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SALE AT AMERICAN ART GALLERIES 
 
 THURSDAY EVENING, FEBRUARY 7TH 
 AT EIGHT THIRTY O’CLOCK 
 
 VALUABLE PAINTINGS 
 
 BELONGING TO THE ESTATE OF THE LATE 
 
 EDWARD KEARNEY 
 
 ON VIEW DAY AND EVENING 
 
 FROM SATURDAY, FEBRUARY 2ND, UNTIL THE MORNING OF THE 
 Day OF SALE, INCLUSIVE 
 
CATA LOGUE ee 
 VALUABLE PAINTINGS 
 
 “MODERN SCHOOLS 
 
 EDWARD KEARNEY 
 
 TO BE SOLD WITHOUT RESERVE 
 BY ORDER OF EXECUTORS 
 
 On THURSDAY EVENING, FEBRUARY 7TH 
 
 BEGINNING AT 8.30 O’CLOCK, AT 
 
 THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH 
 
 WHERE THE PAINTINGS WILL BE 
 
 ON FREE VIEW DAY AND EVENING 
 
 FROM SATURDAY, FEBRUARY 2ND, UNTIL THE 
 
 MORNING OF SALE INCLUSIVE (SUNDAY EXCEPTED) O . 
 THOMAS E. KIRBY AMERICAN ART ASSOCIATIGNY 
 AUCTIONEER MANAGERS 
 yY 
 NEW YORK 4 =f . 
 Se Oe 
 1901 iad 
 
Press of J. J. Little & Co. 
 Astor Place, New Yorx 
 
sy 
 
 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 fractional 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 upon the conclusion of the 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 re- 
 sponsible 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 authenticity 
 of, or any fault or defect in, any Lot; and make no Werranty 
 whatever, they will, upon receiving previous to dcte of Sale trust- 
 worthy expert opinion in writing that any Painting or other Work 
 of Artis not what it ts represented to be, use every effort on their 
 part to furnish proof to the contrary, failing in which, the object 
 or objects in question will be sold subject to the declaration of the 
 aforesaid expert, he being liable to the Owner or Owners thereof, 
 jor damage or injury occasioned thereby. 
 
 6. To prevent inaccuracy in delivery, and inconvenience in 
 the settlement of the Purchases, no Lot can, on any account, be 
 removed during the Sale. 
 
 7. Upon failure to comply with the above conditions, the 
 money deposited in part payment shall be forfeited ; all Lots un- 
 cleared within one day from conclusion of Sale 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 this contract made at this Sale, without such re-sale, if he 
 thinks fit. 
 
 THE AMERICAN ART ASSOCIATION, 
 
 MANAGERS, 
 
 TuomMAS E, Kirsy, 
 Auctioncer 
 
ARTISTS REPRESENTED 
 
 BERAUD, JEAN, 11. 
 BOSCH, E., 26. 
 BRASCASSAT, J. R., 25, 29, 
 4l. 
 CAILE Basie tn 
 CASTAN, E., 2. 
 COL, DAVID, 27. 
 *COROT.j. BaG, 35: 
 DANSAERT, L., 31. 
 DE HAAS, J. H. L., 10. 
 DE NOTER, D., 4. 
 DIAZ Nee aera eae 
 DOMINGO, J., 43. 
 DUPRAY, H. L., 9. 
 FERRANDIZ, B., 18. 
 GEROME, J. L., 24. 
 GUIDO BAG, 5. 
 HUBNER, KARL, 3. 
 INNESS, GEORGE, 40. 
 
 ISABEY, = L.=G.-E 233. 
 JOHNSON, DAVID, 8, 15, 22. 
 LEROLLE, HENRI, 30. 
 MADOU, J. B., 21. 
 * MADRAZO, R. DE, 37. 
 *MAUVE, ANTON, 38, 39. 
 MEYER VON BREMEN, 13. 
 MOREAU, ADRIEN, 32. 
 PERRAULT, LEON, 42. 
 * QUARTLEY, ARTHUR, 34, 
 36. 
 REMBRANDT (ArrrisutTep), 6. 
 RONNER, HENRIETTE, 27. 
 ROOS, -PHIciP. 9: 
 SCHREYER, A., 28. 
 TORTEZ, Vo 1c. 
 TROYON,C; 19, 
 VENNEMAN, C. F.,, 16. 
 VERBOECKHOVEN, E. J., 20. 
 
 #ZUGEL, HEINRICH, 35. 
 
 * Additions from a private collector, 
 
ve 
 
 SALE AT - AMERICAN 2.2 
 GALLERIES 
 
 Thursday Evening, February 7th 
 BEGINNING AT 8,30 O’CLOCK 
 
 Notr.—The Seven Paintings marked with Asterisks are the 
 property of a private collector, and, together with the paint- 
 ings belonging to the estate of the late Edward Kearney, 
 will be sold without reserve or restriction. 
 
 CAILLE 
 
 (LEON) 
 
 Léon Caille has won wide popularity by his works in 
 genre. He was a pupil of Léon Cogniet. 
 
 1—I/nterior, Mother and Child 
 
 A mother in green skirt and white chemise stoops to 
 open a cupboard, the child with a basket on her arm 
 watching. Bits of brown, green, and gray pottery are dis- 
 posed on the cupboard, floor, and high mantel shelf at the 
 back. 
 
 Signed on the right, and dated 1875. 
 
 Height, 9 inches ; width, 6 inches. 
 
CASTAN 
 
 (EMILE) 
 
 vA A Parisian painter of geure. 
 
 2—The Game of Cards 
 
 In a dimly lighted kitchen with a view of the street 
 through an arched opening, two men are playing cards. 
 A woman sits near them and a child is craning up to see 
 on to the table. A countryman in loose brown trousers 
 and red waistcoat stands watching, while behind him a 
 woman who carries a pitcher has stopped and gazes over 
 
 her shoulder. 
 
 Signed on the left, and dated 1865. 
 
 Height, 9 inches; width, 744 inches. 
 
| |)  HUBNER (1814-1879) 
 4 1 ees 
 
 (KARL WILHELM) 
 
 This popular painter of domestic geure, afier studying 
 with I. Wolf, became a pupil of Karl Sohn and Felix 
 Schadow at the Diisseldorf Academy. He was an hon- 
 orary member of the Amsterdam and Pennsylvania Acad- 
 
 emies. 
 
 3—The Twins 
 
 A mother has paused in her needlework to gaze at the 
 two babies in their basket cradle. She wears a white cap 
 
 and loose rose-colored jacket over a dark skirt. 
 
 Signed on the left, and dated 1872. 
 Height, 14% inches; width, 13 inches. 
 
DE NOTER 
 
 (DAVID) 
 This distinguished still-life painter is a native of Ghent, 
 
 but has spent much of his time in Algiers. His pictures 
 have received numerous honors, 
 
 4—Fruit and Vegetables 
 
 In a copper bowl are a bottle, small porcelain jug, anda 
 bunch of celery; grouped alongside a swallow, some 
 crab apples, a small cabbage, and a pepper. 
 
 Signed on the left. 
 
 Height, 11} inches ; width, 10 inches, 
 
 GUIDO BAC 
 . 5—Youth and Age 
 
 Beside a gray-bearded man, whose black cap is edged 
 with red, stands a girl with a black mantilla over her head 
 
 and a crimson drapery across her bosom. The figures are 
 shown in half length. 
 
 Signed on the right. 
 
 Height, xz inches; width, 9 inches. 
 
Attributed to 
 
 p REMBRANDT VAN RYN 
 
 (1607-1669) 
 
 cd 
 Bic on) 
 
 The greatest painter in Dutch art, and one of the great 
 painters of the world, Rembrandt was at his strongest in 
 portraiture, giving to the subjects a character and quality 
 which make them seem like types of grand men and women 
 rather than portraits of individuals. 
 
 6—Head of a Man 
 
 The bust portrait of an old man with gray beard, the 
 face shown three-quarters full against a warm drab back- 
 ground. He wears a loose brown robe and a high fur cap 
 with red border, 
 
 Height, 11 inches ; width, 8 inches. 
 
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 ROOS (1655-1705) 
 
 (PHILIP) 
 
 Born at Frankfort, the second son of the Dutch painter 
 John Henry Roos, Philip showed such early promise that 
 he was sent by the Landgrave of Hesse to study in Rome. 
 Here he married and advanced rapidly in his profession ; 
 but prosperity induced extravagance, and many of his pic- 
 tures were painted to secure the necessaries of life. He 
 maintained a country villa at Tivoli, where he kept for 
 study the animals that he introduced into his pictures. 
 His friends called it, ‘‘Noah’s Ark,” and dubbed him 
 “Rosa da Tivoli.” Many stories are told of the incredi- 
 ble rapidity with which he painted; but, although his 
 works were so numerous, they reveal no repetition of 
 
 motives 
 
 “A Dutch Farm Scene 
 
 Near a ruined column a country woman in a red bodice 
 leans over a large bowl that receives a stream of water 
 flowing from a wall of rocks. In the foreground to the left 
 lie a goat, white cow, and two sheep, beyond which the 
 valley is seen winding between hills. 
 
 Height, 123 inches ; length, 16 inches. 
 
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 PIPPI ECS 
 Diem semtsagiiee 
 
 JOHNSON 
 
 (DAVID, N. A.) 
 
 Born in New York in 1827, Mr. Johnson began his artis 
 tic career under J. F. Cropsey, and perfected his method 
 by study of the European masters of landscape painting. 
 His own landscapes are distinguished by truth of color 
 and excellent drawing. 
 
 8—Riston Glen, Ulster County, N. Y. 
 
 A path winds up past a large square boulder to a clump 
 of bushes and pines. Down below on the left is seen 
 water, and beyond it a woody hill. 
 
 Signed on the right, and dated 1878. 
 
 Height, 14 inches; width, 11} inches. 
 
Wo ETT NEA LETTS OSTA GORE OEE, 
 
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 ? DUPRAY 
 
 i) (HENRI LOUIS) 
 
 Born at Sedan in 1841, and a pupil of I. Pils and Léon 
 Cogniet, Dupray ranks with Detaille as a leader in the new 
 school of military painters. His subjects are vigorously 
 represented and have a thorough perception of the war 
 spirit, 
 
 9—Napoleon at Wagram 
 
 Napoleon on a white charger, surrounded by his staff, has 
 just turned to give instructions to an aide de camp, who, in 
 green uniform, is bending forward over his horse’s neck. 
 
 Signed on the left, and dated 1894. 
 
 Height, 18 inches; width, 14 inches. 
 
DE HAAS 
 
 Lue we (J. H.-L) 
 
 Two large cattle pieces, exhibited at the Salon of 1855, 
 established De Haas’s reputation, which has been sus- 
 tained and increased by subsequent pictures. He was 
 born at Hedel, Holland, in 1830, and became a pupil of 
 P. Van Os and the Amsterdam Academy, 
 
 10—Landscape and Cattie 
 
 Two cows, one white and red, the other black with white 
 face, are lying in arich pasture. To the right, in the middle 
 distance, appears another beast, feeding near some bare 
 trees. The sky is a slaty gray, and threatening. 
 
 Signed on the right. 
 Height, 133 inches ; length, 20} inches. 
 
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 BERAUD 
 
 (JEAN) 
 
 This popular interpreter of Parisian life was born at 
 St. Petersburg, of French parents, in 1849. The Franco- 
 Prussian war interrupted his studies at the Lycée Bona- 
 parte, and he joined in the defence of Paris, serving in the 
 Garde Mobile. On the conclusion of peace, he entered 
 the studio of Léon Bonnat, and made his first appearance 
 at the Salon in 1874. His honors, both at home and in 
 
 foreign countries, have been numerous. 
 
 11—Boulevard des Italiens 
 
 On the right is a block of buildings, terminating in front 
 with the entrance to a theatre. A cavalry soldier and 
 other figures are loitering, while some are crossing the 
 side street. On the left is a vanishing vista of trees and 
 
 street, with carriages in the middle distance, 
 
 Signed near the left. 
 
 Height, 10 inches; length, 14 inches. 
 
DIAZ DE LA PENA (1808-1876) 
 
 sg. \ ef (NARCISE VIRGILE) 
 
 Diaz revelled in the enchantment of light and shade; 
 seeking the recesses of the forest where dark masses of 
 luminous shadows abound, and the sunlight filters through 
 the tangle of foliage and branches; and with a magical 
 celerity of brush work recording his impressions in the first 
 impulse of his enthusiasm. 
 
 12—Landscape ee 
 
 A short avenue of trees lead& to a circular clearing in 
 the forest, and their foliage, meeting overhead, frames in 
 a patch of blue sky. Near the foreground is a figure in 
 
 blue with red cap. 
 
 Signed on the right. 
 Height, 93 inches; length, 13 inches, 
 
MEYER VON BREMEN 
 
 (JOHANN GEORG) 
 
 Johann Georg Meyer, called from his birthplace, Meyer 
 von Bremen, on leaving the Diisseldorf Academy began 
 painting religious subjects of large size. These, however, 
 he soon abandoned for cabinet pictures of domestic scenes 
 and homely episodes of everyday life, which have secured 
 wide favor. . 
 
 13—Helping Mother 
 
 An urchin in light brown “smalls” and red waistcoat 
 stands holding a skein of wool, which the mother is wind- 
 ing into a ball. She sits sideways, with a black cap over 
 her light hair, a white kerchief around her shoulders, and a_ 
 dull red bodice above a green skirt. Through the open 
 door some boys are trying to attract their comrade’s 
 attention. 
 
 Signed on the right. 
 
 Height, 9 inches ; width, 74 inches. 
 
DIAZ DE LA PENA (1808-1876) 
 
 bor ge (NARCISE VIRGILE) 
 y & 
 
 For his exuberant joyousness of temperament Diaz 
 found expression in color, which he used with the fervor 
 and emotional meaning of poetry. A little picture like the 
 present one shows equally that he chose and imagined his 
 subjects from the point of view of color, and that through 
 his management of the color and lighting he could invest 
 his subject with the charm of ardent poetry. 
 
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 14—The Lovers & \IN 34 Ue 
 
 sey 
 
 A youth beside seestal aff is drawing her towards him 
 
 to kiss her lips. He wears a light blue doublet over gray 
 
 tights, and she a rose-colored petticoat with loosened 
 
 chemise. A big tree overshadows them, and through a 
 distant foliage is a peep of sky. 
 
 Signed on the right. 
 Height, 12 inches ; width, 84 inches. 
 
53S 
 
 JOHNSON 
 
 (DAVID, N. A.) 
 
 it 
 Sosandiisormy 
 
 At the commencement of his career Mr. Johnson re- 
 ceived a few lessons from J. F. Cropsey, but he has been 
 a close student of Nature, looking upon her as his teacher 
 and master. 
 
 15—At Dresden, Lake George 
 
 On the right is a platform of rocks and a clump of firs; 
 to the left a stretch of water ruffled into small waves, The 
 horizon is closed in with hills, which rise to a considerable 
 height on the right of the picture, 
 
 Signed on the right, and dated 1870, 
 
 Height, 13 inches; length, 20 inches, 
 
VENNEMAN (1803-1875) 
 
 (CHARLES FERDINAND) 
 
 This clever imitator of the old Dutch masters was a na- 
 tive of Ghent, studying at its Academy, and afterwards at 
 Antwerp, under F, de Braekeleer. 
 
 16—The Numismatist 
 
 Seated in a red-upholstered chair, a man, in a soft black 
 hat and drab coat, with a broad, overhanging linen collar, 
 is examining a coin, which he caresses with his fingers. 
 On the table in front of him lie other coins and two old 
 volumes. 
 
 Signed on the right. 
 
 Height, 19 inches ; width, 14 inches. 
 
TROYON (1810-1865) 
 
 (CONSTANT) 
 
 For nearly fifteen years Troyon had been known as a 
 landscape painter, until, in 1847, after a visit to Holland, 
 he appeared at the Salon with a cattle picture that estab- 
 lished his fame at a single stroke. During the subsequent 
 eighteen years he brought to its ripest perfection the great 
 school of French cattle-painting that had been begun by 
 Brascassat. The grandeur of Troyon’s art is due to its 
 magnificent simplicity and large serenity. He knew his 
 cattle absolutely, but as parts of the landscape to which 
 they belong, so that his realism is saturated with poetry— 
 typifying the ample feeling of the country, ‘‘its tranquil 
 meadows, !uminous skies, quiet waters, and the abundance 
 of flocks and herds—at once the symbol and the source of 
 
 its prosperity.” 
 
 de 17 —Returning from the Fair 
 
 In the centre of the picture is a flock of sheep coming 
 towards us, followed by two figures—one in a blue smock. 
 A black-and-white cow has been headed off by a dog, and 
 is charging into the flock. The evening sky is a pale 
 
 amber. Fe , 
 RP 9 ant 
 
 eel Height, 1214 inches; length, 19 inches. 
 
FERRANDIZ 
 
 f 7 ei, 
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 A contemporary and close friend of Fortuny. One of 
 
 the brilliant band of Spanish artists who followed him to 
 Paris. In writing to Martin Rico, Rome, January, 1874, 
 Fortuny said, ‘‘ Ferrandiz is here, and has rented a small 
 house alongside of my atelier ; so that he may paint in 
 the open air, he has built for himself a sort of watch-box 
 or confessional ; and you would laugh heartily in seeing 
 him thus at work.” 
 
 18—Fortuny’s Studio 
 
 This picture was painted by Ferrandiz under the direc- 
 tion of his friend Fortuny. It represents the interior of 
 Fortuny’s studio at Rome in 1874. In the centre may be 
 seen a large Spanish-Moresque vase of the XIVth century ; 
 on the left, another of the XIIth century, lacking the neck 
 and handles. All about the studio are scattered, in infinite 
 variety, other objects of art, statues, Gothic tapestries, 
 Spanish-Moresque dishes, etc., etc. There are also two 
 busts, relleved against black. The one on the left is the 
 portrait of Fortuny, the other that of Ferrandiz. In this 
 picture Fortuny painted with his own hand, Ist, the plu- 
 
 mage which crowns the large Spanish-Moresque vase stand- 
 
ing on the table ; 2d, the head of the attendant who leans 
 upon the table ; 3d, the left corner of the rug in the centre ; 
 4th, the head of the spectator who is studying through a 
 glass the central vase. 
 
 Legend :—A few days before Ferrandiz was to send this 
 picture to the Paris Salon, in March, 1874, it met with an 
 accident. Fortuny inadvertently upset the easel on which 
 it rested, and in falling it upset a bottle of ink, which ran 
 over the whole picture. Without being in the least dis- 
 concerted, Fortuny washed the picture with volatile oil, 
 and then, with his own rapid and expert hand, restored it 
 to the present condition in two days of labor. 
 
 Signed on the right, and dated 1874. 
 
 Height, 18 inches ; width, 32 inches, 
 
iQ== 
 
 te 
 
 “The Long and the Short of It’”’ 
 
 TORTEZ 
 
 (VICTOR) 
 
 A Parisian painter of picturesque genre, pupil of J. L. 
 Géréme and Stenner. 
 
 The tapestry is drawn back, and reveals a girl. In front 
 of the mass stands a page in gray tights, plum-colored 
 doublet, and scarlet beretta. With folded arms he stands 
 defiantly on the tessellated floor, barring the passage to a 
 tall page, who has halted in startled attitude, The latter's 
 hose are of black and yellow stripes, his doublet of green 
 damask silk. 
 
 Signed on the right, and dated 1872. 
 
 Height, 2x inches; width, 14 inches. 
 
RE REN ae te a 
 Rati Rise ey 
 
 VERBOECKHOVEN (1799-1881) 
 
 (EUGENE J.) 
 
 The honors awarded ,to this popular painter included | 
 three medals at the Paris Salon, the Legion of Honor, and 
 the decoration of the Iron Cross. He was a Chevalier of the 
 Orders of Leopold, St. Michael of Bavaria, and Christ of 
 Portugal, and a member of the Royal Academies of Bel- 
 
 gium, Antwerp, and Si. Petersburg. 
 
 20—Sheep in Stable 
 
 The light is streaming in from the left on the backs of 
 two white sheep and a lamb, which stand near a feeding 
 trough in the centre of the stable. Close by stands a sheep 
 in shadow, and farther back three others lie at the entrance 
 
 to a dark recess. Two fowls are picking in the foreground. 
 
 Signed at the right centre, and dated 1867. 
 
 Height, 20 inches ; width, 16 inches. 
 
} MADOU (1796-1877) 
 
 (JEAN BAPTISTE) 
 
 tru, 
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 Vaio 
 
 Upon the introduction of lithography into Belgium, 
 Madou spent twenty years in the pursuit of that branch 
 of art, so that his paintings are comparatively scarce. 
 He was reckoned in his time one of the leading Flemish 
 painters of geure, and held the position of professor of 
 drawing in the military school of Brussels; being a 
 member of the Academies of Antwerp and Brussels and 
 a Chevalier of the Legion of Honor and of the Order of 
 Leopold. At the Universal Exposition of 1878 the Di- 
 ploma to the Memory of Deceased; Artists was awarded 
 to his works. 
 
 21—The Jolly Musicians 
 
 One of the boon companions is seated on a table, holding 
 up his hands, while the other stands close to him, singing 
 and imitating the gestures of a guitar player. In the 
 half-shadow at the back a woman, leaning on a table, 
 watches their antics. 
 
 Signed on the left, and dated 1869. 
 Height, 20 inches ; width, 17 inches. 
 
 eS a % oe 
 
JOHNSON 
 
 (DAVID, N.A.) 
 
 Born in New York in 1827, Mr. Johnson began his artis- 
 tic career under J. F. Cropsey, and perfected his method 
 by study of the European masters of landscape painting. 
 His own landscapes are distinguished by truth of color 
 and excellent drawing. 
 
 22—Near Rosendale, Ulster County, N. Y. 
 
 On the right is a green slope and three large trees, 
 beneath which two figures are resting, one being dis- 
 tinguished by ared coat. A pathway disappears between 
 the trees, and on the left isa smooth meadow, extending 
 to tall trees in the middle distance, through a gap in which 
 appears far off a hill, 
 
 Signed on the right, and dated 1872. 
 Height, 1534 inches; length, 25 inches. 
 
ISABEY (1804-1886) 
 
 Ve (LOUISE GABRIEL EUGENE) 
 
 ' During a professional career of over sixty years, Isabey 
 divided his time between genre and marines; but his 
 great fame is founded upon the latter. He painted the 
 ports of France and the ocean around her coasts ; always 
 with a sumptuous use of color and romantic feeling for 
 the picturesque. He had the gift of impressing his own 
 personality upon every picture that he painted. 
 
 23—Moonlight on the French Coast 
 
 The fishing smacks are gathered in harbor, their sails 
 and spars dark against the sky. Through an opening in 
 their ranks a flood of light streams over the water from 
 a full moon just risen above the horizon. 
 
 Signed on the right, and dated 1866. 
 Height, 16 inches; length, 24 inches. 
 
GEROME 
 
 ' (JEAN LEON) 
 
 Fifty-four years ago Gér6éme won his first medal at the 
 Salon, and since then has received every honor that France 
 can bestow upon a painter. That first picture was of 
 ‘Fighting Cocks,” and studies of animals have from time 
 to time contributed to his reputation. 
 
 _24—Head of a Dog 
 
 The massive head and shoulders of a St. Bernard are 
 shown almost in profile against a dark background. The 
 color of the dog is white, with dark, orange-tawny mark- 
 
 _ ings over the eyes and ears, 
 
 Signed in the centre, and dated 1864. 
 Height, 19 inches ; length, 2314 inches. 
 
_ BRASCASSAT (1804-1867) 
 
 / il (JACQUES RAYMOND) 
 
 To Brascassat belongs the credit of reviving the art of 
 animal painting in France, and of fathering the movement 
 which culminated in Troyon. He had been a pupil of Her- 
 sent and of Richard, and won the second grand prize for 
 historic landscape, which allowed him to enjoy six years’ 
 study in Rome. 
 
 % 
 
 25—T be Combat 
 
 a ae 
 
 On a steep bank beside a stream two bulls with their 
 heads low to the ground are locking horns, On the oppo- 
 site bank a man runs up, shouting and brandishing a 
 stick; his dog standing near the water, uncertain whether 
 to cross. 
 
 Height, 18 inches ; length, 24 inches. 
 
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 BOSCH 
 
 (ERNST) 
 
 Born at Crefeld, Germany, in 1834, Bosch became a 
 pupil of the Diisseldorf Academy under Sohn, Hildebrandt, 
 and Schadow. 
 
 26—Sunday Afternoon During Harvest 
 
 An old couple stand admiring the wheat ; the husband 
 in wide-brimmed black hat, scarlet waistcoat, and long 
 gray coat, the wife with a gray and black cap fastened in 
 a bow above a white ruffle. She wears a plum-colored 
 kerchief and a dark gray apron, beneath which is visible 
 a strip of scarlet and gray skirt. Their dog sits behind 
 them, and beyond the wheatfield a farm and cottage are 
 snugly nestling amid the trees, 
 
 TONITE 
 
 Signed on the left, and dated 1869. 
 
 Height, 25 inches ; width, 18 inches. 
 
RONNER—COL 
 
 (HENRIETTE—DAVID) 
 
 A rare combination of talent, for Madame Ronner has a 
 reputation throughout Europe as a painter of animals, 
 and David Col is one of the most popular gezre painters 
 in Belgium. 
 
 27—Contented 
 
 The countryman has halted his wagon and leans against 
 a wall, enjoying his cigar. The team consists of three 
 sturdy dogs ; a black one in the shafts, a brown and white 
 one standing on the off side, and a large white one lying 
 on the ground. 
 
 On the right, ‘‘ Henriette Ronner.” 
 On the left, ‘‘ David Col.” 
 
 Height, 21% inches; length, 33 inches. 
 
 Signed } 
 
SCHREYER (1828-1899) 
 
 no (ADOLPH) 
 
 Though ee at Frankfort. -Main, and commencing 
 his art studies at its academy, there is so little of the 
 German feeling in Schreyer’s style that Théophile Gautier 
 called him ‘‘A Teutonic Accident.” But his parents were 
 wealthy, and he enjoyed the advantages of long study in 
 Paris, and extensive travel in Algiers and North Africa 
 supplied him with the Arab subjects for which he is so 
 justly famous. Animated in movement and color, while 
 still refined, his pictures involve the poetry as well as the 
 facts of Oriental life. 
 
 28—The Advance Guard 
 
 The Arab cavalcade is making a half-circle as it reaches 
 a brook. One horseman has already crossed and has his 
 
 Hw are CHATS 
 
 back to us ; another, occupying the centre of the picture, is 
 seen in profile just about to pass through the water. His 
 horse is a slaty gray, and he himself in white, with a scarlet 
 embroidered scarf around his head. Behind is a footman 
 leading two pack horses, ae which ee another 
 
 horseman, f ; es er 
 7 ya 
 ; Bet if borne 
 
 Signed on the right. 
 
BRASCASSAT (1804-1867) 
 
 (JACQUES RAYMOND) 
 
 To Brascassat belongs the credit of reviving the art of 
 animal painting in France, and of fathering the movement 
 which culminated in Troyon. He had been a pupil of Her- 
 sent and of Richard, and won the second grand prize for 
 historic landscape, which allowed him to-enjoy six years’ 
 study in Rome. 
 
 29—Landscape and Cattle 
 
 A spotted cow, dark brown and white, stands in the 
 front of the picture, and farther back another is lying, and 
 poultry are dotted over the pasture, which is bounded by 
 beech-trees, and has a horse on the left. 
 
 Signed on the left. 
 Height, 21 inches; length, 35 inches. 
 
LEROLLE 
 
 e fe Wea: (HENRI) 
 
 Commencing as a genre and historical painter, Lerolle 
 
 turned later to landscape, and particularly to peasant life 
 in its relation to nature. This he invests with a tranquil 
 poetry, that finds its happiest expression in tender effects 
 of evening with a brooding sense of gentle melancholy, 
 
 30—Returning Home at Evening 
 
 A woman is toiling across the meadows with a bundle 
 on her back, and her face set hard towards acottage which 
 appears below the brow of the hill, Behind her is a 
 massive tree that makes a dark spot against the rose and 
 faint blue of the sky. 
 
 Signed on the left. 
 
 Height, 25 inches; length, 3x inches. 
 
DANSAERT 
 
 (LEON) 
 
 By birth a Belgian, Dansaert studied in Paris under 
 Edouard Frére, and travelled extensively in France, Ger- 
 many, and Italy. He is best known for his Eighteenth 
 century scenes in the elaborate costumes of the period. 
 
 31—A Baptism in the Eighteenth Century 
 
 The family coach, blue and gilt, with a white embroid- 
 ered hammer-cloth beneath the driver and red harness on 
 the two horses, is waiting outside achuch. Thence comes 
 the baptismal procession, headed by a boy and girl, and 
 welcomed with manifestations of delight by a group of 
 villagers, while the major-domo, in blue silk costume, 
 stands bowing at the carriage door. A woman, with a 
 basket on her arm and a child at her side, is crossing the 
 front of the scene. 
 
 Signed on the right. 
 
 Height, 24 inches ; length, 3: inches. 
 
MOREAU 
 
 (ADRIEN) 
 
 Born at Troyesin 1843. A genre painter, pupilof Pils at 
 the Ecole des Beaux Arts, Moreau made his first appearance 
 at the Salon with a Biblical subject, but subsequently 
 secured reputation for his costume pictures and spirited 
 studies of old-time incidents. The picture in this collection 
 was awarded a medal at the Salon of 1876, 
 
 32—A Kermess in the Middle Ages 
 
 The scene of the festivity is a meadow bordered with 
 trees. The musicians are standing on an elevation ; one 
 with a horn, two with pipes, while another, sitting at their 
 feet, plays the drum. Dancing couples are following 
 
 round and round in a circle, attracting the attention of the 
 bystanders, 
 
 Signed on the right, and dated 1846. 
 
 Height, 24 inches; length, 35 inches. 
 
7 ae 
 
 *33-——Chaleau de Pierrefonds if 
 B 
 
 Oe, COROT (1796-1875) 
 
 (JEAN BAPTISTE CAMILLE) 
 
 There have been poet-painters with wider scope and 
 more fervor of purpose than Corot had, but none whose 
 work is so gently elevating and persuasively noble. He 
 early won his way to men’s hearts, and holds them as firmly 
 as ever. The particular charm of his landscapes is inimi- 
 table, for they are the direct outcome of his own individual 
 temperament and mind. And there has been only one 
 Corot. As Dupré said, on hearing of his death, “It will 
 be hard to fill the place of the painter ; it will be impos- 
 sible to fill the place of the man.” 
 
 On a wooded elevation in the centre of the picture stands 
 the chateau; its successive terraces, mansion, and tower out- 
 lined against the sky and embosomed in foliage, forming 
 a scene of romantic beauty. In the foreground on the 
 right a tall bush overhangs the figures of two peasant 
 women and a man, while on the left is a clump of foli.ge 
 and two silver birches farther back in the picture. 
 
 Signed on the left. 
 ; Height, 14% inches; length, 22% inches. ’ 
 
 i ardleg: 
 
QUARTLEY (1839-1886) 
 
 (ARTHUR, N. A.) 
 
 Born in Paris, of English parents, and early brought to 
 this country, Arthur Quartley, without assistance from 
 teachers, became an accomplished marine painter. Hedrew 
 his subjects from many parts of our coast, but his favorite 
 study was New York Harbor, which he depicted under all 
 conditions of weather, regardless of discomfort. Particu- 
 larly attractive to him were the shifting effects of color, 
 light, and movement as the water was stirred by wind. 
 
 *34—A Duich Lugger 
 
 A fishing smack, with tawny sails, is forging towards us, 
 driving up the spray from the lumpy green waves. Two 
 others are seen farther back on the right, and on the left a 
 wooden bell-buoy, with stretch of low coast beyond. A 
 red pennon is flying against a windy gray sky puffed with 
 creamy clouds. 
 
 Signed on the right. 
 
 Height, 26% inches; width, 20% inches. 
 
ee ZUGEL 
 (HEINRICH) 
 This well-known painter of landscape and animal sub- 
 
 jects was a pupil of the Stuttgart Art School, and subse- 
 quently studied in Venice, finally settling down in Munich. 
 
 *35-—Shepherd and Flock 
 
 Sheep are lying or standing in the front of the picture, 
 and on the other side of a fence, underneath a tree, sits the 
 shepherd playing a pipe, with his dog by his side. 
 
 Signed on the right, and dated. 
 Height, 1134 inches; length, 14% inches. 
 
QUARTLEY (1839-1886) 
 
 (ARTHUR, N. A.) 
 
 Born in Paris, of English parents, and early brought to 
 this country, Arthur Quartley, without assistance from 
 _ £ teachers, became an accomplished marine painter. He drew 
 *™ his subjects from many parts of our coast, but his favorite 
 study was New York Harbor, which he depicted under all 
 conditions of weather, regardless of discomfort. Particu- 
 larly attractive to him were the shifting effects of color, 
 light, and movement as the water was stirred by wind. 
 
 *36—Fishermen—Early Morning 
 
 Struggling through the dull golden mist is a faint light 
 against which darkly shows a long boat, laden with a large 
 seine at the stern. Nine men are rowing, and one stands 
 
 up, steering with an oar. Shipping is faintly visible on the 
 horizon. 
 
 Signed on the right. 
 
 Height, r5 inches; length, 27 inches. 
 
a is 
 
 DE MADRAZO 
 
 LE Pata (RAIMUNDO) 
 
 The brother-in-law and companion of Fortuny, Madrazo 
 obtained, at his first appearance in the Salon, in 1878, the 
 double distinction of a first-class medal and the Legion of 
 Honor. He belongs to the third generation of a brilliant 
 family of Spanish painters, and has added to the Southern 
 love of color the ripe facility of Parisian technique. 
 
 *37—La Masque 
 
 A standing figure of a girl in a pink opera cloak, edged 
 with swan’s-down, showing pink and gray pleats above 
 a white satin skirt. In her left hand, which is gloved, she 
 holds a black masque. The figure is placed against a 
 gray-green background. 
 
 Signed on the left, at the top. 
 
 Height, 333 inches; width, 154 inches. 
 
Sree 
 ‘Fake 
 
 MAUVE (1838-1889) 
 
 (ANTON) 
 
 "Master of tonality as Mauve was, he seldom reached so 
 
 exquisite a quality as in the present picture. Between the 
 black note of the man’s hat and the brightest patch of sky 
 what an infinity of delicately modulated tones, and how 
 subtle the complete impression! It mingles alertness and 
 reticence ; one finds it fresh and cheery at one view, sober, 
 almost dreary, at another. The sentiment is as complex as 
 the color scheme; a picture of unlimited capacity for com- 
 panionship. 
 
 . *38—Afler a Rain—Holland. 
 
 Along a straight road, glistening with moisture and 
 edged with grass, a farmer is bringing home some horses. 
 He is dressed in drab, witha black hat, and rides a brown 
 horse; strung behind are two other horses, while a bay 
 horse nibbles the grass as he straggles along. On the 
 left of the road is a canal, and on the other side a row of 
 trees, with meadows, and a windmill beyond. 
 
 TERS ee 
 
 Signed on the right. Dated 1874, | 
 : Height, 17 inches; length, 25} inches. 
 
MAUVE _ }; 
 
 (anton) /W ‘V" 
 
 In the technique of painting Mauve had been instructed 
 by P. O. Van Os; but he was an original genius, and all 
 traces of his master’s influence disappeared when he began 
 to study Nature directly. He brought to it the simple, 
 sincere vision that distinguishes the Dutch artist’s study of 
 his own country—an intense love for it, and the faculty 
 of finding an underlying poetry in its most trivial phenome- 
 non. To these qualifications his individual genius added 
 a sense of the simple in Nature, together with a feeling 
 for its subtie variations. 
 
 *39—Kelurn of the Flock. 
 
 . Be the 
 Pern. al he. Sista 
 
 Over a low-lying pastire, Hordeged by a fence and 
 
 strip of water, the shepherd and his flock are pressi rg ; 
 homeward. The man has a blue smock, and his dog iS 
 lows behind the sheep. The horizon is ES 2 OveRn 
 with dull gray clouds. a of & as a7 
 
 Pe 
 
 Signed on the right. 
 
 g fee yy 
 Height, 15 inches ; length, 263 inches. 
 
 Kern » on 
 
INNESS (1825-1894) 
 
 J (GEORGE) 
 
 Through the most patient study of Nature, influenced by 
 his friendship with the Barbizon painters, George Inness 
 gradually reached the mastery of expression which dis- 
 tinguishes his work from 1875 onwards. But his acknowl- 
 edged preéminence as an artist is part of his greatness as 
 aman. An earnest, broad, deep thinker, he would have 
 been conspicuous in any profession ; and it is the union of 
 this mental grasp with hand facility that made him one 
 of the foremost landscape painters of the century. His 
 quick imagination caught the charm of passing effects in 
 nature, and he painted them with a power and individ- 
 uality, and a cultured feeling for color and composition, 
 that realize the facts and express the poetry of the scene. 
 
 40—Landscape 
 
 Heavy gray clouds are floating low over a hillside and 
 spreading bars of shadow over the flat foreground. A row 
 of willows running across the picture, with roofs of cottages 
 Seen among the trees beyond, catches a faint glow. A 
 woman is seated on the right of the foreground, and a man 
 
 stands a little further back, while poultry dot the meadow. 
 
 Signed on the right, and dated 1393. 
 
 Pal tg toe 
 
 ~ Height, 23'inches: length, 3s inches. 
 
OJ 
 
 BRASCASSAT (1804-1867) / “40 
 
 (JACQUES RAYMOND) 
 
 To Brascassat belongs the credit of reviving the art of 
 animal painting in France, and of fathering the movement 
 which culminated in Troyon. He had been a pupil of Her- 
 sent and of Richard, and won the second grand prize for 
 historic landscape, which allowed him to enjoy six years’ 
 
 study in Rome. 
 
 41—Landscape and Cattle 
 
 A pasture stretches level to the horizon, bounded on the 
 right by wooded hills, with a farmhouse and building 
 nestling below. In the foreground lies a red and white 
 cow ; a black and white one is drinking at a pool close by, 
 and to the right an ox of the same color is grazing. Other 
 cows are grouped not far off, and in the middle distance 
 some sheep. 
 
 Signed at the left centre. 
 
 Height, 30 inches; length, 39 inches. 
 
PERRAULT 
 
 (LEON) 
 
 A pupil of Picot and Bouguereau, Léon Perrault first 
 secured notice at the Salon in 1861, since which time be 
 has received frequent honors, and has had his pictures 
 purchased by many of the museums in France, 
 
 42—Moses Exposed on the Nile 
 
 | The wooden cradle has drifted among the reeds, and 
 | the baby, lying on a white and gray striped pillow, is 
 looking out of the picture. A dull amber colored drapery 
 trails in the water. 
 
 Signed on the right. Dated 1879. 
 
 Height, 34 inches; length, 47 inches. 
 
, 
 
 DOMINGO 
 
 (JOSE) 
 
 Encouraged by his compatriot Fortuny, Domingo studied 
 for a time at the Madrid Academy, and then entered the 
 studio of Meissonier in Paris. From the first his genre 
 pictures attracted attention by their excellence of color, 
 drawing, and characterization, and with the energetic 
 advocacy of Fortuny it was not long before they secured . 
 good prices. 
 
 43—The Duel 
 
 One of the duellists has been disarmed of his sword 
 and recoils against a stone wall, while his antagonist draws 
 himself up to deliver the coup de grace. The latter is 
 dressed in full dark green breeches and riding boots, a 
 drab doublet, and a leather belt studded with metal ; the 
 sleeves of his under garment being slashed with lace and 
 his gray felt hat having a scarlet feather. The other man 
 is shown in plum-colored stockings, dark breeches, and 
 drab doublet, his sword arm bare to the elbow. 
 
 Signed on the right. 
 
 Height, 34 inches; length, 47 inches. 
 
 AMERICAN ART ASSOCIATION, 
 MANAGERS. 
 
 THOMAS E. KIRBY, 
 Auctioneer, 
 
GETTY RESEARCH INSTITUTE 
 
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