beneath the gavel of the auctioneer, and the continued 
 
 absorption by collectors and societies inevitably tends in the 
 
 direction of increased values. 
 
 Long and patient study, diligent search, and great care in 
 securing authentic pedigrees are absolute essentials in the 
 criterion of the values of paintings. Dr. Reuling has expended 
 large sums and spent many years of patient research in this 
 direction, that his gallery should contain only worthy examples, 
 and that no doubt should arise, and every purchaser may be 
 
 assured that nothing has been left undone that was possible 
 
 to authenticate every claim made. As in all sales the judg- 
 ment of the individual purchaser has to be the final test, and 
 it is believed that the paintings now offered will by their merit 
 eloquently speak for themselves. 
 
 To mention certain portraits would be invidious when all 
 are of such merit, and many so familiar by the work of the 
 engraver. Peale’s famous full-length portrait of Washington 
 has associated with it so much of a personal nature that to 
 most of it will be the chef-d’ceuvre of the sale. Shortly after 
 the Battle of Princeton, Washington sent it to the King of 
 France as a token of gratitude for the assistance that the 
 French nation had given us in our hour of trial. On the return 
 of the Marquis de Lafayette to his native country, Louis XVI 
 
presented it to him as an appropriate mark of | 
 esteem which he felt for the Pee ae oe 
 
 institution. 
 
Rembrandt Peale 
 
 Clay. 
 
 Henry 
 
 No. 
 
 a ee ne eee eee eee 
 
” - 
 
 iy 
 
Artists Represented 
 DARLEY (FELIX O. C.). : 
 
 Born in Philadelphia in 1822. A prominent 
 figure in the early annals of American Art, 
 he is perhaps best known for his matchless 
 illustrations to the works of Cooper, Irving 
 and Dickens. He died in 1888. 
 
 1. PORTRAIT OF JUDGE QUINN. 
 
 HEALY (GEORGE PETER ALEXANDER). 
 
 Born in Boston, 1813. For many years he 
 worked in Paris, where he obtained a medal 
 of the second class in 1855. His greatest 
 successes were his representations of Ameri- 
 can statesmen. Among his portraits of dis- 
 tinguished people are those of Grant, Clay, 
 
 Webster, Calhoun, Tyler, John Quincy 
 Adams, Lincoln and others. He died in 
 Chicago in 1894. 
 
 14. PORTRAIT OF HENRY CLAY. 
 
 JARVIS (JOHN WESLEY). 
 Born in England in 1780. At an early age 
 he came to New York, where he gained an 
 enviable reputation as a painter of portraits. 
 He was noted also for his eccentricities and 
 genial humor. Died, 1840. 
 
 10. HALF LENGTH PORTRAIT OF WILLIAM 
 CLARK, THE EXPLORER. 
 
 NEAGLE (JOHN). 
 Born in Boston, Massachusetts, November 
 * 4th, 1796. Considering his meagre oppor- 
 tunities in early life, the skill he subse- 
 5 
 
quently attained was quite remarkable. He 
 was one of the founders, and for many ~— 
 years president, of the Artist Fund Society, “se 
 of Philadelphia. As a painter, he was a 
 powerful colorist and a vigorous draughts- a 
 man. Unquestionably, he occupied a high 7 
 position among the American Portrait 
 painters of his day. He died in Philadelphia, 
 
 September 17, 1865. ~ ee 
 
 4. PORTRAIT OF HENRY CLAY. 
 
 NEWTON (GILBERT STUART). 
 Born.in Halifax, Nova Scotia, in 1/94. He 
 was a nephew of the American painter, Gil- 
 bert Stuart, under whom he pursued his first 
 studies. In 1817 he visited Europe and 
 finally settled in London, where, as a 
 student at the Academy, he made rapid 
 progress. In 1832, Newton was elected a 
 member of the Academy, but a year later 
 developed symptoms of insanity and died in 
 1835. He was a prominent subject painter, 
 but his greatest successes were attained in 
 his representations of beautiful women. 
 7. BUST PORTRAIT OF MISS RIEMAN. 
 
 PEALE (CHARLES WILLSON). 
 Born at Chestertown, Maryland, April 16th, 
 1741. He lived in Boston in 1768-69, where 
 he studied under John Singleton Copley. In 
 1770 he went to England and entered the 
 studio of Benjamin West. Six years later 
 he established himself in Philadelphia, and 
 later became captain of volunteers and was 
 present at the Battles of Trenton and Ger- 
 mantown. In 1802, he opened ~Pealets 
 6 
 
Museum” in Philadelphia, where he ex- 
 hibited his collection of Natural Curios, 
 Portraits, etc. He completed in’ 1772 his 
 first portrait of Washington, who gave him 
 no less than fourteen sittings. Later he 
 painted Washington repeatedly. Among his 
 best known portraits are those of George 
 and Martha Washington, John Hancock, 
 Benjamin Franklin, Thomas Jefferson, John 
 C. Calhoun and Andrew Jackson. He died 
 in Philadelphia, February 22, 1827. 
 2. VIEW OF MOUNT VERNON. 
 
 15. PORTRAIT OF GENERAL ANDREW JACK- 
 SON. — 
 
 18. GENERAL WASHINGTON AT PRINCETON. 
 
 PEALE (REMBRANDT). 
 Born in Bucks County, Pennsylvania, in 
 1778. Evincing talent very early in life, he 
 painted a portrait of Washington when only 
 seventeen years of age. In 1801, he went to 
 England and studied under Benjamin West. 
 Subsequently he succeeded Trumbull as 
 president of the American Academy and 
 was one of the Virginia members of the 
 Academy of Design. He died in Philadel- 
 phia in 1860. 
 8. BUST PORTRAIT OF HENRY CLAY. 
 
 : 11. BUST PORTRAIT OF MRS. CHEW OF 
 : GEORGETOWN. 
 
 ROTHERMEL (PETER F.). 
 
 Born in Pennsylvania in 1817. Afterhaving 
 engaged in the active practice of his profes- 
 sion in portraiture he went to Europe in 
 1856 and remained there for four years, dur- 
 
 ~ 
 ‘ 
 
ventional portrayal of historical subjects. 
 
 12, THE LAUNCHING OF THE BRIGANTINE, ‘ 
 
 STUART (GILBERT). 
 Born at Narragansett, Rhode Island, De-— 
 
 cember 3, 1755. He went to England in 
 1775 where he entered the studio of Ben- 
 jamin West as a pupil, but soon became an 
 assistant to his master.. Among his sitters 
 in Europe were Louis XVI., George III. and 
 
 George IV., while Prince of Wales. Dur-_ 
 
 ing his career he painted the portraits of six 
 Presidents of the United States—George 
 
 Washington, John Adams, Thomas Jeffer- aS 4 
 
 son, James Madison, James Monroe and 
 John Quincy Adams. He died in Boston, 
 July 27, 1828. 
 
 BUST PORTRAIT OF REV. DR. MUHLEN- 
 
 BERG. 
 
 9. BUST PORTRAIT OF THE EARL OF DUD- 
 
 LEY. 
 PORTRAIT OF MISS PHILIPPS. 
 
 TRUMBULL (COLONEL JOHN). 
 
 Born at Lebanon, Connecticut, June | 6, 
 1756. Trumbull was one of the most nota- 
 ble American painters of the 18th cen- 
 
 tury. For a time he laid aside the pencil for 
 
 the sword, serving with distinction during 
 
 the Revolutionary War, first as aide to 
 
 Washington, and then as major at the 
 
 storming of the works of Burgoyne at Sara- 
 
 toga. After leaving the army he became a 
 8 
 
 ing which time he painted his first historical 
 pieces. Possessed of a fine sense of har- 
 mony, he was very successful-in the con- 
 
o 
 
 No. LD; 
 
 Andrew Jackson. 
 
 Charles W. Peale 
 
student under Benjamin West, whose tal- 
 ents, it is now generally admitted, were in- 
 ferior to those of his pupil. Among his 
 more important paintings are “The Declara- 
 tion of Independence,” “The Surrender of 
 Burgoyne,” ““The Resignation of Washing- 
 ton,’““The Surrender of Cornwallis” and 
 “Yhe Battie of Bunker Hill.” He died in 
 New York City, November 10, 1843. 
 
 13. PORTRAIT OF GENERAL WASHINGTON. 
 17. THE BATTLE OF BUNKER HILL. 
 
 UNKNOWN PAINTERS. 
 3. HALF LENGTH PORTRAIT OF MISS DOLLY 
 SHEPHERD. 
 6. BUST PORTRAIT OF GENERAL WASHING- 
 TON. 
 
No. 16. Mrs. Lloyd (of Maryland). Gilbert Stuart 
 
Portraits of Eminent Americans 
 : , From the Collection of 
 
 GEORGE REULING, M. D. - 
 
 Of Baltimore, Md. 
 
 F. O. C. DARLEY. 
 1. PORTRAIT OF JUDGE QUINN. 
 
 Half length, slightly turned to left, but look- 
 ing to the front, law book in right hand; at 
 ‘the back a column from which droops a 
 3 crimson curtain, open flat country in the dis- 
 50- tance. Finely painted with exceptionally 
 strong and just color. Canvas. Height, 30 
 
 in.; width, 25 in. 
 
 CHARLES WILLSON PEALE (Attributed). 
 
 2. VIEW OF MOUNT VERNON. 
 A very early work of this painter showing 
 Mount Vernon as it looked when Washing- 
 2I5- ton inherited it from his brother. Canvas. 
 - Height, 18 in.; width, 35 in. 
 
 UNKNOWN PAINTER. Colonial Period. 
 
 3. HALF LENGTH PORTRAIT OF MISS DOLLY 
 7 . SHEPHERD (afterward DOLLY MADISON). 
 Oo - 
 
 Canvas. Height, 34 in.; width, 26 in. 
 
 JOHN NEAGLE. 
 4. PORTRAIT OF HENRY CLAY. 
 
 Considered the most satisfactory portrait of 
 this statesman. It represents Henry Clay in 
 if one of his impassioned appeals, the full 
 . 2 Yo pad length figure being vigorous in action. In 
 : the lower right hand corner is a globe over 
 which falls the folds of the American flag. 
 
 Towards this both hands of the speaker are 
 11 
 
extended while his face is turned to those 
 whom he is addressing. Rich and glowing 
 in color. Canvas. Signed and dated 1843. 
 Height, 53 in.; width, 37% in. . 
 
 John Neagle’s finest portrait of an American statesman 
 and well known through reproductions. 
 
 GILBERT STUART (Attributed). American. 
 1755-1828. 
 
 5. BUST PORTRAIT OF REV. DR. MUHLEN- 
 BERG. . 
 
 ee ee er et 
 
 Dr. Muhlenberg served on Washington’s .~ 
 
 ()5- staff during the Revolution and after the 
 Declaration of Independence occupied 
 many high positions in civil life. Canvas. 
 Height, 914 in.; width, 8 in. 
 
 UNKNOWN PAINTER. Colonial Period. 
 6. BUST PORTRAIT OF GENERAL WASHING- 
 TON. 
 J From the estate of Col. Washington Lewis,» | 
 y a) a grand nephew of General Washington, and > 
 
 attributed by the owner to Charles Willson 
 Peale. Canvas. Height, 18% in.; width, 
 173% in. 
 
 GILBERT STUART NEWTON. ; 
 
 Ae 7. BUST PORTRAIT OF MISS RIEMAN. 
 ie Canvas. Height, 20 in.; width, ieee 
 
 REMBRANDT PEALE. 
 8. PORTRAIT OF HENRY CLAY. 
 Bust, slightly turned to right, the face exe- 
 cuted with great care and expression. Can- 
 5 40 - vas. Height, 24 in.; width, 20 in. 
 
 From the McDonough Estate. Formerly in Peale’s 
 Museum, Philadelphia. 
 [See illustration], 
 12 
 
 > 
 
John Trumbull 
 
 Battle of Bunker Hill. 
 
 ie 
 
 No. 
 
GILBERT STUART. 
 
 9. BUST FORTRAIT OF THE EARL OF DUD- 
 LEY. 
 
 ae This portrait was painted by Stuart during 
 a s. his “English Period” and is from the estate 
 Pp 2/70 . of Edward Greenway, Esq. Canvas. Height, 
 30 in.; width, 25 in. 
 
 JOHN WESLEY JARVIS. 
 
 10. HALF LENGTH PORTRAIT OF WILLIAM 
 CLARK, THE EXPLORER. 
 
 IFo oe Canvas. Height, 30 in.; width, 241% in. 
 
 REMBRANDT PEALE. 
 
 11. BUST PORTRAIT OF MRS. CHEW OF 
 GEORGETOWN. “ 
 
 [Oo - Canvas. Height, 30 in.; width, 2414 in. 
 
 PETER F. ROTHERMEL. 
 
 12. THE LAUNCHING OF THE BRIGANTINES 
 BY DE SOTO AND CORTEZ. 
 Canvas. Signed and dated 1847. Height, 
 [So 48 in.; width, 60 in. 
 
 From the estate of Hon. H. B. Latrobe. 
 
 JOHN TRUMBULL. 
 13. PORTRAIT OF GENERAL WASHINGTON. 
 
 Bust, General Washington is in uniform, 
 facing front but head turned slightly to- 
 wards the right. Canvas. Height, 25 in.; 
 
 f25- width, 22 in. 
 
 In. ornate frame, the top in shape of American Eagle, 
 flanked by American flags. 
 13 
 
GEORGE PETER ALEXANDER HEALY, ie 
 
 14. PORTRAIT OF HENRY CLAY (Full Length), on 
 HIS ESTATE at ASHLAND. 
 The above is a youthful work of this artist, 
 '... and was presented by Henry Clay stom sums 
 5o << friend, John Giraud, of Martin, Miss., from _ or 
 whose estate it was secured. Canvas. 
 Height, 30 in.; width, 25 in. 
 
 CHARLES WILLSON PEALE. * Bites & i 
 15. PORTRAIT OF GENERAL ANDREW JACK- Se 
 SON. 
 
 Half length, in military uniform, facing the | 
 front, rich warm coloring in the background. 
 Very finely painted and a characteristic por- 
 trait of “Old Hickory.” Canvas. Height, 
 ae 29 in.; width, 23% in. : 
 “| y This was considered by Peale to be his best portrait. It 
 
 was painted in Washington before Jackson started for his 
 Florida campaign. The artist mentions in a letter-to his wife 
 that the General kept him waiting for three days before he 
 would give him his first sitting for the portrait. This canvas 
 hung in the Peale Museum in Philadelphia and was in- 
 herited by Miss Sarah Peale, from whose estate it was 
 bought. 
 
 A letter of C. W. Peale to his wife regarding this portrait is 
 in the Pennsylvania Historical Society’s library. A letter of — 
 Miss Mary Peale and a copy of the artist’s letter roe 
 ing the portrait will be furnished the purchaser. 
 
 In ornate gilt frame, surmounted by form of Eagle and 
 American Flags. 
 
 um 
 
 [See illustration ]. : : 
 GILBERT STUART. [Then yee oe ae ia ‘ 
 16. PORTRAIT OF MISS PHILIPPS. ,4,, 4, /» ‘ye. he 
 V { } 7 
 Half length. Facing front, body turned 
 slightly towards the left. Thrown over her 
 Yoo “ right shoulder is a crimson mantle; a ribbon” ~ \ 
 of the same color rests lightly on her head. 
 14 
 
No. 
 
 9 
 
 4 
 
 9. 
 
 Market Scene. 
 
 Anthony Gryeff 
 
The bodice is of a creamish hue and the fig- 
 ure most delicately and surely outlined. 
 Canvas. Height, 30 in.; width, 25 in. 
 
 From the estate of Col. Lewis, great-nephew of Washington. 
 [See illustration]. 
 
 JOHN TRUMBULL. 
 
 fF 5° 3 
 
 17. THE BATTLE OF BUNKER HILL. 
 
 In the central group is General Warren, shot 
 
 through the head and supported on the knees 
 of a soldier who with one hand wards off the 
 bayonet thrust of a grenadier. Col. Small is 
 grasping the bayonet; under his feet is the 
 dead body of General Abercromby. General 
 Putnam is seen ordering a retreat; beyond 
 him a party of American soldiers oppose 
 their last fire to the enemy. Behind the pros- 
 trate figures of the two dead commanders 
 are seen Generals Howe and Clinton. A 
 young American with his negro attendant is 
 pictured to the right and beyond him is the 
 ascending British column. In the far dis- 
 tance is seen part of Boston. 
 
 The tumult of raging battle is conveyed 
 without confusion. The faces are mostly 
 portraits from life and each expresses dis- 
 tinct personality and sentiment. 
 
 The coloring is harmonious, the touch 
 direct and sure, the drawing faultless. The 
 effect, while far from sensational, is ex- 
 tremely dramatic. 
 
 Trumbull was. stationed at Roxbury and 
 witnessed the engagement from this point. 
 Canvas. Height, 41 in.; width, 61 in. 
 
 From estate of John Dexter, Cincinnati. 
 [See illustration]. 
 
 15 
 
CHARLES WILLSON PEALE. 
 
 18. GENERAL WASHINGTON AT PRINCETON. __ 
 
 This life size portrait in full length repre- | 
 
 sents Washington in full uniform, and wear- _ 
 ing the blue ribbon of the Commander-in- 
 
 Chief, voted to him by the Continental Con- 
 gress. In the background is seen the head of 
 his horse with an attendant. One hand rests 
 lightly on the muzzle of a field piece. A view 
 of Nassau Hall is suggested on one side with 
 a column of surrendered Hessians. Cap- 
 tured English flags are lying in the fore- 
 ground. Canvas. Height, 79 in.; width, 
 42 in. 
 
 Soon after the battle of Princeton, this painting was sent 
 by General Washington to the King of France as a mark of 
 
 gratitude for the French Alliance. When Lafayette re- 
 
 turned to France the painting was presented to him by 
 Louis XVI. Until after Lafayette’s death it hung in his 
 country place, “La Grange,” and after the dispersal of his 
 effects, was purchased by 'M. Marsille, a noted collector 
 of Paris. After M. Marsille’s death the painting was 
 bought by M. Duhamel (No. 48 in catalogue of the Mar- 
 sille sale), who brought it to America the following year. 
 At the sale of the effects of M. Duhamel (catalogue No. 
 85), the painting was secured by Judge Tissot of New Or- 
 leans, from whom the present owner secured it. 
 [See illustration]. 
 
 P. F. TRYON. 
 19. LANDSCAPE. 
 Canvas. Signed. Height, 1114 in.; width, 
 [$6 => <16an: 4 
 
 16 
 
No. 33. The Giant Oak. John Crome 
 
Another Property 
 
 WORTHINGTON WHITTREDGE 4} 
 
 — . . Born in Springfield, O., 1820. 
 Pupil of Andreas Auchenbach. 
 ~ Member of National Academy, 1861; president, 1875. 
 Died in 1910. 
 
 20. COAST SCENE. 
 Canvas. Signed. Height, 1414 in.; width, 22 i. 
 
 “NICOLAAS BERGHEM (Attributed) teh 
 
 Born in Haarlem, 1624. 
 _ Pupil of Van Goyen, Jan Wills and Weening. 
 Died in 1683. 
 
 pee LANDSCAPE WITH PEASANTS AND CATTLE. 
 - Canvas. ~~ H eight, 23 in.; width, 30 im. 
 
 DIRK MAES 
 
 Born in Haarlem, 1656. 
 Pupil of Berghem and Huchtenbrugh. 
 Died in 1715. 
 
 22. VILLAGE STREET SCENE WITH HORSES. 
 Canvas. Height, 11 in.; width, 13 in. 
 
 at 
 
 JEAN JACQUES HENNER (Attributed) 
 
 Born at Bernewiller, 1829. 
 ——- Pupil of Drolling and Picot. 
 ~- Legion of Honor, 1873; Medal, Hxposition of 1878. 
 Member of the Institute, 1889. 
 Died in 1905. 
 
 23. MAGDALENE. 
 Panel. Signed. Height, 12 in.; width, 914 in. 
 
 Pete JEAN HORACE VERNET 
 
 a ee 
 
 oy -.s Born in Paris, 1789. 
 
 Son and pupil of Carle Vernet. 
 
 x Director of French Academy in Rome. 
 
 a Medal of Honor, Paris Exhibition, 1855. 
 Died in 1868. 
 
 24. TURK AND ALBANIAN. : 
 Canvas. Height, 18 in.; width, 14144 in. a) 
 
 Te : g 
 
SI—- 
 
 fo- 
 
 SIR MARTIN ARCHER SHEE (Attributed) 
 
 Born in Dublin, 1769. re) 
 In 1789 was introduced by Burke to Sir Joshua Reynolds. Became R. A. 
 in 1800 and was elected president in 1830. 
 He died in 1856. 
 
 25. INFANT BACCHUS. 
 Panel. } Height, 12 in.; width, 17 in. 
 
 JACQUES RAYMOND BRASCASSAT 
 
 Born in Bordeaua, 1805. 
 Pupil of Hersent and Richard, 
 First Class Medal in 1831. 
 Member of the Institute in 1846. 
 
 296. DOG CHASING DEER. oe 
 Canvas. Height, 8 in.; width, 10 in. 
 
 H. LINDENSCHMIT 
 
 German, 19th Century. 
 
 27, THE MISER. ~~ "= | 
 Canvas. Signed. Height, 28 in.; width, 24 in. 
 
 ~ wee 
 
 UNKNOWN PAINTER 
 French. 18th Century. 
 
 CHILD’S HEAD. . 
 Canvas. Height, 12 in.; width, 10 in. 
 
 i) 
 eg) 
 
 ANTHONY GRYEFF 
 
 . Gr 
 Born in Antwerp, 1670. ; 
 Believed to have been a pupil of Frans Snyders, whom he resembles 
 in his masterly representations of landscapes with 
 dead game and scenes of the chase. 
 
 29. MARKET SCENE. 
 Canvas. Signed. Height, 31 wm.; width, 30 tn. 
 
 [See illustration]. 
 
 CORNELIS SPRINGER 
 
 Born in Amsterdam, 1817. 
 Studied under Gaspard Karssen and obtained. many medals and decor- 
 ations, including the Leopold Order. 
 Died in 1891. 
 
 30. THE SMUGGLERS. 
 Wash Drawing. Signed. 
 Height, 944 in.; width, 13844 ine» 
 18 
 
No. 
 
 36, 
 
 Roman Ruins. 
 
 Giovanni 
 
 Paolo Pannini 
 
 : 
 | 
 | 
 
 i 
 
PAUL POTTER (Attributed) 
 
 Born in Enkhuysen, 1625. 
 His gfoups of cattle are painted with singular proof and wonderful power. 
 As he lived only 29 years and with most scrupulous care, 
 he produced but few paintings. 
 Died in 1654. 
 
 2 - 31. LANDSCAPE WITH CATTLE. 
 
 Panel. Height, 14 in.; width, 181% in. 
 
 JAN FRANS VAN PLOEM AN 
 
 -Born in Antwerp, 1662. 
 Much of his life was spent in Rome. He was named “lorizzonte”’ from 
 his fondness of distance and peculiarities of perspective. 
 
 He died in 1740. 
 
 2 S82 32. LANDSCAPE WITH WINDING RIVER. 
 
 yo as 
 
 APE a Ree RT RE OT RN I cee, ee 
 
 Panel. Height, 8 in.; width, 10 in. 
 
 JOHN CROME (CALLED “OLD” CROME) Attributed 
 
 Born at Norwich, England, 1769. 
 
 Founded in his native city, the Norwich Society of Artists, amongst whom 
 awere Cotman and Stark. In the productions of this school_is 
 discernable the influence of Ruysdael and Hobbema. 
 
 Died in Norwich, 1821. 
 
 75 Soo lt GIANT OAK. 
 : Canvas. Signed and dated 1814. 
 Height, 30 in.; width, 25 in. 
 
 [See illustration]. 
 
 C. OCKERT 
 i _ 34. GAME BIRDS. 
 Panel. Signed. Height, 61% in.; width, 934 in. 
 S. ROESEN 
 /é — 3). FLOWERS. 
 Canvas. Signed. Height, 30 in. ; width, 24 in. 
 
 GIOVANNI PAOLO PANNINI 
 
 Born at Piacenza about 1694. 
 One of the foremost painters of the Roman School and widely famed for 
 
 ie his the in portraying landscapes and architecture. 
 Died in Rome, 1764. 
 
 36. ROMAN RUINS. 
 Canvas. Height, 29 w.; width, 24 in. 
 
 [See illustration]. 
 
 19 
 
2? 2-0 = 
 
 JAN BREUGHEL (Attributed) 
 
 Born in 1569. 
 Known as “Velvet” Breughel. Member of the Academy of Antwerp. He 
 painted landscapes, flowers and figures with great delicacy. 
 Died in 1642. 
 
 37. DEER HUNTING. 
 Panel. Height, 18 m.; width, 25 in. 
 
 MEINDERT HOBBEMA 
 
 Born at Coevorden in 1638. 
 Pupil of Jacob Ruysdael and, with his master, the most celebrated of the 
 Dutch landscape painters. 
 Died in 1709. 
 
 38. LANDSCAPE WITH COTTAGE AND FIGURES. 
 Canvas. Signed and dated 1669. 
 Height, 19144 in.; width 2514 in. 
 
 [See illustration]. 
 
 SIR HENRY RAEBURN (Attributed) 
 
 Born near Edinburgh, 1756. 
 Like many other famous artists, he was apprenticed to a goldsmith and 
 also worked at miniature and portrait painting. His marriage — 
 enabled him in 1778 to visit London and Italy and on his 
 return he set up as a professional portrait painter. He 
 was elected President of the Society of Artists in 
 1812 and knighted ten years later. His port- 
 raits show. great breadth of style and a 
 happy facility in seizing and repre- 
 senting traits of character. 
 He died in 1828. 
 
 39. BUST PORTRAIT OF AN ENGLISH SQUIRE. 
 Canvas. Height 22 in.; width, 191% wm. 
 
Pracn deel WVotlemoa 
 
 No. 38. Landscape. Meindert Hobbema 
 
xs" 
 
 ae 
 
 i= 
 >) 
 
fortis 
 
 LR ee mrp 
 
iii 
 
; 
 Sit sett ihe > 
 Bayar ate 
 
 beatae 
 
 tu} 
 ra 
 
 setae 
 
 ar 
 
 be ety 
 
 ahaa