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PISR WIRE ATO Oto CTL shsblh eal he esas t ii | + ett es 5 74 rhs hy 42 site sitisish tei we TERT a Pera retererepey site shucseatseet ved! ; ; apeists isle tie) Siititioter sisi ; ; [piiieisisisieieieiessis fees { . $ hehe erates S207), Hrrsieetacseeetelers Sroreserers 4 21+ . bheidse : ; epeeies epee siete) ‘ perer Stee parte as yi bi ris ati (sisie : : ; ; siripiidlerbieraseiereresereresereaerersicraieiarsrtiste ters : he Sh yehehe pitts ears arejelese ‘ t Sled casi tieleiererelé ; Peis tshsel ert : 3 ye sitet be bf Me Seer ot te) : re cbe keke be ye 47 bys tisisheredsy ; rf t I r bee! Thee late rh ere seei bes iay ele P1Ppe SLOP Fle eel ele * felere . ; ® ry 4 : i so bielertiei adie rare lesereiele oss eres rib Sesh thak okt ad + there iere -* > . be. ; SiO eleiere ere bie eleiene . 4 ? beak d be hig | Sieisieleeiel® opereie ties a Te tele lait le t : ' : ; hs es be eey soe by yes ereihees bose. . . Ss Se,» | Banaras Collection of Can- ~ vases Fail to Command Prices. Expected, ak } Sevenity-nine cisiahos of the gamirable! |coHeetion of the late Cyrus J. Lawrence, which were sold in Bag! oy Fee Hall e {night, with Tho E. Kirby, of American Art Ga erica: as auction \prought but $49,255. Cia tale ee ae that the pictures were sold for hal ‘real value. Among them was an a able Ribot. a very wonderful . little pic-' ture, which brought but $1,000. Lt was | fbought under the name of ‘Chester.’ here were a number of Daumilers in} the collectlon—the first to have appeared at public nuction here. They had been | ljexpected to bring perhaps three times’ what was paid for then. The Metro-. 'nolitan Museum of Art was proud when | it secured one example of this great cani- caturists work a month ago. ; Brought Only $75. And yet, at the sale last ey a. few |, who sat to watch animated bidding when | the first Daumier was offered were disap- | ointed. It provgh t but $75, and the top|) gure of the lot of Daumiers was} $2,600, given by Eugene Glaenzer for his | “Tes Curieux @ L’Btalage.” Another, “A | L’ Hotel Drowot,”’ went to rage W, An) Clark for $1,550. % Evidence that the modern in art i not yet to be appreciated in New York | was amply given. A mediocre Millet sold recently brought $30,100, while a very beautiful Claude onet last Pa) created Mttle enthusiasm and sold : $3,050 to Mrs. C. A. Van Renae | Phe top figure of tne evening was $4,600, realized on Monet's “Vetheuit, ae ae “Avant ja Course,” Dy Degas, nove by “Chester,” brought © $2,800: The}. “‘“Puvis de Chavannes” sold. for. $1,850 to Durand Ruel: B. Boudin’s “View of |! | Bordeaux’! for $450 to ‘Chester.” pace Paid for Pictures. Titles ‘of pictures, names of artists jnames of buyers. and the -prices paid | jfollow: jo Tne: Village of Omar,” Bondier; #0. Me- & TERRUENSUD Ourscy tert tae’ s eS RIL wae ene ‘Wenice,’ Bunce: William. Macbeth. ..7..5¢ ‘Landscape’? (fan shaped), Pissavo; Durand . As Teele aR OR aS Cae Ne ER oko OT ‘Street in Cairo,’ ; Bernet “(agent) “Gossips, EER Dots OORLEH GS, sick nai anaes ‘Scene in Holland.’ Ritter; Mrs. M. Robin- Brean said tas WoO aE Oe ook aie eer aD Le ‘Windmill in Holland,’’ Hitehcock: J MECIVETINGEG Sissi ata Seite te eres t “Fishing. Frazen: J. O. McDermott ‘Tiger and Bird.’’ Lancon; Pendleton. Bs La Spezzia- Wyld; Bernet f(agent).......5:. “View. of Dordrecht; Gravesande; J. O. Me- PERL AROS RSF ra tah a cannes ota at Mg Bik zg i “Streat Scene—Isle of Jersey,’’ Raffaelli: Ry DERRPM BE ATO Laas US war A AK a de the eke tee pte Sols “The Fonuaiook,: ‘De Nittis: Mrs. Leary. f “Tiger. oy. Van Murden- Bi. SRA DADOT A Oice ab aictasees “Fithtiog Boats,’’ Monet: W. H, np aie tering Port,’’ Faulkner; Pendleton. “Hunting. Dogs,’ De Penne; McDermott. 4 “Spring. Franzen; McDemott...........- “Barly Spring,’* Rico; Dr. PL. J, Ottenger.), “Head of a age in Large Hat.’ Mary Cas: satt; Dur UP Shc) NR PES EE Saeed tne we “ Arab’ and #4 Clairin; M¢Dermott..... “Marine Moo might,” Mesdag;’ ER Blimen- 1} pe iit Pace Nee a RG ee ME Se A ee ae ““Venite,’” Fy Wepkinson Smith; MeDermoatt4 ‘Enfant ‘Tenant Une ,Pommeé,’’ Mary Cas- | “sath; Bernet. gett, cha sens SR SESE ‘Mother and. Child.” Mary Cassatt: Durand ‘Mother Feeding a china,” Marty Cassatt; SPUD SACU SNe ks spe alate Ss yas wie “Line Sketches, ” Daumier; “Tes Avocats,’’ Daumier: F ‘Ne Vous-y Frottez Pas.” Daumier: S&S, O. Mreandbach sy LCM a wecseapet rash lads eas Aseuing His ’ Case." ‘LDaatmier: A ne it Ruel. Whe a3 Convic- bata) aR kee fa's9) ' My; Chester ...: Drouot”; Senator f Gree Mciateiiaintite cih 914 31+ h% THE LATE CYRUS J. LAWRENCE, ESQ. NEW YORK THE ENTIRE COLLECTION TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE DATES HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1910 CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractionad advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. 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. 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, unless otherwise specified by the Auctioneer or Managers previous to or at the time of Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser.’ 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authen- ticity of, or any fault or defect in, any Lot, and make no War- ranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; fail- ing in which, the object or objects in question will be sold sub- ject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof. for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the setilement of the Purchases, no Lot can, on any account, be re- moved during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The Undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for em- ploying careful carriers and packers, they will not hold themselves responsible for the acts and charges of the parties engaged for such services. Tue AMERICAN ART ASSOCIATION, Manacers THOMAS E. KIRBY, Avcrioneerr. LIST OF ARTISTS REPRESENTED Dawe Ses BERCHERE, Nancisse Street in Cairo 4 Halt of a Caravan 54 BONVIN, Francois Saint The Convent School 48 BOUDIER, E. The Village of Ormay BOUDIN, Louis Evcéne Port of Trouville AT Low Tide 49 On the Beach at Trouville 53 View of Bordeaux 58 Village by the River 62 BUNCE, Witu1am GEpNEY Venice 2 BRIDGMAN, Frepericx A., N. A. Scene in Morocco 57 BROWN, Joun Lewis Early at the Covert 40 The Meet 50 Chasseurs rf CANALETTO, M. Piazza Del Popolo, Rome CASSATT, Mary Head of a Child in Large Hat v Enfant Tenant une Pomme V Mother and Child Mother Feeding a Child Ww Caresse Maternelle ~ Mother in Red Dress, with Child ~ Au Jardin CLAIRIN, Grorces Arab and Dogs DAUMIER, Honoré Line Sketches Les Avocats Ne Vous-y Frottez Pas Les Avocats Lawyer Arguing His Case Les Piéce de Gonvienon Les Avocats L’Atelier de l’Artiste Le Ventre Législatif A l’Hétel Drouot Les Curieux a l’Etalage DE BELLER, Lion Winter Catalogue No. 76 20 24 25 26 64 66 "3 21 43 — 8 =— DEGAS, Hitarre Germain Epcar Avant la Course DE NITTIS, Guiseppe The Connoisseur DE PENNE, CuHartes OLIviIeRr Hunting Dogs DUPRE, Victor LEon Landscape and River FANTIN-LATOUR, Henri A Wood Nymph FAULKNER, Jouyn, R. S. A. Entering Port FRANZEN, Aveust Fishing Spring GOLTHAIS, L. Summer Landscape GRAVESANDE, S. Van Srorm View of Dordrecht HITCHCOCK, Gerorce Windmill in Holland JONGKIND, Jonan Bartruoup Port of Honfleur, Low Tide Catalogue No, 63 13 iby 46 44, 16 sl BS KAUFFMAN, ANGELICA Lady at Her Toilet LANCON, Aveust Tiger and Bird LEPINE, SrTanisias In the Park, Paris River Scene Bassin de la Vilette MESDAG, Henprix WILLEM Marine Moonlight METTLING, Louts Gypsy MICHETTI, Francesco Paoro Watching the Sheep The Pet Lamb MONET, Cravupe Fishing Boats Vetheuil, Winter Grotte de Port Domois, Belle-Isle, 1886 Vetheuil, Spring Falaises 4 Dieppe, Temps Gris PISARRO, Camitue Landscape Hiver en Pontoise Catalogue No. 74 22 41 45 52 69 PUVIS DE CHAVANNES, Pierre Mother and Children RAFFAELLI, Jean Francors Street Scene—Isle of Jersey Parisian Rag Pickers Dewey Arch, September, 1899 Place de la Trinité, Paris — RIBOT, THtopuLe Gossips Mignonne RICO, Martin Early Spring RITTER, Lorenz Scene in Holland SANCHEZ PERRIER, E. Street Scene in Alcala SISLEY, Atrrep Le Quai a Sable Vue de Moret sur Loing en Marne VAN MUYDEN, Evert Tiger VAN SCHAICK, 8S. W. Head of a Turk WYLD, Wit1i1am La Spezzia Catalogue No. 59 60 19 39 65 68 14 10 SALE AT MENDELSSOHN HALL FORTIETH STREET, EAST OF BROADWAY ON FRIDAY EVENING, JANUARY 21, 1910 BEGINNING PROMPTLY AT 8.15 O'CLOCK S AND PASTELS No. 1 EK. BOUDIER a O , Contemporary THE VILLAGE OF ORMAY Water-Color i 0. We Sumote A NARROW lane makes a sudden turn, running between a long grey building on one side and a crumbling brownstone wall, overtopped with trees, on the other. At the turn a woman has stopped to speak to a man in a two-wheeled cart. Beyend one catches a view of green hedgerows and fields golden with the harvest. Signed at the lower right, “ K. Boupter, Ormay, 1875.”° Heighi, 6% inches; length, 8% inches. At O IN Gee | WILLIAM GEDNEY BUNCE AMERICAN (1840- ) VENICE Water-Color Ve sad Worelth : THE picture shows a view over the placid waters of the Grand Canal, with the red tower of San Giorgio outlined against the sky in the distance. A fleet of fishing boats is passing out to sea, their sails gay with many colors, which are reflected from the bosom of the still waters. The sky is tinged near the horizon with theruddy glow of the setting sun, while the zenith is still a deep blue. Signed at the lower left, ““ W. G. Buncr, Venice, ’90.”’ Height, 10 inches; nidih, 7 inches. No. 8 CAMILLE PISARRO FRENCH (1810-1903 ) LANDSCAPE (FAN-SHAPED) Pastel S ' Riad . A narrow footpath runs through a small belt of grassy wood- land. The time is Autumn, for the trees are already bare of leaves, although the underbrush is still in full foliage. 6 s Signed at the lower right, ° Mary Cassatr.”’ Height, 15% inches; nidth, 14 inches. No. 21 GEORGES CLAIRIN ; FRENCH (1843- ) ARAB AND DOGS Fc Water-Color yr 6 ° Ww Dewaatto SEATED beside a dais in a richly furnished Oriental apartment is an old Arab. In loose trousers of pink silk, a white shirt, and having a turban on his head, he holds a-favorite grey- hound in his arms, while a black dog of the same species lies on the rug beside him. The walls of the room are inlaid with tiles and covered with rich blue hangings, and on the dais is a camel saddle and ornate trappings in rich cloth of crimson and gold. Signed at the lower right, ‘“ G. Cuarrin, 1875.”’ Height, 15 inches ; length, 21% inches. i : No. 22 HENDRIK WILLEM MESDAG DUTCH (1831-1902) MARINE MOONLIGHT Water-Color' (Ap J Q OvEeR a heaving waste of waters the storm wrack passes swiftly before the face of the full moon. Through a rift be- tween the clouds her beams fall upon the waves and show a small boat pulling bravely toward a vessel in the distance, which, with her sails and rigging battered and torn, burns a red light as if in need of assistance. In the offing appears the faint outline of another vessel, and overhead a couple of gulls wing their way toward the scene. Signed at the loner left, ““H. W. Mespaa.”’ Height, 18 inches ; width, 24 inches. No. 28 FRANCIS HOPKINSON SMITH |. ). AMERICAN (1838- __) | VENICE PS ot: }.0. Wu) Doucet A PICTURESQUE view down a placid canal in Venice, the prow of a gondola just appearing on the right. Lofty houses rear their mighty walls on either side, the green of the shutters and the gay colors of the flowers in their window boxes illumining the gloomy depths. Two graceful bridges cross the water, on which a few loiterers stop to gaze at the familiar scene. Overhead the sky is blue with not a cloud floating in its flaw- less depths. Signed at the lower left, *F, Hopkinson Smitu, Venice, Aua., ’82.”’ Height, 23 inches; nidth, 12% inches. oo No. 24 MARY CASSATT AMERICAN (Contemporary) ENFANT TENANT UNE POMME Rreoben 505 Pastel Wit y, ; A LITTLE girl is seated full-face to the spectator, hélding on her knee a rosy-cheeked apple tightly clasped in both little hands. She wears a plain dress of light blue with short sleeves. Her bright chesnut hair is confined behind her head, her face is turned somewhat to the left, and a pair of dark brown eyes gaze with a reflective expression into the distance. Signed at the lower right, ““ Mary Cassarr.”’ Height, 21% inches; nidth, 17 inches. No. 25 MARY CASSATT AMERICAN (Contemporary ) MOTHER AND CHILD Pres lin Joye Pastel 9 l hl THE figure of a young woman shown in half-length, standing half turned from the spectator, holding a rosy-cheeked child who stands close beside her on a table. The woman wears a. gown of dark green shot with orange, fitting close around throat and wrists. The child is dressed in a long, loose frock of dark olive-green. The background shows a graded tone of dark red. . 66 : bus Signed at the lower left, | Mary Cassarr. Height, 26% inches; width, 19% inches. No. 26 MARY CASSATT AMERICAN (Contemporary) MOTHER FEEDING A CHILD | Pastel 9 : Z | THE picture shows the corner of a table covered with a white cloth, on which are ranged a portion of a melon, a plate and a glass decanter containing wine. Beside the table is a young mother seated in an arm-chair, her elbow supported on its edge, her hand holding a glass which she puts to the mouth of the flaxen-haired child sitting on her knee. The mother wears a loose dress of light green muslin, cut low at the neck and with short sleeves, while the child’s little dress shows splashes of green, yellow and orange. The black hair and dark complexion of the woman is in striking contrast to the light coloring of her baby. | Signed at the lower left, ““ Mary Cassarr.”’ Height, 25 inches ; length, 31 inches. HONORE DAUMIER FRENCH (1808-1879) (Hatract from an Article on Daumier by Mr. Edward Cary, Published in “The Scrip,” March, 1906) “THe work that Daumier, the caricaturist, did in his youth and carly manhood, especially the work of the political satirist and agitator, was the best in this line of his long career, and, so far as I can judge, it was the best done in France. It was inspired by great fervor of conviction; it was rapidly produced, the forge was constantly hot; it was most happily studied and rendered with the double joy of sin- cere purpose and conscious power and advancement. And when the artist turned from the field of political caricature, which the Govern- ment made exceedingly difficult to him, his studies of morals and man- ners were still marked by the same candour and depth of feeling, by broad and humane sympathies, by gentle and even delicate humour and by obvious delight of execution. Two things were notably rare, if they cannot be said to be really absent from his product, not only in this period, but throughout his life. He very seldom drew a beauti- ful woman, and when the form, as not infrequently happens, is gracc- ful and true, the face is almost uniformly unbeautiful. The other missing element is still more curious in a Frenchman addressing him- self to the laughter of his countrymen. Daumier, so far as I have seen his work, never. seems to care for that particular form of coarse- ness which his countrymen have a qucer pride in calling gauloiserie. On the other hand, he chose his types among the common people. He dealt little with the follies or the vices of the fashionable. He was not, indeed, except in politics, a satirist; he was a kindly, amusing and amused commentator. Even in his series of Robert Macaire— which contributed largely to his contemporary fame, but which seems to me not to have been in his heartiest vein, to have been strained and bound by a Philippon’s text—he is singularly good-natured; he laughs almost as easily at the rascal as at the vanity or greed by which his victims gave Robert his hold on them. It is worth noting that Robert was not of readily recognised French features; he was given a curious face, more suggestive of a Scotch-Irishman than -of a Frenchman, and I could name a New York politician, who flourished as late as the sixties, who might have posed for Macaire—and would gaily have ackuowledged the hkeness. “The best lithographic work of Daumier was done previous to the period of the second empire, and most of it in the first half of the reign of Louis Philippe. Under Napoleon III. political satire was sternly repressed or ingeniously turned aside by arts in which the patron of Ratapoil was past master. From about 1860, moreover, Daumier strove with the utmost earnestness to get free from the task of the caricaturist and to enter the field of pure art. For some years he ceased to draw for Charivari, and devoted himself mainly to work in oils and water-cclors. His production was considerable; it was very highly valued by artists; it has steadily advanced in the estimation of connoisseurs and, gradually, of dealers, so that the price now com- manded by a single canvas would have seemed to the painter a prineely income for one of those terribly struggling years; but it did not yield bread for his family, and he was forced to take up again the weary load cf daily teil with flagging energy, though never unfaith- fully to his marveicus gift. The painting reproduced in this number of The Scrip, from the collecticn of Mr. Cyrus J. Lawrence, of this city, is an excellent example of Daumier’s masterly drawing, of his easy and powerful command of characterisation, of his simple and beau- tiful composition, and especially of that indefinable, unmistakable vitality that burns in his shghtest as in his most finished work. Were he known only by one such painting, a careful study of 1t would reveal the soul and the hand of a great artist. Such he was held to be by those most intimately familiar with him and with his product in his life- time, who also were qualified to pass critical judgment upon it and upon him. Balzac, a comrade on the audacious staff of La Caricature and an art critic in his off hours, remarked, ‘Ce gaillard la, mes en- fants, a du Michel-Ange sous la peau.’ Later Daubigny, before the cartoons of Raphael at Rome, exclaimed: ‘C’est comme du Daumier.’ In the portfolios of Delacroix were found, after his death, careful coples of a number of Daumier’s drawings, especially those made from subjects furnished by the bathing houses of the Seine, where Daumier was in the habit of studying. Finally in the room of Corot, the loving and faithful friend of Daumier, to whom he gave a home in his latest: years, the only pictures were a portrait of his mother and a painting by Daumier. These evidences I pick up here and there in the record of a long life; they are eloquent and conclusive. In such company one need not fear to admire with unstinted fervor the art of Daumier; in the presence of the art itself one cannot easily help it.” outlines of various types in the advocate walking with his papers three sketches of a lawyer’s gestures Height, 5 inches; length, 18 inches. | e/ | No. 28 LES AVOCATS Colored Print Yur . dinelen A LAWYER in his flowing robes is descending the broad stair- way in the Palais de Justice. He bears a bulky package of documents on his arm, and from his triumphant demeanor has just won his case. Another elder man passes him ascending the stairs, and turns to gaze after his successful rival, his feat- ures wreathed in a sneering smile. : “eé . Signed at the lower left, H. Daumrer.”’ Height, 13% inches ; nidth, 10 inches. No. 29 NE VOUS-¥ FROTTEZ PAS ee Lawhcl ANOTHER of the famous series of political cartoons by Daumier. A stalwart artisan in shirtsleeves and white cap takes his stand on a mound inscribed Liberté de la presse, and stands gazing defiantly at a municipal magnate, who, restrained by two men, threatens him with his umbrella. In the corner an old man in uniform is fainting on the ground, two figures wearing crowns supporting his head and bringing him restoratives in the shape of money bags. Inscribed *©20° Dessin de la Lithographic mensuelle (mois de mars).’’ Signed at the lower left ‘‘ H. D.”’ No. 30 LES AVOCATS Wash Drawing another in the Court of Justice. Y utand Td ANOTHER of the inimita- ble sketches of this great depicter of Parisian life. A couple of lawyers on their way to court have ran against each other, and ceremoniously bow, raising their hats high from their heads in cour- tesy. The bitter sneer on the face of him onthe right and the condescend- ing smile of his learned friend mark them as rivals in their profession, and their politeness as being merely a form, which will soon wear off as they oppose one Signed at the lower left, “‘ H. Daumier No. 3266.” Height, 11% inches; nidth, 9 inches. —— No. 31 rl Uy LAWYER ARGUING HIS CASE Wash Drawing Nin ice Aivel STANDING at the counsel’s table, resting his hand on the out- spread document, a lawyer stands, his right arm outstretched, his body bent forward and his face abeam as he argues a fine point in his case. The clumsy, knotted fingers, the snuffy robe and dirty bib, long, grey locks growing sparsely on his head, show that the years he has spent in his profession have not raised him very far in it. A man sits in front of him, leaning against the table, and in the back of the room a crowd of spectators listen to his eloquence. The expression on the old man’s face is very fine, and the drawing is spirited. Signed on table, “‘H. Daumirr.”’ Height, 7 inches; length, 9 inches. No. 32 LES PIECES DE CONVICTION Wash Drawing iy) wand - Muth BEHIND a table which runs across the picture sit the three judges, the one in the centre reading from a document in his. hands. On the table are scattered a Bible, various documents and ink-wells and the tall cap of one of the judges, who sits. with hands clasped before him, staring at the ceiling with an expression of boredom. His vis-a-vis rests his chin on _ his hand as he gazes thoughtfully into space. On the wall behind is a picture of the crucifixion, and on a table in front is a blood-stained knife and shirt, the piéces de conviction on which the prosecution base their case. Signed at the lower left, “‘H. Daumirr.”’ Height, 12% inches ; length, 18 inches. No. 33 LES AVOCATS 4 Wash Drawing os as IN a rostrum at one end of a spacious hall of jus- tice a lawyerwith upraised hand and body bent for- ward is filling the air with his eloquence. A crowd of laymen stand round bareheaded earnestly lis- tening to his words, and in the foreground a small group of his brothers at the bar, in long robes, tall hats and white bibs, are gathered, criticizing him $ from the viewpoint of rivals in the profession, some showing keen approval, and appreciating the soundness of the advo- cates’ argument, and others their disapproval. Signed at the lower left, “‘H. Daumtrr.”’ Height, 13% inches; nidth, 11% inches. + No. 84 LATELIER DE L’ARTISTE Wash Drawing 4 Uotuiton é A GRouP of critics are gathered in the studio of an artist and are inspecting his latest work. One of them, who has the ap- pearance of a connoisseur, sits in a red arm-chair before the easel, leans back to get a better view of the work displayed to his inspection. His friends crowd round and lean over his shoulder, and behind them stands the artist swelling with pride as he hears the flattering criticisms of his friends. Signed at the lower right, ““ H. Daumrer.”’ Height, 12% inches; nidth, 11% inches. Purchased from Messrs. Duranp-RvEeEt. ay o No. 35 LE VENTRE LEGISLA TS o cbok A BITTERLY conceived carricature of the occupants of the min- isterial seats in the assembly of 1834. Four tiers of benches are occupied by men on whose faces every type of cruelty, greed and wickedness are depicted, while on the floor stands a -man with a shaggy head of hair and collossal build gazing at the assembly. Inscribed ‘‘18° denin de L’ Association Men- suelle (moir de Janvier). ”’ Signed at the lower right, ““H. Daumtrr.”’ | : 4 No. 36 A L’HOTEL DROUOT Oil Pants fa WU. 4. blu A PICTURE sale is in progress at the world famous galleries, and the auctioneer is descanting on the merits of a canvas, which he holds upon the table, supporting the frame with one hand while with the other he draws the attention of the spec- tators. Surrounding the baize-topped table, the bidders are ranged on their wooden chairs, craning forward to get a better view or to attract attention to their bid. Signed at the lower lefi, *“H. D.’’ ‘ Height, 9% inches ; nidth, 7 inches. Jottier & Co. v* No. 37 LES CURIEUX A L’ETALAGE Oil Painting ZG 0 IN a narrow street in Paris an old print seller Ae spread his treasures upon the wall of his shop and upon benches placed on the sidewalk. A narrow awning protects them somewhat from the sun, which streams upon them from above the houses on the other side of the way. A motley collection of curiosity mongers surrounds the exhibit. A threadbare savant in ill- fitting black with an old silk hat perched on the back of ‘his ~ head thrusts his bird-like face close to one of the largest, while a small child plucks his skirt to hurry him away. A poorly clad boy peeps in a large portfolio, and a woman wrapped ina heavy cloak throws them a passing glance. The tall buildings cut off all view of the sky, save a tiny patch of blue appearing over a distant roof. Se : ; 6“ ” Signed at the lower right, H. D. Height, 13 inches; nidth. 9% inches. A Re SL er a ca a AS I NN ge ae a ee ee ae OIL PAINTINGS No. 38 STANISLAS LEPINE ; FRENCH (1836-1892) IN THE PARK, ney yy Wh y - TZ) THE picture shows a corner of the gardens of the Louvre in Paris. PReeceIe cece eereeers i e- bm tae bh gw meee Ge Pore ee $2 ben a 6 sO et a Sseatres iegelstat tte pa be cere tee) 2-9 — se -— Pn ee ee arte bl Sita eee ee Eirr eerie este eset FS Ne ae Beseststs ss seiestesetetessttesszes Satetatetstrestatstatssisesaeee Sases2 reese Ge Om Ot om Baa Sesion = srgrpreess soirsit epestieys > S32a= Syeebsraescs $e5 SSiiist ps tess iat ha ea beset te Wersesst eer r aoe EF eato ee fefcietated. fetejet tate ies T: Es34 rss Subeeees 9 bm ae rae oe ose e erie es o oes feng PSisrtovecee sti * aise. 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