oh ihe) Jif) i can) nihep type my ey ADEN, Ae pedad pid ae ee te UH iran ia DU ed ail LPG ae eh de H Dy as hey ay jy ci ie oe ai ey a WEL i ") Hite rae f * ( i ‘ i (ara et ek st . \ 4 : . a: ee eh Se ; . . as ee : 2 ME ss 2 —LEtIrOps Lathrop, 28,00 Hewnen, 10,00 Lathrop, 7.50 Newnan, 15,00 Lathrop, 7.50 Cole, 15,00 Twachtmans 75.00 Lathrop, 5,05 Rehd, 75,00 dew OB 45 % Lathrop. 45.00 naga 7380 Lathrope 1. 00 Lathrop, 10. 00 Latnrops 2. 00 Lathrop 10, 00 Lathrope 2. 00 Lathrop, 20. 00 Lathrop. 50, 00 Besnard, 20. 00 Lathrops 1 6. 00 Besnard, 2. 00 Lathrop. 0, 90 Lathrops -viaaluabesinin Diaz, Corot, Gaspar Poussin, 50,00 Newnan, 12,50 italian School, 75.00 Wilson, _ 75,00 Gainsborough, 85.00 Lathrops 75,00 Gainsborough, 150,00 Robusti, 2,000,00 Hobbema, 475,00 Dutch School, 50,00 Weir, 150,00 U1lft, 35,00 Weir, 100,00 Poole, 35,00 AS 35,00 Spanish School, 50,00 Lathrop, 27,50 Lathrop, (Passed) “ DYawing ss” Venetian Scene, A. Geo Doteh School, Spanish School, Sprangers sae School, _ a a 9 | ee © aie cl tis 4 Sesgeeee Vote SS ty ¥ g o 8 younvcas® es A@NGLTeR ocene* . 8 2 3g © © | | Portrait of Francis LATHROP, painted by himself, in Rome, 1895. No. 900 Paintings ann Studia Property OF THE LATE Francis Lathrop or, NEw YorkK CIty. IN ADDITION TO THE WORK OF Mr. LATHROP ARE EXAMPLES OF ROUSSEAU . DELACROIX GAINSBOROUGH (2) DUPRE COURBET RICHARD WILSON DIAZ (3) DAUBIGNY ~ CAMPHUYSEN COROT (4) BONVIN _ TWACHTMAN -BESNARD (2) LUMINAIS LA FARGE : ALso PAINTINGS OF THE FRENCH, DutcH, FLEMISH, SPANISH AND - Farry Iranian Scnooris; Coton Prints ny Mary Cassatt, HELLEU, LEPERE,’ AND OTHER FRENCH’ AND GERMAN MopERNS; STAINED GLASS; DRAWINGS AND STUDIES; AND A COLLECTION OF MORE THAN THREE THOUSAND PHOTOGRAPHS oF THE WorK oF FAMOUS ARTISTS FROM | THE EARLIEST TIMES. TO BE SOLD WITHOUT RESERVE AT Che Anderson Art Galleries MADISON AVENUE AT FORTIETH STREET AND 12 EAST FORTY-SIXTH STREET APRIL ATH, OTH AND 6rn, 1911 TurspAy Evp.,.. Lots 1- 75—Manpison Ave. GALLERIES Wepnespay Eve., “ 76-1838—Mapison Avr. GALLERIES TrurRsDAY Eve., ‘“ 139-374—Forty-stxtH Sr. GaLLerizs SALES BEGIN AT 8.30 O'CLOCK. , EXHIBITION AT BOTH GALLERIES FROM MARCH 30TH, 9.30 A.M. TO 5 P.M. Che Anderson Auction Company 12 Kast 46TH STREET New York TELEPHONE, BRYANT 271 : ART AND MISCELLANEOUS Conditions of Sale 1. All bids to be per Lot as numbered in the Catalogue. 2. The highest bidder to be the buyer; in all cases of disputed bids the lot shall be re-sold, but the Auctioneer will use his judgment as to the good faith of all claims and his decision shall be final. He also re- serves 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 Anderson Auction Company 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 set- tlement of purchases, no lot will be delivered during the sale. 6. All lots will be exposed for public exhibition two or more days before the date of sale, for examination by intending purchasers, and the Anderson Auction Company will not be responsible for the correctness of the description, authenticity, genuineness, or for any defect or fault in or concerning any lot, and make no warranty whatever, but will sell each lot exactly as it is, without recourse. But upon receiving before the date of sale expert opinion in writing that any lot is not as represented, the Anderson Auction Company will use every effort to furnish proof to the contrary, and in default of such proof the lot will be sold subject to the declaration of the aforesaid expert, he being liable to the owner or own- ers thereof for damage or injury occasioned by such declaration. 7. Terms Cash. Upon failure to comply with the above conditions 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 re-sold by either private or public sale at such time as. the Anderson Auction Company shall determine, without further notice, and if any deficiency arises from such re-sale 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 Anderson Auction Company to enforce the contract with the buyer, without such re-sale. 8. The Anderson Auction Company will afford every facility for the employment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers, THE ANDERSON AUCTION COMPANY, 12 East 46TH STREET, New YorK. “ Priced copy of this Catalogue may be secured for $1.50. NOTE The First and Second Evening’s Sale will be held at THE Mapison AVENUE GALLERIES on Tuesday and Reine: Evenings, April 4 and 5, 1911, beginning at 8.30 o'clock. The Third Evening’s Sale will be held at the Forty-SixtH |STREET GALLERIES on Thurs- day Evening, April 6, 1911, at 8.30 o'clock. The Exhibition of the first and second sessions will be held at the Madison Avenue Galleries; the third session will be exhibited at the Forty-Sixth Street Galleries. All Paintings and Studio Property to be sold without reserve to the highest bidder. LV Nese LOT Besnard (Paul Albert) .26, 28,218 | (Braneis se. (HZ) Fo ee eee 103 Duyster: (.WaGi yee ee ee 45 Elliott (Chas: Lormg) 2... 105 English School, 19th Century 110, 130 Espinosa, Ascribed to........ 118 Flemish School, 17th Century 120 Frames, Italian and Spanish 371-374 French School, Early 19th GenDUr yar 0. eS. cae 106 FTeseos "Sa lage cits ea eee 291 G (A.), French School.. 106 Gainsborough (Thos.)..... 63, 65 Hobbema (M.), Attributed to. 67 Italian School 61, 119, 121, 136 La Farge (John) .2.%5 oo. 41, 133 Lathrop (Francis), 1-25, 27, 29-32, 34, 36, 39, 64, 75, 76- 102, 126, 128, 137-141, 144, 147 Lor .. 3814, 323-345 Lathrop Drawings for Stained Lathrop Drawings Glass ..3.7 42 , 294-303 Luminais.( i. VV.) eee ee a Marble Mosaic Panel........ 371 Meer (Jan vander) the younger 111 Meyer CE). ine pee La Newman (Ri [os 334; 35;74m. 60, 104, 126.9127, 129.) 132 Owen’ (MM. Aspe ee Photographs, 148-217, 289, 292, 304-309, 311, 315-322 ‘Pokitonow2 (1v4an)}e. ae ee 43 Poole (i): Fn a eee 72 Posters.” \s:: 3¢..c eee 290 Poussin (School of Gaspar)... 59 Reid ( Robt.) a. ula eeuenee 40 Reynolds *(Sir Joshua)...... 73 Rosa .(Salvateninsse maseoecne 134 Rousse@ai: (URi)%. cane eee 55 Spanish School....... 74, 108, 135 Spranger (Bartholomew), . | School .of >. gain eee 109 Stained Glass...:..... .. 346-369 Tiepolo: .: .ya...5 eee ELT, 2936 Tintorettoy:.. 2 ee 66 Twachtman (John H.)....38, 124 Unknown Vander Ulft (Jacob) ........ 70: Venetian School, circa 1700.. 114 Watkins «(E. Dj) oeeeee 114 Weir (J. Alden} ety nee 69, 71 Wilson ~ (Richard \i= aa 62 2 ee 115, 146° INDEX TO ILLUSTRATIONS Portrait of Francis Lathrop, by himself—Frontispiece Camphuysen—Architectural Study with Figures No. 112 Corot—Landscape and River View No. 52 Corot—Landscape : No. 58 Delacroix—Mediaeval Horsemen No. 46 eed Interior No. 51 Diaz—The Quarry | No. 57 Gainsborough—Portrait of Miss Burr No. 63 Italian School —The Holy Family No 119 Lathrop (Francis)— Madrilena No. 64 3 Rousseau— Landscape No. 55 - Tieopolo - Adoration of the Magi | No. 117 Tintoretto—Mother and Child No. 66 Wilson (Richard)—/talian Landscape No. 62 NOTE In the death of Francis Lathrop American art lost one of its strongest influences for good. He was one of the rare artists whose appreciation of art was in no way confined to any school nor method of work. His broad taste was a constant source of inspiration and encouragement to his young friends. Never was there the slightest, attempt to fashion their minds after a pre- conceived ideal, but there was ever the desire to enter into the thoughts of the younger men in order to help them to express these thoughts in their work. His own earliest work as a painter shows a strong decorative sense. It was founded largely on the principles of the Pre-Raphaelite School. Whistler directed his art education and sent him to London that he might work with Morris (at.whose suggestion he took up decoration) and be under the influence of Rossetti and Millais. Lathrop was singularly fortunate in his friendships, having been intimate with most of the prominent painters and authors’ of his day. His relations with the robust Besnard must have been of great value as a source of energy. Standing together once in the Arena Chapel in Padua, profoundly.moved by the frescos of Giotto, Besnard said: “Ah, Lathrop, this is what we must get into our work—this massive simplicity—I am going to Switzer- land, far from the pettiness of modern art, and I shall keep what we have seen to-day as a touch-stone for whatever I shall do in the future.” After his return to America, with John La Farge he deco- rated the interior of Trinity Church, Boston, a work which will probably remain for many years the high-water mark of deco- rative art in America. About the same time, associated with Vedder, he decorated walls and ceilings in the residence of Mr. Collis P. Huntington. Among larger decorations in New York are the painting over the Altar of St. Bartholomew’s Church and that over the proscenium arch of the Metropolitan Opera House, which was unfortunately destroyed by fire. The large éartoon and the smaller color sketch which were in Mr. Lathrop’s studio at the time of his death give a clear impression of ‘its decorative value. His stained glass was equally fine and has played no unimportant Bet in the development of the art in America. Travel brings out more than anything else the critical facul- ties. Lathrop had these finely developed, and his knowledge was ’ supplemented by an excellent memory ‘and a very complete col- lection of photographs with notes (offered in this collection). This made his defense of the Velasquez portrait of Philip LY. in the Boston Museum (published in the Burlington Magazine for April, 1905), most convincing. He felt the portrait to be of greater value to the student than most of his later works, and from his article we learn that there are no short-cuts in art even for a. Velasquez. Of late years Mr. Lathrop’s failing health did not permit ee to devote much time to creative work. His critical faculty and love for beauty early led him to collect works of art, and his collection of paintings include many fine examples of European work. ~The last fifteen years of his life were devoted almost entirely to the formation of his remarkable collection of Japanese paintings and prints. To properly understand the art of the extreme Orient _ and to make his collection a complete exposition of the art, Mr. Lathrop was ready to make any sacrifice. All his collections were left to the Metropolitan Museum of Art—but the condi- tions attached forced the Museum authorities to decline the be- quest. It is, however, earnestly hoped by the lovers of Oriental art that eventually the finest of his Japanese prints and paint- ings will form the nucleus of a much-needed public collection, so that his hife-work will not have been in vain. By the terms of his will, all the assets of the estate are to be invested by the executors, and the income after the death of certain heirs is to be used to buy works by American artists for the Metropolitan Museum. It is peculiarly fitting that his influence for good should thus be continued. HAMILTON EASTER FIELD. No. 900 THe SALES WILL BEGIN PROMPTLY AT 8.30 P.M., AND WILL BE HELD AT THE ANDERSON GALLERIES AS FOLLOWS: 1st Session. Tues. Evg., April 4, at Madison Avenue and 40th St. 2d Session. Wed. Evg., April 5, at Madison Avenue and 40th St. 3d Session. Thurs, Evg., April 6, at No. 12 East 46th Street. The attributions of this catalogue are all by Mr. Lathrop. The compilers have felt completely justified in accepting his judgment, as Mr. Lathrop had expert knowledge of paintings—the result of many years’ study. LATHROP (FRANCIS), American Artist, 1841-1909. (Numbers 1 to 15 are Studies for the Decoration of St. Batholomew’s Church in Pencil and Chalk Drawings on Gray Paper.) 1. DRAPED HEAD OF A WOMAN. One-fourth life size. ® HEAD OF A WOMAN. One-half life size. TWO STUDIES OF DRAPERY. (os) 4. HEAD OF A MAN. One-half life size. 5. HEAD OF A. WOMAN. One-fourth life size. No. 46: MerprAEvVAL HORSEMEN, BY DELACROIX. eG: ce 12. 13. 14. 15. STANDING FIGURE DRAPED. HEAD OF A WOMAN: One-fourth life size. HEAD OF A MAN. HEAD OF A WOMAN. One-fourth life size. HEAD OF A WOMAN. Life size. “HEAD OF A WOMAN. One-fourth life size. TWO STUDY HEADS OF WOMEN. DRAPED HHAD OF A WOMAN. Life size. TWO STUDY HEADS. One-fourth life size. TWO MORE of same character. 16 LATHROP (FRANCIS). A GIRL IN WHITE. Pastel. Height, 15 in.; width, 12 in. 17 LATHROP (FRANCIS). THE WHEEL OF FORTUNE. Sketch in pastel for the ceiling decoration of the Ball Room in the Huntington House, New York. 18 LATHROP (FRANCIS). TRIPLEX PANEL IN OIL. ciy— Children with musical instruments. 19 LATHROP (FRANCIS). THE WHEEL OF FORTUNE. ‘ik vO | Study in oil for the ceiling decoration of the Ball Room ‘in the Huntington House, New York. 20 : _ LATHROP (FRANCIS). LUNETTE: ‘APOLLO. Cartoon for music room decoration. 21 LATHROP (FRANCIS). 1q — PANEL DECORATION IN WATER COLOR. Seated female figure with doves. 22 LATHROP (FRANCIS). RECLINING FEMALE FIGURE. Pastel Drawing. Height, 10 in.; width, 144 in. eee 23 LATHROP (FRANCIS). THREE DECORATIVE PANELS IN OIL COLORS. PO — Female figures for a Music room. 24 LATHROP (FRANCIS). SMALL STUDY. In Oil Colors of the Mural Decoration in St. Bartholo- y mew’s Church, New York. A~ Height, 38 in.; width, 30 in. wy 25 LATHROP (FRANCIS). WATER COLOR STUDY. For the Decoration “Abundance.” “~Oo— Height, 25 in.; width, 11 in. 26 BESNARD (PAUL ALBERT). Contemporary French Artist. WOMAN’S HEAD. Water Color. Signed and dated. 1895. CO Height, 14 in.; width, 12 in. 27 LATHROP (FRANCIS). 1841-1909. PASTEL STUDY OF A FEMALE FIGURE, nude. Ljo— Height, 20 in.; width, 30 in. > | 28 BESNARD (PAUL ALBERT). Contemporary French Painter. STUDY OF A WOMAN. Pastel study on gray paper. Inscribed to the artist. Signed. Height, 13 in.; width, 16 in. 29 LATHROP (FRANCIS). APOLLO: SMALL LUNETTE. Study for the larger decoration of a Music room. Height, 9 in. . wideh: 25 In. 30 LATHROP (FRANCIS). SEMI-NUDE FEMALE FIGURE. Pastel study for the principal figure in the “Wheel of Fortune,” decoration in the C, P. Huntington House, New York. Height, 16 in.; width, 30 in. ol LATHROP (FRANCIS). HOSPITALITY. Upright panel in color for wall decoration. 32 LATHROP (FRANCIS). PORTRAIT OF JAMES RUSSELE LOWELL, while Ambas- sador to England. | Painted from life in black and white. x j= Canvas. Height, 214 in.; width, 15 in. oo NEWMAN (R. L.). Contemporary American Painter. CHRIST AND THE APOSTLES. lO— Canvas. Height, 20 in.; width, 30 in. | 2 34 LATHROP (FRANCIS). STUDY OF A GIRL. oS Canvas. Height, 24 in.; width, 20 in. / ae 35 NEWMAN (R. L.). GREEK. SHEPHERD. Canvas. Signed. Height, 10 in.; width, 12 in. 36 LATHROP (FRANCIS). After Giorgione. MAN IN ARMOR. Gouache Study. Height, 16 in.; width, 104 in. 37. COLE (J. FOXCROFT). American Painter, —1892. MYSTIC LAKE. a Canvas. Signed. |S a Height, 10 in.; width, 12 in. From the Memorial Exhibition of the Artist’s work at the Museum of Fine Arts, Boston, 1893. 38 TWACHTMAN (JOHN H.). American Painter, 1853-1902. FISHING BOATS ON THE BAY. ger Across the placid waters of the bay fishing boats with . spread sails drift languidly. Gray clouds hang low obscuring the sky. — Canvas. Signed. Height, 20 in.; width, 24 in. 39 LATHROP (FRANCIS). f PORTRAIT OF GEORGE PARSONS LATHROP. Profile portrait of the artist’s brother. Canvas. Height, 14 in.; width, 12 in. 40 REID (ROBERT), N. A. Contemporary American Painter. ae YOUNG WOMAN BATHING. Canvas. Signed. Height, 274 in.; width, 244 in. At LA FARGE (JOHN). THREE LUNETTES. Painted In wax by La Farge for the Vanderbilt house. (3) | AZ NEWMAN (R. L.). PSYCHE. : Canvas. Signed. Height, 8 in.; width, 12 in. 43 | POKITONOW (IVAN). COTEAUX DES PYRENEES, SOIR. Beyond a stretch of plain are seen the snow covered moun- tains and the grassy slopes of the foothills. At the farther side of the plain a village nestles among the trees. The snowy mountains are brilliant under the rays of the declin- ing sun. ; Panel. Signed. | Height, 54 in.; width, 9 in. Ad BONVIN (FRANCOIS). 1817-1887. INTERIOR, WITH A WOMAN SEWING. Ina large tile-paved living room, a young woman, wearing a white frilled cap and long apron, is seated sewing on a white garment. On a table beside her rests her work-basket above which ranged along the wall are the copper and brass kitchen utensils. Canvas. Height, 22 in.; width, 18 in. > nt sy “' 9 ow ¢ ‘~ |, CHRIST IN GLORY. | | Oil study for a church decoration. 99 LATHROP (FRANCIS). TWO CHARCOAL DRAWINGS. | ee | For Memorial Windows—“Jonathan” and “David.” (2) 100 CHARCOAL DRAWINGS. Small upright panels showing female figures symboliz-- | — ing the seasons. (9) 101 PROJECT FOR DECORATION OF ALTAR AND RERE- DOS. “The Son of Man coming in a cloud with great power and e _ glory. Then shall he send forth his angels and shall gather together his elect.” 102 CHRIST IN GLORY. Cartoon for church decoration. ts \ 103 DUVRIEUR (H.). French School, 19th Century. Pupil of Decamps. The Paintings No. 103 to No. 123 inclusive are the property of Mr. H. A. Hammond Smith, who was long associated with Mr. Lathrop in his work. Most of the paintings were obtained during Mr. Lathrop’s lifetime and with his co-operation. VENETIAN SCENE. Canvas. Height, 64 in.; width, 84 in. Ky 16 tose _ b 104 NEWMAN (R. L.). CHRIST AND THE APOSTLES. Canvas. Height, 10 in.; width, 14 in. 105 ELLIOTT (CHARLES LORING). 1812-1868. SCENE FROM DIEDRICK KNICKERBOCKER’S TORY OF NEW YORK. Canvas. Height, 12 in.; width, 10 in. 106 A. G : French School, Early 19th Century. _. STUDY OF A MAN. Panel. Signed. Height, 104 in.; width, 84 in. 107 DUTCH SCHOOL OF 17TH CENTURY. =~ FORTRAIT OF A MAN WITH 2 RUG Canvas. Height, 84 in.; width, 64 in. HIS- 108 SPANISH SCHOOL OF 17TH CENTURY. GAMBLERS. en ee Canvas. Height, 13 in.; width, 17 in. 109 SPRANGER (BARTHOLOMEW). (School of.) an PAINTERS AND SCULPTORS AT THE BASE OF THE AA Vo STATUE OF MERCURY. Panel. Height, 144 in.; width, 10 in. 110 ENGLISH SCHOOL OF 19TH CENTURY. CASTLE GANDOLFO, NEAR ROME. SM eugon The Summer Home of the Popes. Canvas. Height, 6in.; width, 94 in. ele VAN DER MEER (JAN), THE YOUNGER. 1656-1705. LANDSCAPE WITH FIGURES HERDING SHEEP BE-—7 es FORE A STORM. j ASO Panel. Signed. Height, 74 in.; width, 124 in. 112 CAMPHUYSEN (RAPHAEL). 1598-1627. ap ARCHITECTURAL STUDY WITH FIGURES. mS) —_ ; Z , hae > Canvas. Height, 154 in, swidth wi2s im. [See Illustration. ] 113 CORNELISZ OF HARLEM. - 1562-1687. 7 LANDSCAPE WITH FIGURES. Circular. *: Diam: 10m. 114 EK. L. WATKINS. SLE BEES Da Canvas. Height, 10 in.; width, 18 in. 115. UNKNOWN ARTIST. THE BAPTISM OF CHRIST, On Copper. Height, 134 in.; width, 11 in. BuRR, BY GAINSBOROUGH. pred ed sel a Phlier 5 116 DUTCH SCHOOL OF 17TH CENTURY. A VASE OF FLOWERS. Canvas. Height, 29 in.; width, 23 in. AO — 117 ‘TIEPOLO (GIOVANNI BAPTISTA). ADORATION OF THE MAGI. Canvas. | / Height, 21 in.; width, 16 in. [See Illustration. ] a) ) 118 ESPINOSA. (Ascribed.) Spanish School, 1600-1680. oT. ANTHONY OF PADUA. ey 119 ITALIAN SCHOOL MIDDLE OF 16TH CENTURY. THE HOLY FAMILY. Panel. ae Height, 43 in.; width, 303 in. [See Illustration. ] 120 FLEMISH SCHOOL OF 17TH CENTURY. ROMAN SOLDIER PLACING THE CROWN OF TE OH Na ON THE HEAD OF CHRIST. aS — Canvas. - Height, 60 in.; width, 36 in. 121 ITALIAN SCHOOL EARLY 18TH CENTURY. ‘RUINS WITH FIGURES. Sf— Canvas. Height, 35 in.; width, 45 in. 122 ¢ ‘ CALLIARI (CARLO). (Attributed.) EUROPA. ee: Canvas. Height, 77 in.; width, 37 in. ox 123 BYZANTINE SCHOOL. MADONNA AND CHILD. be RAS Panel. Height, 124 in.; width, 104 in. No. 64: MADRILENA, BY LATHROP. 124 TWACHTMAN (JOHN H.). PASTEL STUDY AT GREENWICH. Height, 15 in.; width, 18 in. 125 NEWMAN (R. L.). WOMAN KNEELING. Canvas. Height, 10 in.; width, 14 in. 126 LATHROP (FRANCIS), After Botticelli. ANGELS IN FLIGHT. Water-color. Height, 12 in.; width, 9 in. 127 NEWMAN (R. L.). Contemporary American Painter. BOY IN A FIELD. Panel. Signed. ka Tipe Height, 7 in.; width, 11 in. 128 LATHROP (FRANCIS), After Giorgione. A CONCERT. | Ke Water-color study. Height, 7 in.; width, 10 in. 129 NEWMAN (R. L.). Contemporary American Painter. A GROUP OF CHILDREN PLAYING. Canvas. Signed. Height, 8 in.; width, 10 in. on 130 ENGLISH SCHOOL. LANDSCAPE IN SUFFOLK. Panel. Height, 6. in.; width, 93 in. 40 ie 131 OWEN (M. A.). WOMAN RECLINING. Panel. Signed and dated 1846. Height, 18 in.; width, 24 in. 132 NEWMAN (R. L.). WOMAN AND CHILD CONSULTING A SYBIL. ae A sketch. Height, 12 in,; width, 16 in. 133 LA FARGE (JOHN). SUNSET. Canvas. Height, 12 in.; width, 14 in. 134. ROSA (SALVATOR). 1615-1678. A PILGRIM. Canvas. Height, 192 in.; width, 14 in. 135 SPANISH SCHOOL OF 17TH CENTURY. THE MADONNA IN GLORY. With penitents at the foot of the throne. Canvas. Height, 30 in.; width, 18 in. 136 Height 24 ins wih 3 in “AKU AXf : : QL As bet Ve; y LLL ke V4 <\ Bi | iat fy) ; off Y aA ft) 1 i) j p ANY CXL LA OK lore AS — 137 LATHROP (FRANCIS). DECORATIVE FRIEZE FOR MUSIC ROOM. Nine panels in oil colors showing figures and arabesques. Nos. 137-141 are the work of Francis Lathrop. 138 LARGE CARTOON IN OIL. For the Mural Decoration in St. Bartholomew’s Giareee New York. THIRD EVENING’S SALE Thursday, April 6th, 1911, at 8.80 o'clock TO BE HELD AT THE ANDERSON GALLERIES 12 Hast 46TH STREET 139. FRANCIS LATHROP. Relief and Painted Decoration for a Frieze. 140. DECORATIVE SCHEMES ON WOODEN PANELS. By E. Ei. Garnsey and F. Lathrop. (2 pieces) 141. LATHROP (FRANCIS). Decorative PatnrTep Pane. A Satyr. 142. TRACING BOOKS. Containing about 400 orternat PENCIL, INK, AND WATER-COLOR SKETCHES of birds, trees, ani- mals, flowers, views, characters, nudes, etc. 3 vols., folio, wrappers. 1438. E. MEYER. By tHe Firestpe; River ScENE. 'T'wo un- framed paintings. Canvas. Signed. Height, 12 in.; width, 18 - in. 144. FRANCIS LATHROP. Head of a Cardinal. Copy of the painting by Velasquez in the Spanish Museum, New York. Canvas. Height, 25 in.; width, 20 in. 145. J. B. C. COROT. (Attributed). Study of Trees on a River Bank. Panel. Signed. Height, 12 in.; width, 17 in. 146. UNKNOWN ARTIST. Copy of Ceiling Decoration by Tiepolo. Oval decoration representing the Coronation of the Virgin. Canvas. Height, 63 in.; width, 39 in. 147. FRANCIS LATHROP. Copy of a Ceiling Decoration by Tiepolo. Canvas. Height, 31 in.; width, 25 in. as val he : P fut. a r f= gm HS COLLECTION OF PHOTOGRAPHS A Valuable Collection of Several Thousand Photographs. gs 148. BUNDLE OF 30 to 40 large mounted photographs from paintings by Giotto, Ghirlandajo and Fra Angelico. 2.56 149. THE SAME from paintings of Raphael, Perugino and Pintorricchio. } BAe s 150. THE SAME from paintings of Dutch and Flemish painters. 3 So 151. THE SAME from works of Dutch and Flemish painters. 3:-L0 152. THE SAME from works of Rembrandt and Followers. 3 - 153. THE SAME from Mosaics, etc. leo 154. THE SAME from Antique Sculpture. Sc 155. THE SAME from works by Michael Angelo. wlag iid 156. THE SAME from paintings by Leonardo, Sodoma, Bot- ; / | ticelli, Lippi, Mantegna and Signorelli. } Yo © 15%. THE SAME from paintings by German masters. EAGe 158. THE SAME from paintings by German masters. 159. THE SAME from paintings by Rubens and Van Dyck. Lp Ge 160. THE SAME from paintings by Rembrandt. 161. THE SAME from paintings by miscellaneous Italian painters. Lippe 162. THE SAME from French, English and modern paint- ings. 163. THE paintings. 164. THE 165. THE ~ers. 166. THE 167. THE 168. THE 169. THE 170. THE 171. THE 172. THE 173. THE 174. THE 175. THE 2 176. THE Vee. PELE 178. THE Uo Res sO 180. THE 181. THE Photographs. SAME from other French, English and modern SAME from romantic sculptures. SAME from Giorgione and early Venetian paint- SAME from the works of Titian. SAME from the works of Tintoretto. SAME from works of Tiepolo. from miscellaneous Florentine works. SAME SAME from works by Umbrian artists. SAME from paintings by Titian. SAME from paintings by Giorgione and others. SAME from paintings by Paolo Veronese. SAME from Venetian miscellaneous works. SAME from paintings by Tintoretto. SAME from miscellaneous Venetian painters. SAME from Spanish cities. SAME from miscellaneous works. SAME from miscellaneous works. miscellaneous works. SAME from miscellaneous works. SAME from Ge 189 Ht smith 2198 S— 484 2-50 187 [fo 188 3:So 189. Be eae 3-¥o 191. |} SO 492. SO 193. } SO 194. : ee oe | Age 198. ‘Vo 199. . 200. 201. BO 197, Photographs. . THE SAME from iiseellameoee ee | a . THE SAME from paintings by Veronese. . THE SAME from miscellaneous works. » THE SAME from miscellaneous works. . THE SAME from paintings by Massaccio. eee SAME from paintings by Verrochio and Leonardo. . THE SAME from miscellaneous works. THE SAME from paintings by Fra Angelico. THE SAME from paintings by Pierro della Francesco and Melagzy THE SAME from paintings by Botticelh. THE SAME from paintings by Michael Angelo. THE SAME from paintings by Fra Lippo Lippi. THE SAME from paintings by Mantegna. THE SAME from paintings by Giotto. THE SAME from paintings by Giotteschi.. THE SAME from paintings by Signorelli. THE SAME be Rendoeete Sculpture. THE SAME from Modem Sculpture. THE SAME from ae by Rubens and Van Dyck. ROLL from the Sistine Chapel Decorations. No. 66: McTHEerR AND CHILD, BY TINTORETTO. og Se ee 7 Photographs. 202. PHOTOGRAPHIC Nude Life Studies for Use of Sculp- tors and Painters—German. About 500 pieces. 203. ANOTHER similar, of French production. About 500 pieces. 204. PHOTOGRAPHIC Studies of Animals. About 300 to 500 pieces. 205. 45 BUNDLES of Photographs of medium size, each containing 40 to 50 prints and marked to designate the subjects contained therein. 206. 40 MORE Packages of same character, not wrapped, but marked French, English, Florence, ete., numbering about 2,000 separate prints. 207. GHIBERTI (LORENZO). The Door of the Baptistery of Florence. A magnificent and unusually large photograph. 208. DURER (ALBERT). A very large photogravure, proof on India paper, from the painting by Diirer representing Jesus. Folio. 209. BELLINI (GIOVANNI). Virgin and Child. A very large photograph from the painting in the Church of the Re- _dentore in Venice, ascribed to Giovanni Bellini. 210. DRAWINGS BY CELEBRATED PAINTERS. 15 photographs from original drawings by 'Tintoretto, Durer, Man- tegna, Piazzetta, 'T'addeo Gaddi, Fra Filippo Lippi, Michael- angelo and Botticelli. 15 pieces mounted. on stiff paper. 211. HOLBEIN (HANS). A very large and beautifully executed photograph from the portrait of Georg Gyse painted by Holbein, and now in the Berlin Gallery. Mounted on cloth. 212. ITALIAN MASTERS. 6 photographs from paintings by Botticelli, Tintoretto, Giorgione, Masaccio and Tiziano. 6 pieces large folio, mounted on boards. a a a, ee ee Photographs. 213. MICHAELANGELO. Two very large photographs from the famous paintings of the Last Judgment in the Sistine Chapel and the Assumption of the Virgin. 2 pieces, mounted on boards. 3 | 214. TITIAN. Philip II. 2 photographs from the paintings of ‘Titian. 2 pieces folio, mounted on boards. 215. Venus Asleep. A very large photograph from the celebrated painting by Titian. 216. Two very large photographs from the paintings by Titian representing the Entombment and the Three Graces. 3 eee : 2 pieces. 21%. CELEBRATED MASTERS. 33 fine photogravures from masterpieces of paintings by Holbein, Giovanni Bellini, Rembrandt, Sir Joshua Reynolds, etc., in the National Gallery of London, Grosvenor House, ete. 33 pieces, large folio. SIGNED WORKS IN COLOR OF THE | 7 .PAINTER-ENGRAVERS OF FRANCE AND GERMANY 218. BESNARD (PAUL ALBERT). La Fin de,Tout. Htching. Sicnep proor No. 6 of a very limited impression. 4to. jee 219. BIESE (CARL). Five Landscapes. Original litho- graphs in colors. Printed only in a very limited issue. Four are signed proofs. Folio and smaller. (5) Stamped by the “Deutsche Kiinstlerbund.” 220. BOUTET DE MONVEL (BERNARD). Les Haleurs. Two men drawing a barge along a canal. PRINTED IN COLORS. No. 22 of 30 proofs issued, signed by the artist. Folio. Qa1. Jeune Homme. _ A young man standing by a win- dow. PRINTED IN coLors. First State. Signed by the artist. 1898. +5 (222. CASSATT (MARY). Avant le Bain. A Mother and Child. Dry-point etching PRINTED IN COLORS. VERY RARE, ONLY 48 PRINTED, this being No. 38, and only ten copies for public sale. With the etcher’s stamp and signature. Folio. 223. DETOUCHE (HENRI). Muchola. A Spanish woman dancing with castanets. ETCHING PRINTED IN THREE COLORS. Only 35 proofs printed, this being No, 4, signed. 224. DETOUT (1L.). Féte de Neuilly: Intérieur Forain. Interior of a travelling show. Prinrep IN conors. Folio. 225. GODIN (GEORGES). Féte Vénitienne. PRINTED IN cotors. Proof on satin signed by the artist. Folio. iy 4G Cr French and German Color Prints. , 3 226. GODIN (GEORGES). Pont St. Michel. No. 4 of only — 5 proofs, on Japan paper; Effet de lune; No. 6 of 15 proofs. Both PRINTED IN COLORS oe signed by the artist. Se. 227. La Pointe du Rat. No. 5 of 10 proees on Japan paper; Port d’Audierne, one of 20 proofs. Both PRINTED IN_ coLors and signed by the artist. (2) : | 228. GRETHE (CARLOS). A night scene in a lighted street, printed in dark purple and gold on blue paper; Night | scene on a river, printed in black and silver on blue paper, signed. BotTH proors. (2) 229. GUERIN (CHARLES). Narcisse: Orphée; ete. Im- pressionist pictures in flat neutral tints. Sra@NEpD PRooFs. 7, different. ot ie By one of tke most distinguished artists of the “Deutsche Kiinstlerbund.” 230. HAAS (HERMANN). Landscapes. Woop-ENGRAV- INGS PRINTED IN cCoLors. Signed proofs. (3) 231. HELLEU (PAUL). Dry-point etching: a woman seated facing a fire, another on the right seen in profile. S1I@NED PROOF, ONLY TWO OR THREE PROOFS TAKEN. 4to. 232. Dry-point etching: a woman seated on the ground in front of a fire-place, both hands holding a screen. SIGNED PROOF, ONE OF 10 TAKEN. Folio. 233. Dry-point etching: a large stand filled with flow- ers, behind a .woman turned to the right, partly in profile. SIGNED PROOF, ONE OF 20 TAKEN. 234. JEANNINOT (PIERRE-GEORGES). Sur la plage. Women bathers on a sea-shore. DRyY-POINT PRINTED IN COLORS. No. 1 oF ONLY 25 PRooFS. SIGNED BY THE ARTIST. Folio. 35. JOURDAIN (FRANCIS). La Femme aux lapins, No. { 30 proofs; Naguére, No. 3 of 25 proofs; La Modele, No. 9 of 30 proofs. PRINTED IN CoLoRs, and signed by the artist. (3) French and German Color Prints. 236. KALLMORGEN (FR.). Sommerabend; Ausgang der Fiord; St. Katharine, Hamburg. LirHoGRAPHS PRINTED IN cotors. ‘The first two signed. (3) rocky river-side, signed proof; Farmhouse in winter at night, lithograph in colors. The first stamped by the “Deutsche Kiinstlerbund.” (2) , | 238. LEPERE (AUGUSTE). Bassin des Tuileries, View on the Seine, Paris. WooD-ENGRAVINGS PRINTED IN COLOR. Both signed proofs. (2) 239. LUNOIS (ALEXANDRE). A Spanish Dancer Seated. Lithograph. No. 28 oF A FEW SIGNED PROOFS PRINTED I cotors. Folio. | 240. Retour de la Chasse. Lithograph. PRINTED IN coors. Signed proof No. 25. | _ 241. Jeune Femme a la Fenetre; Penumbre; and two others. Lithographs PRINTED IN coLors. Signed proofs. (4) 242. MULLER (ALFRED). A Country Lane in Winter. DRY-POINT PRINTED IN coLors. Signed proof printed by the artist. 243. Le Songe d’Annunzio. Dry-POINT IN COLOR. Signed proof. 244. Barges on a River at Sunset. DRY-POINT IN coLors. Signed proof. 245. Three Women Dancing in a Wood, and another. SIGNED PROOFS PRINTED IN coLors. Folio. (2) 246. NEUMANN (E.). Frou-Frou, and, Sommer-abend. Wood-engravings PRINTED IN COLORS. SIGNED PROOFS. (2) 247. PINCHON. Huntsman and Dogs, Signed proof; The Camel, No. 10 of 25 signed proofs. Boru PRINTED IN COLORS. (2) 237. KAMPMANN (G.). Dry-point in colors—Trees by a : 6 - French and German Color Prints. 248. MARTIN (HENRI). Dante Meeting Beatrice. Lrrwo- GRAPH IN coLors.. Only a very few printed. Beatrice. Litho- eee in black and white by the same. (2) ye 249. MAURIN (CHARLES). Sortie du Bain.’ Dry-pornt PRINTED IN COLORS. Signed proof. No. 11 of 50 printed: 3 250. V’Enfant au ruban rose. PRIntep IN COLORS. Signed proof No. 14 of 50 printed. 251. A Woman Nude. Dry-point. Full - length. SIGNED JAPAN VELLUM PROOF. 252. DELATRE (EUGENE, A.). Canen Gouché. PRINTED | IN cotors. Signed and stamped proof, noted as “ep. Vessai.” 253. KLUTZ (E.). IN COLORS. Satyrs and Nymphs. ErcHine PRINTED Signed proof on India paper. 254. HOUDARD (CHARLES). PRINTED IN COLORS. Le Jardin de ma Tante. ) Signed proof No. 11 of only 40 printed. 255. RANFT (RICHARD). side of a river. 40 to 50 issued. Four women bathers by the PRINTED IN coLors. Signed proof marked No. 256. Men and women seated and standing on the bank | of a river watching a boat race. Prinrep rN cotors. Signed proof marked No. 2. i 257. —— Girl and Dog. Dry-POINT PRINTED IN COLORS. Signed proof marked No. 19 of 50 issued. a 258. La Neige. A Village in Winter. Prrntep IN COLORS. Bae proof marked “Epreuve d’Etat.” 259, I’Etoile (A Prima-Donna), and two other scenes with ballet dancers. All signed proofs. PRINTED IN: COLORS. (3) : 260. —— L’Automne en Marne: les Canotiers. PRINTED IN cotors. Signed proof No. 38 of 50 issued. a ee. ee ey . No. 112: ARCHITECTURAL STUDY WITH FIGURES, BY CAMPHUYSEN. x Ae } , ’ mate. Sete e ie SRS EOE ax on 2 ; F) : een La a 4 nyt : Hy Asi x eee ais ca ae aa" | x a estas! ar ed _ “A ae| ? re j Be) ‘a # on ce , n i: a ah r) a Mies ‘ q ; t i - ! he F is i i" ‘a - oad alienate ineadiamenaael ~ ti a Say ara ns sa H NK? PH aL Sas ane x .\ , * ¥ reas CRW ate i: i ET ase EMA RMR Ey kA St Pe a Aha ' y seas arthatii nian aot M et h SHE AON Bis aT Ue i tathk iy ry i, “iy Ry hod . Nis } i we nae ( a) i t ate AV , ‘ pty 4: Vids nb , Mu Ua