re oees te 523 $; * . 3 ; = b= i -t~ 
 ose late etés +34 a35% ; 5235525 : +23 res 
 stess ° ; Syeseeess: pistssres oe a5; S55>s 
 : z pperisestesststses s5E53 2 sf: $3 na; ; A : 
 33 peptsssess SeSecscicesis : : +3 
 . : . t-@ aoe ee ees > > s ~e > +e 
 ‘zis ‘ pipes. = ree > ftioe : 
 ; : 34) : si3e ae eaieaeaease3 ees oso Seis 725 
 ; SS33 $52 Sestetsisis $istotess 23% tae 
 ; bal : : criss $53 SSitseristss este ests: z33 +35 
 : ig pe bey ree et Ee >. easad <7 iter Stsee: S335. ree) 
 ; : ; Stitetatetess Piperericts: eis; 3 SSteaiees aos $33 
 peeSeSst site sts Siares ane : 5232 533 ei Seeieaeeeetingtesseseteeeeee. 
 ‘ + + Lan +-*--+ - oor es >> +>¢ leah. dp dhdivdadaedhnedl Inet hoa 
 . : : ve esas ; akan ~ o eSecese yentks es 
 | > ; 7 aoe > SEs ote ~e-2@ ot -« Pee eat et ee ee ee Sees 2 
 q © Sepsrs ‘ eee oe <7% ise " 525 veapwsws +2 Fepeeee : 
 5 < 7. : Setse 72 reese ves 7? eeerarerieseseieestase tes: > ro we bnw. re 
 r ers es =e as aee se Se, tri tesee C3 Petes> ri SoS es oy 
 piste ts ; Tpit zat estes S33325 
 ; 723 r: nd y . * oe - ph dpdapaedaes dea ae es trees 
 +t +35) +232 earereeibasnbessraldrctsscrarctarerrs $e Sst S5— siy352 
 ‘ Pa: . ; SSS SESS sprees s2tett 
 ; oiesexe ; ; ape sunk pushahe ese sts 5: sitios Rota 
 " '-+-* r + eos ; Pett tet tote eee eeene reyses ‘tins 
 ; 53 a3 Sees : eapteneopeeeerset sete aor oa ers 
 : ozs $ apiece raise isi is S5o5t 
 one ; pee: asteesraseess eietetit + = 
 , es esrs rs ases: 
 aed rad om nas r.4 eee eee 
 r ‘ =¢ eee Sata bababa rasa 
 : 6 BRE HOt Wd ~ Owe eh nh ee eS eh RPh ae P hb Sr iis tab etatesbsebenesesereere re é 
 ; : Spesere se cosas Set ee cba eansepierstenseteuntrntire tse shirteses ser paiesesrsesks > 
 : $e = payeaeseetss =¢: LP mob eh et wpb tb wb p beets 3 
 . + TPs eres = : 
 £ Se «3 Flint etstewlineeee ¢ 
 : -e rs peer eid: Paste : 
 wr r? “a. arte eat ey ate tees ; 
 : se 5 reas Cerys ereeesetris sess: : 
 Ste 323 rae = ese Sele aeeteeee. pesbtesbscsiekessass s: Siac teea sane aeee : 
 ate rey. respieiise Setsetesissiste Beepereseetatiertstsesi sists tssies 
 ; soa Est bop eiein tae ner beri le tee eh ete eet sieenyer et steerer age teteperett 
 fate siet pases peer e reser er hiesri ese sas esey . 
 aes S32 POSE Re te ee eee Fhe oo 
 ess rssesicetatesetes 
 tober e® Le ee een aes iat ists ese sisi 
 SSeessss: os 
 t+ 
 ree oes 
 a ses 
 * a> yaaa 
 <F P3754 bene red pes retpisipiririsgis 
 a Sess <6 reeo4 pis Beans eee; 
 = etite peeseatassesesssrs =s Peisrebornd ais 
 oes > Sep aes pase neo) oe +4 -° 
 a ptseresesteteesessesstacetatet seestesststecsstesesesesissseset. 
 - 2 =% 33 
 Y ‘ ert Sreqseresseess 
 +? z ope Peet seaeabieaeeteees 
 3 +> ars es Ssrsesisrrsssricis 
 os 6 L-9 O56 rbot SSSSSe ere eolasereres 
 54 Sita ete peseessrereres seer. 
 ¢ ersrrs) Sscssttseacitesestistetete. 
 Set : oie lele ; 
 ‘ ss ied Terese $85e3 4 i 
 > A fmt r > des & m+ 233 
 aa z cpp bgrt. 23th! IELTS: it 
 . - ~ ~e t+ +e = SS 22 233 
 : $35 31333 pieces Setaee tees see 
 32 3. +5 55 siitet 323 
 : #5 Sststes ied : 
 ~~~ —?* 
 : : $5ts ptecesteressetsteees: 
 +e Setatsettstess eettssieses 
 : $e SO eh bab 4b 0b Fe ot 
 iat eeet 
 : ee ase 
 — e > es 
 . S7st sees s$25 aes 
 ae $3 eipeesttssésetites 
 ; = te os -eeesas =. oat 
 2 pews) Sibareesee oe petit 
 “ s. ean - 
 
 r 
 
 + : 
 fret 
 rea ert 
 so5e 2 pes ete peta w ers eee eletetetese 
 + reetrstress 
 ar: sos ++ PebteceoSaterss Piece eeherere tera) 
 +8 peer, a sesteee. 
 $3 pepasetetreret hy Seiarb+ 
 $ Se etese: vers Seeses 
 = OO me ero aes ae 8 ate 
 weet os tes tas 
 : wt ceerars at ssesaeeeSEseae ates 
 = +; easheessiriisss SSiess 
 . = rs $bpLbeteteeesepesetetetete, 
 rs oles ; Seecssas ary or ssese: $3 
 set a3e es ry Sotsss 
 . . - 
 Ss 
 
 * 
 ; 4 tea 
 3 ocers 
 <. yessitetist tees 
 < > ~ oe @ cases 
 ee 
 ear) 
 $e 
 tee ey 
 het otro ms 
 z Fest ece 
 #> 
 ae 
 +e 
 pert 
 235 <3 
 27 pe restate siete tatat ce: = Siesess 
 - ed Sere ee pe beet biet eset hart rinse nee eer seer ee: yore4 Sresetseeseititsiitsise 
 33 sesr- t> Se er te ee Se OR oO r= ane ee pasar sen rerypss uss st 
 ~o hektetaeeteswinee SoSosentibsriiies te saepetsa a eset ciety oes eres 
 eSs$ Seite esr ee iets Hits eres sonar 
 roe, Sesseretses m Sula iat Se se tae eee. the te sarees t= 
 +o Le Test eset etetessce = persratpeiesrars esters yee tr ieer leer Selissritesene 
 eee Sear Se Serra ee ees = POS P eerie Tost este e es Seats bceisses pesteSceresest 
 ey bem ectee re} oases: Shabararea ey teres =o 6 $6 $8 
 ress =<? = peaei Sots ecreraeate 
 = bp ateyeg i 
 zest secre rsisieseerrs seis 
 2335 ph sbaes su bee see reese ree ere 
 ° 6 : tS ~e—e on 23 Seiet wets 
 rahi. : ah re a : eee ace ticeees ens o> +h 
 oS te tae e ne aoen es teeter ats ‘S53; a=. > > Parise eee Siesibs. > 4 ebere aciae aes res 
 sie: Te ristetet tres eriaereres Sass; sidteietete sees Seepereperectresesesesese ita seecereg! Sees 5 pesesir ts torr 
 ns re ras ses w: ‘2 pes + #; tot ti ce eseekuese st esrs ssi SaaS <eeeebee bbe ese seae: +5. 
 ~ eap-< reese ~— ss <a Ae * re es et aetebard Oe Ree ee = ms 
 Se this see. pases cs Sarees hess preeresesees Siasipeiigpissepesish 
 $: reser trt > teiereies pees Ep eeesiotess Ce she 
 te “o- Siet eae teeee Sete TOUT teeetass 
 ; erase Selpeiesrorsepesrp terse ts: 
 Ps jb bee toens 3o5e65355e4 ne 
 Sete eres eect es Tis tetiees 
 . <eihihewers wince sweet eo eee eee. tis <a eet 
 Spb ab 8 Oe ee be ant Oe aot. or re ee bs oo teh tees ey caleesees 
 <j Fise re eee. eee eS ress ebeeisseaeseipenteseseees 7 bt heks 
 , Perse ee Sot 6 ee Ss SS SS ae howe Fs reese banseee peGere ries. 
 -o + Sitataepeabieceanereasree pee rte + eee eta atsel 2s rs . ries aeee 
 + s Sapa sa tape et seers reas esesrersre rs SAO e RR ee ee we wk teh OES AOR eEe yt ae eee 
 SO ee nt Eee eee Sreeersese ss 7 a wows -s4 teres ee ee a eae aaa -- 
 : see etriseeteteTe 35 S383 yobabsaneeetwoepaeatai ate + 233 Shibirabsacceeitpesrens Ser 
 : Seteteeetee SSeers is ne pes ar pose ca Cath eee oie ey. shiesstessieters cost stseak erseses 
 eererstocsey eres pepe ol eeaeses eee ree eeee tart s3— =* 
 
 Sits rits Por er seeees ; 
 Sts eerie 3 Eerste: proters peste te estes ees 
 PSUR EEE it. > peteerteed bar ites erit3 shew 
 .~ SPSS Faas = Boer ert osrich tenet pte ceri s 
 
 eae eteceiasensesrerigecsrececeriserersgietttstetetigtieyigtstsees 
 
 = 
 
 2 > Biveries ai Seb lar eres Shsvoeeep eet sneeeeene es 
 
 pissereserersrerers: = ie eresess ==> petite Ntiets ae 
 3 sees pee res Sas btpie eS isi pe ericies 
 eeeteesers: = stasis See pers ess 227 3F Seas serene reat ree =sesas 
 oo Persie isasarre Steerer me asases Se Setecs 
 Sarss, Srerrtese sae ster Setesanere SPaeeetie aise: Ssbsesss 
 poe. Sitticseeeteeee be wrema. Eee ae Ads OF eR eRe few aE Se BSD srehs® 
 628 ee Re ae ppm teeci atte be -s Seees 
 : before isSeceteterscsrersesereretecscapssieer ae Piapiiisepesrsatestsist e583 
 Sete e eta ete e ee ae eC eee re Te eeie pre sees i eel ee etes seer eeerseerteseietres ty peepertsistetrer retires peerere serie io css 
 ESE I ~ Ts 132 pose ee ret ceres rests rq Sat eeee ae ws 
 
 teehee see er abertrchsenscetn ens Sa pceaetee gees eens esa pee oe ees c 
 
 bperereresepecestestctiestecsrptsesee ts 
 a sm fa a ee RN Ee eS ere 
 zeit retean apres ssensbeece ee 
 
 ereetites Siishitpiissesesepessseaey: 
 aeons hee _s2e Tereree sce essen he 
 Prstecrsestseatstssstebesaratee 
 eater essistst : 
 
 ae ipteces eins sieit i 
 ati isteteta ter, sheresegi gears iviisste4 
 etats css hae reel Rye eed Lee eee ete Se tee DEP a Tee SSS SSS) ee OSS Tat esee est see 
 — CETERA er ORS eS ERTS EER OE SEE RRS TS SS SEO T SE RS NENT! SS eabaebaed 
 
 eereeir eects et Feet rea 
 wee5% 
 
 Site isistatstpiisepetesephse pes ecs petessssprsesatess ee ee Sbsbstcauressrert rere 
 iF ioe re SIS Saree seas es rer, we eereeswiesenrisare shonchersssrencet ner sree 
 es 
 
 > 
 ares 
 Sy eetatssetetatecetecetisecettstees : ere esters teseeesiciebeece isi cbstrseie ice eett rice tiseceeeceeieieteteeee 
 : . Mtr tepreseearses Fares aesase yey Tir > aon Sorose ‘ t. 
 el > PE eat OO ee LM OR OE “ere oes oes esas Sseesstise. 
 $< oes eager tt tees Sa Be eRe Ret eR aR TRE ee coea = ese sietetisstecess + = 
 sisters woes = on Bie titeesteseseecececis eee cecbesetesrisestabees —* shcysrarcatetrenews >s 
 ress Es: oz? ta peeeteieespesye “oot Seka e pane eereaseses was. 
 aaa re aes sts Serer eee ra estate ie eee Peete pete det eae ayeetapee rere eseess eles th: =F 
 e1ete ‘3 PS 6 8-028 8 8 eee tt ee ee Sha bop epre es ete eae anes .=ere “es reas 
 $2524 > +23 s3 £66 $b stem het mt ee St Seeks tere eee eee iiss setheaceers reese es 
 rae os weete rere se DS A re ne Ee eRe oes om 
 ne SrA pete etc eri eet atgestieseaeitseseseieees eae tet ee See. Soee ese ee ee eT eee ts sheets eth t at eh eee setae weet wererensnee ae 
 yi es tree pecs p=-$— 0-8 Soe tees ers Serer icleisi sa estesssiesee ISHS Ladbas tices ey oatee pet tpitesas ele ent et eshiee wee tate eee sis! 
 es ee yleciceleteca rele pesseseces re tiee cases Bertier tetatabeeetissareesi ie iit aeatatabissral seats. = 
 r ° Se eee t et eee Rete ere tre £8 eset esas eae ee sesetetap ese pet es et seat seet ss 
 a>) Pas eer er eoteere pt stetetstee sere s tr eee ste ese hese bees esectsasteteteiee seats teseessreses ieee : 
 rte te) Sis eits sist etenteee et rset er Btn SO OE a ee ee a liseeentetee- cas 
 Len dae reree cab orem sar Foes veers e Ses e=d ier Siti iicetecrebaseteeetstes se eeteees es ta as ese 
 $f etto PoP REN Se Se LOE ETT TE eT ae Te TRS OREN OER E ST Ry Lee TSS Tee Re SS pee eteceeatets ce. o> 
 stespe-$e as PTET PREE est Pi seee sheet eibetiseet bis sscrsrieirs eS Steteet sists Sateseree shabes 
 Pee ow bes rae a Sette ete e Le eae ee ee ee Te SSalacpsteesectseceletis ete tetess ro - 
 Sie tee pete seceeate tte seats Dye ricetetesateseretie te teee eee Tri e i babiaceteletrecsra carers see pee eeberseirenenprersrt esas ee. 
 a etbseet wearer cat aere i ob—$ reteset Cree ole = Soares besrevesertsteteeetcestetetseetettesce: perasstesstrestets. 
 ei gteLeae Ste pelrse hae ne tates eel trea ee eee rere ctees SSeS e Te eee Eee Es Fee EEA ER eee ESRI SERTARE SERS Tigtetesee es 
 ote ta Pei ceebab Li mertsishsesteeeelee sete’ IESE Se st .; ya babnovnths oebaree cerns Teigtei ysis = cetesteeeeee 
 Sagebat eer ei ea alate press veer ne tee ewe [yikes wenteieern pth ease arse ea peerarare et rintee eaneeert etree 
 Peete ee tes peeeetee st re eezipsirm faa eee eer esos rere St tEN ttt T Peet sete tls eee Stee peates 
 ao a +o ee a ol > = SLOT TORO A ETT -—t+eee= e+e se ee se ett eeoe > 
 siete 3335 Iason yaese re Pree erent eee at reece Te Sls tree ere rite rere! 
 et eoe Sor Sa tr Ba hk Se rele tes esa ee Reta send AP a tte PA ERE Re eee Teast aes ee eared ares ae were Lee Se eee eae 
 pees rs a ears Silo ep etsteecesatepe chert epeteeesr ere erate ete ee 
 on os A AEE EARLE LEE LAN OM OM OO OS Te. 2b bt heehee bb obee ee nee 
 3osee pnb et ae te er te ered Ae ee Oa eR ae ee SES ease eee eee ei 
 apart es pebateererret te prrt rr rilt sttePet tae Pett eeeesi ee eeeitissdi ethan etet eat eret ese pe eepeetepe esate ee 
 oe PO Oe Oe ee ee ee oa a 8 a Oe oe 0 bod bat eae bre tebe t= ee SS > a te th natant aed naisde beat 
 33 Sites batie arte set eee esw arte ase, ee yers ee hee eee Se ther ee tenes wh ete leet e 
 ~~ fet a antaeandan Oe ee ee eee eee ob beta b et 24 eb ee eb eteeet ee 
 roe oars Serisisiraressesecee ates ree eee ee 
 reas 
 3+ 
 ror on ar 
 rs! us 
 + atest epeeses Petrecesestes 
 
 See sree erty eee ree Soe hee eee ee 
 ees eee rete ettes restos eetesor 
 eee ere eresetestasest settee 
 
 Jest as Fibs hs aeons 
 
 Seta chsecwee 
 Pe abe ape tt ee Sent eee eee eee res tre eee erg peseiseeeses 
 $-<5 ss 5 ieee sreeseas sass pepe Sebshseissaaraepheats a segeee 
 eubabentorte ~ese=oee—4s bat EAE AAO OTA 
 LEO at Els ied abated bab tee oreo et oe ere 
 = Papeete ee eeeet aes ee seS ete tyes seseees 
 tesaeeswpeps tae pers ranseeetyteies ee 
 a taaeeeeee es = 
 Sits epee rectus esas teste te oie. tee eres S| 
 Soa Sae~ Sat eee eer eres ere terete ses etitete pete esieterees 
 - oe Steiure eee ee ee See >a ae dee - 
 Les RRS ET ape e tate eee Lee ee aR dee TRS Fars BAe es eee ay 
 oe tle oe hare bw Seer peso rt ces ~es Sete eeteerest see e rests i sce el 
 of rerece rect terete cere see eset t sty 
 tes aibetcnere a par eageepieep esate t= 
 
 $a 
 : 
 i 
 : 
 + 
 
 peeese rere rer t sess 
 ee Oe Ore eee eee aLeel 
 
 STINT TBAT IS IIST ss = -2 
 
 s eee e gmt trees rs ye ee tate e reels Tee t et ses 
 
 = 
 2teie Pissess St seeecaeelde ate eee 
 i toeres Saae: = 
 
 > 
 
 ss > 
 celiselateters teense satssipipsperee et Seats + 
 Seeniraes pestreseetetessesesd $time eee ereee oe ere Tel ts astrses 
 sats pesteteteséceseescesesiees eee estes Se ietetesetscstsescestessssesesttesietces 
 $= caieeepese crea pe charters tte ieete petite 
 [$353 Sete e esi esis esa ee Iataeihse 
 $i +2 >> RO pene cS sets es er errs tite tectstpeseeeeeesessetee te peeees 
 Sesbse: PtSi oS ikstasgeserisitsasetesssese eset eseseeey 
 esas estes Stes cscetestets te ttssssceteresetecs- she 
 b< Le nd nb abands ee bbeteeeea SA oendien 
 Se ee Re ee et wie wT REO tte EH AERO STO Febererstsseseeses be tt 
 eset sea e rene Peet eeet eerie ses te egeses ts tmctestierees seth esrererpeteirestitretiie 
 POSS e Pr eTe Tes $$ ssetet: Pretest sts ts et aketenae tes etre pigssiscerstessseceseses 
 eastee : = est bi eeres ates rates s oes ses, == aeatetaseee 
 ort oe as Teast eerer petetases oe! PISS Terese h ashe stesso s 
 2, iter ttetesey sere SL LAS eae Se Re OLE Sag ete abe EEeeee sees 3 
 Ss ets! Sopraet Ssese pane Sbtaphisietepeperape pen ssese peeps Tspiessee Soecessesiee 
 ere serert eset: <> pr Sree sees oes seabsesesesseessteesess 
 - eLe soon ee a RE .- 
 Pigsetatstetetisstaseteeetarecsceststaseeeesictesesstesasssrececessaessresesesigasagegeseted Sochresartesesereee cts 
 Fe Oe ee 5 babe ot lt ebeb srt thatetebeteb eters oT 1. ties eben eeeeaee > 
 Migs Maaepasrnererteertesreae 
 recess Tost Spysrisst etresseatretsie se ses seatebersscepssae ese 
 Terese teense koe re posessa Sibsiirsecreesreree hreriectrerieerer ese es 
 2a nearer a ee =§ rose~s ooo es eeaer ee = Jeberiashass cs sem 323 
 - Sa hak dae tied ee Ged oe. LOL ALLA MAPELE LALA AE OE eee a hahaa Sie otter ee eo cou ae: 
 4 Fh piststiceletisattisestesecsesseee! Saarbere 
 : <= Pecirtstatectegestscetstetetseseted 
 sar ath F3 — , bap ded nt apd 4d nb sbnbank-neees ee ee. eo at abenneeeeet OTe See eer Sets iba see Sle tans a lipal died 
 + ere ~ pea at ep antan oe ee Lhe bebe beeet ebet ere e ee erereet PEPER EE OEE A OT 
 3a 3es Fase SUFI STE ae eee S32 Pee es eorestss Sitpeaste ast epeeesseesrle SSSSIS TASS ae esa se ests eee est The eee 
 rs tales etees, $3343 : ee R eS e eee eet ete tres e eee elie ete retenbaretreete ts 3 peterecsrecteesesl 
 cet. o> eseees eabihi ace ceshart hare se se ee et aS Tee ee Desay eee he Se eeee Lees Foe etrere stse ress 
 rises: ets ripeprrtcertsssrsecectstrestststetargeiep lies ieeees tte tes peaeseritececesectseret eres 
 <3": < ShlisSsethr estes ess Fis prersseristcemtetsectesc ioe: 
 one e TEsha ates Rast PRPS eSIAT ASSES TE eae ae tea e ee Coat eee Tee eee wees seibizersasrseltsaaeee 
 4 Sed Oe Ld hate oboe ee eet eteere er eer oa oad Pe eee Tt 1 ate eens 
 "so eee e Tere sieitiitici ss sas tetrseseteshaesas ee eeneeerees Pissh ses hsisse 
 sists Sersretesiseseseeseases peptecesecerscereceteseststseeiees 
 eestes 
 Ess SPSS locate e pepe pesatatets tase seteass Sete Seere rere tet re, tesco rere etsey 
 3" ot 4h ban bebe s ea eeeart Se Oe aa beeen eee eeeee 
 “Ststsse eos: Siete ieabeeee JSST Tse eee ee 
 setetecetssstensee > Seacsseepepearsees caeeeeer > Soeteascecserestpetets ss 
 epigtrepeseseetstsests = es] Easstereesettisasesabcssteeses ey Srsteseeteseesrseeeshisis 
 ss = Pee ee Se Sey peeeses ese = Sabah iwc tee tec pase tare shcaencrere > 
 “een sie aseeeee eee oes Sb ad wb Pee weet et we en eee sss sae Rewer teases yes 
 Ste 3 epereye iets Paristrsserisiscsseieissessicss etytete tts: 
 eles: SrSsececcresesss sesh spesssserts eres y stineaersrsrsese peste eetstteeteees 
 a Se oe edhe Ahan de eth aed * -* 388 oe eS std hee beeen wee rere Oe ee ttt S and yy -e=e- 322221333335 
 r3e FS ewe oe; Siasarae sates tata p eerste teat et ete tes thee eter a esepeee sets asses eists : 
 7 > = : 3 sestetetreresert Settee accerecteetesescecststeriereest Tersesess 
 si 723. aestee 
 a: steteseeetassees HHRHSSIn 
 ost atebelscarsssateseee sbabarstisettisstss 
 BS oS Peto bata tee eee ws reer eee eee ee re ee tele. 
 3 = Setristrtstitststeeetstsestatiessessseeseese esses 
 bs &< =o; 335 re! Seti sess isiseis 
 ; > s£3e masaiasece es 
 =* oe iui ttandaneibea 
 sate Ler sseers ighstehsestees rs terete: 
 Saarcrsep eee shiscteesates re rereress eel reat isc esepepeeeeet: 
 Locate see reese Siecoce tect enee ese sierye teaser eats 
 . band 7 - LOLOL O LAL SOLD EO BOER Ow a terete 
 peetetasiteteseiereien seeciersinsssen : Hipiie 
 Sabrecece tre ost tacatesesaes: <= 
 op raeee, <aente zt 
 Stieihsratss theater: SSaee ee. 
 FIP esse Seer bites pete tte et etree, hes ep eses meets Seeeee > 
 eeaeeastrers: ate eee ry setae ate te ie ete ee Se tate Ses e Sete ta ae eee Se Seee ses =< 
 oo >ers teckeatcaweeeae es TIS ia is acta theese caer sete Datel eae eee eters eee e 
 Sebsrsesess, peptsereess otatsestestieestersseer sitesi sete 
 DT eee celta ie nes os Piiitstissssstestiecesrersestersseraey 
 a 33333 > SF OLE COR OME SD TOTO 
 
. 
 oe 
 
 hte wee 
 
 sa A 
 
tn 
 
 : 1 } 
 
 the sky at sunset angry and red, 
 that gives some measure of 
 
 co 
 
 a 
 
 in 
 
 we £ ite 
 
 A 
 assic 
 Ss. 
 
 ct 
 Thursday and Friday — 
 
 ; They are on exhibi- | 
 galleries of the | 
 ciation on Madison 
 user is a dealer in 
 made England his. 
 during the past 
 
 t as a particular fancy for 
 (sR, 
 
 Ss and their forerunners. 
 € are a few French and 
 among the 155 works by 
 _ artists; a few modern” 
 it a majority are old | 
 of course comparatively 
 . And it is noticeable 
 
 os 
 A 
 
 or William Havell, 
 
 ir 3 and Joseph Stan- 
 al to the public, 
 d exceptional 
 but they - é 
 
 790-180 ear Gis e Lede 
 ] of his work. 
 
 pai ree with genuine 
 
 uty in color offered 
 mal - ech man scorns) 
 nnot do without when 
 cess to recall the 
 and’s partiality for 
 Was a common- 
 ng afterward, and 
 
 + who cared for. pic- 
 
 s offering a certain 
 = renbreistein ’”’ on 
 fish painting, very de- 
 aring of mountain mass 
 ee are 4 sky and 
 ra sposition of cas- 
 ond curious primitive 
 ; water color from Lago 
 rig t and clear, the draw~ 
 n Dover more like a mas~< 
 e “The Wreck,” almost 
 shore with broken ship, a 
 tand, a big seagull hovering 
 
 uid 
 
 when in thé mood. 
 (1713-1783) is another fa- 
 
 gh there are comparatively 
 
 merica who care Lala 
 al landscapes. ‘* Land- 
 
 ne = iT Yith Bird’s 
 oli Landscape’”’ are for 
 rely want a specimen of 
 ke Scene With Ruins,’’ 
 
 is for those who are 
 
 be ty. Its broad, vivid 
 gures of the old man 
 
 con. t 
 d. its strong brown tones and the, 
 
 i, e 
 
 La} 
 
 oarse in touch, have a vir 
 zests Constable a some of_ 
 pie rich” 
 sCap 
 
 etures.. It Is @° very 
 t tells its simple 
 a née and makes 
 
 a tiresome tight-painted . 
 
 | broad sketch. assigned to Ra : 
 | belonged to Sir Th phael, which 
 
 ad us yan Rhyn, pain: 
 vy hi: ’ er; if one cannot b 
 absolutely certain of the attribution: it 
 bears marks of the master’s school, and 
 is an attractive canvas, Here is a little 
 
 omas Lawrence, a pre- 
 
 liminary to the ‘' Entombment’’ at Rome 
 
 j in the Borghese. Here are two Tintorettos, 
 
 * | jand 
 
 | 
 
 | burgh by Sir Henry Raeburn, 
 
 ) for “ 
 
 j one of which the likeness ‘of Andreas of 
 
 Morocco in a dull-crimson cloak, is a superb 
 ortrait, while the other, ‘‘ A Procurator of 
 t. Mark's,” has a muddled face, as if at 
 
 some period the restorer had made things 
 
 | impossible about it. The costume, rin 6 
 impo gs, cas 
 
 handkerchief, &c.,-are very curious, 
 Paulus Potter is also seen in a group of 
 lying and standing cattle, a cottage, and a 
 
 scape, remarkable more for the draw- 
 ing than any richness of quality in the col- 
 oring: of the cows. It is a handsome can- 
 vas, but not especially impressive to those 
 who know Troyon, Van Marcke, &c. 
 
 Sir Joshua Reynolds appears in a siate 
 portrait from tke Duke of Buckingham’s 
 collection, a full-length standing likeness of 
 Sir Richard Grenville, first Har) Temple, 
 in the robes of a peer. He looks absurd 
 and the painting has no charm, as if Reyn- 
 ‘olds could not key himself up to any inter- 
 est in the subject. Better is the portrait of 
 Mrs. Otway, although she, too, was an un- 
 lovely subject. Much finer is the Gilbert 
 Stuart portrait of Dr. John Fothergill, a 
 ae physician, painted very thin, but 
 firm in modeling and extremely impressive 
 as a bit of characterszation. 
 
 Another Colonial Mmerican, Jolin Single- 
 ton Copley, aids Stuart in carrying off the 
 laurels of portraiture in this collection: His 
 full-length of David Garrick in some 
 
 | Shakespearean part is marvelously spirited, 
 
 finely characterized, mellow in color, alto- 
 gether a masterpiece of the first rank, The 
 only other portrait to compete with it is one 
 by a. Dutchman known best as a cattle 
 painter, namely Aelbert Cuyp, (1620-1691.) 
 His likeness of a Dutch gentleman is a vi- 
 talized, grave, and splendid work, yet as a 
 heal it cannot vie with the Copley or the 
 uart. ; 
 
 The shorescape by Courbet, in which 
 white cliffs appear, is a very wonderful 
 bit. The portrait of Inigo Jones attributed 
 to Van Dyck, the portrait, full of charac- 
 ter, of Lady Buller by Gainsborough; the 
 fish in still life by Jan van Beyeéren, the 
 view on the Grand Canal by Canaletto—a 
 superb example—the roomful of ugly 
 women and men, musicians and a dog, 
 fruit and statuary, done in a copyist’s vein 
 by William Hogarth after Dutch exam- 
 ales and dubbed“ The Green. Room,” are 
 very fine, at any rate, curious. An 
 “ Interior is assigned to Pieter de 
 Hooghe, and, in fact, is a very excellent 
 and attractive piece. The portrait of her- 
 self by Angelica Kauffmann, the classical 
 landscape with figures by Gaspard Dughet 
 Poussin, the portrait of the Harl of Rox- 
 the little 
 girl flying a kite by Romney, and_ sketch 
 luto and Proserpine” by Rubens, 
 
 | are each and every one worth studying, 
 
 _e@ach and every one worth owning. There 
 will be great interest taken in this sale, 
 coming so quickly after three famous auc- 
 “ions of superior canvases. 
 
 SALE OF EARLY MASTERS 
 
 | Seventy-four Paintings Bring Over 
 
 | - $34,000 at Auction. 
 | 
 
 Remainder of the Ichenhauser Collection 
 of English and Dutch Canvases 
 to be Sold To-night. 
 
 After a Winter of sales phenomenal in 
 number and in the prices brought for 
 works of art, the sale last night of the 
 paintings belonging to J. D. Ichenhatiser, 
 held at Mendelssohn Hall, Fortieth Street, 
 /east of Broadway, attracted half as many 
 people as have been present at the other 
 sales. There were not as many spectators, 
 but almost as many buyers. 
 
 The sale was held under the auspices of 
 the American Art Association. Thomas 
 E. Kirby, the auctioneer, frequently ¢X- 
 pressed his sorrow at the prices the pictures 
 brought. 
 
 painted | 
 
 | 
 | 
 
 | 
 | 
 
 jiser are to be 
 
 auctioned to-night. 
 
 It is the idea of those who believe they 
 know that a part of the $500,000 delivered) 
 over to the Trustees of the Metropolitan, 
 Museum of Art from the Rogers: estate will 
 be spent to-night and that perhaps a part) 
 of it was used last night under the names) 
 of ‘Stanley’? and ‘Henry,’ and, the 
 
 ‘“Name Not Given” purchasers, 
 
 The generat belief at other sales has 
 been that “ Henry’? and ‘Stanley’ have! 
 sometimes bid for J. Pierpont Morgan and! 
 at Other times for Senator Clark. | 
 
 | The pictures sold last night, the painters, | 
 | purchasers, and prices they brought follow: 
 |; Small Landseape, R. Hilder; C. Hilde+ 
 
 DPAUGE “Sls seve eo pees Neve Bane ear Pe i a | 
 
 | The Toper, Cornelis Dusart; C, Hildebrandt 25) 
 
 Village Scene, Peter Brueghel; (name not ] 
 
 SUV ETI IS, Avid ora tla 'e anemic Gia ato Rig UMiae alk 30 
 Landscape and Figures, Peter Brueghel; 
 
 J, Maogeloth vee s Peta ae ie Y do bigeias get ee ae 45) 
 
 Shepherds and Sheep, George Morland; H. A 
 
 ) Gy Benjamin’ ..... bday eis ee ve eeasapy atthe + 45 
 Gypsies, George Morland; ‘I, Carmichael... 45) 
 Street in Dover, J. M. W.) Turner; (name 
 }' MOEs BVO, 2 cess on de neh eeetae aa pee a ee 
 | On the Medway, James F, Danby; Hilde- : 
 Prange CAs awa cteceecas eaata Rien se vee < 90 
 | Water Mill, John Syer; (name not given)... 55 
 The Seaman’s Resort, Thomas Andrews; i 
 |S, Markendorff ..... Sel ey dont Ae ee a tae 30 | 
 |The Duke and Duchess Reading, Charles } 
 
 Robert Leslie; G, H. Richmond........-- 275, 
 Watering the Horse, John Constable; G. H. d 
 
 Richmond ..... ere PORE Rc dest! RPS ENR «+ 8007 
 Road tp Ballahulish, Thomas Creswick; T. : 
 
 Carnchsel "ios das aardod shehand sik aaa ala mv Re 110) 
 
 | Winter Scene—Skating, George Morland; 
 
 PUI Y oS he aivle sia os. idkolbenbiond Ae pare pune sted 100. 
 Small Dutch landscape, Jan Wynants; C. | 
 
 Hitdebrandt jes hPa lie 6 Sua) arandie ere Pras | 82 | 
 The’ Strawyard, J, M. W. Turner; 8S. P: } 
 
 Sooke ry i ews aw cee bese re alld Seat PRU Cats <I 
 
 | The River Wye, J, M, W. Turner; J, Ab- ! 
 jew. ELArper ve geie cece ad co AMON ce Pa em ye eee 
 St. Catherine’s Hill, near Guildford, J, M. ; 
 
 W,- Turner; J; Abner Harpers.../.. «57+ 250 
 
 | Man Beside a Cottage, Adriaan Van Os- 
 
 tade; &, Berolzheimer......... eg Rigi bial: tie 4 aa 
 Cotherstone, Winner of the Derby, 1843, 
 
 H, Alken; G. H. Richmond..:..., es ree) SOW 
 
 | Landseape—A Gray Day. A. D.> Pepper- 
 
 | Corn; (H.-G Benjamins siculcnee a ee eine $ 60 
 
 | Still Life, Anton Grieff; H, Berolzheimer. 60, 
 
 | View near Cairo, Baron Dominique Vi- ; 
 vant Denon; BE. Whitmore... ......,-«--- 110° 
 
 Lady of Pashion as St, Catherine, Caspar 
 
 Netscher; H. G, Richmond. ...3 2.0.05. 04 275 
 Odin, Sir Edwin Landseer; S, P. Schot- 
 
 LOWE Tei va pinieiete Sot ee Seah dag Le PA SET 6s - 900) 
 Hafed, Sim Edwin Landseer; S. P. Schot- 
 
 DEE ies aes ira ph estsln wal Gothen! la a ea sate Sehias geld 4 ek DON 
 Coast with White Cliffs, Gustaye Cour- 
 
 bet; G, H. Richmond ..... Wink ¥ eine pete a 600 
 Portrait of the Artist’s Son Titus, Rem-~ : 
 
 brandt von Ryn; T. Benqguiat ..,......: 3,100) 
 Portrait of Miss Cuthbert, Sir Thomas 
 
 Lawrence, P, R. A.: G. H. Richmond.... 5650 
 Man Cleaning a White Horse, Nicholas 
 
 Berchem; Henry ....... THalatos a aD s the Stee 575 
 View Near Tivoli, James Baker Pyne; C 
 
 Fitidie brevvidti 3's c:c) state a boca hee wlan chp cea - 90 
 
 | Fisherman’s Children, William Collins, 
 
 Re Asay) Mame not Five) iis cals eee 200 
 The Pledge, Dominicus Yan ‘Tol; 8. P. 
 
 Scohotter ies, Poleaalees cok aaa aes wae. dae 
 Portrait of Algernon Sidney, Sir Peter 
 
 Lely;'S, PB. SehottSr. oco.0 spied aicina tw aces sa ee 
 
 | Henry . Sidney 
 
 (Lord Romney,) Sir Peter 
 Lelys8, BP. Schotter: . sesssditie say os tates 575 
 
 Rough Sea, Joseph Stannard; C. Hilde- 
 
 TOPE TELE iy 261 9.6 Stee a eate aie ian’ e Aw tees tories ¥ Si phd sweden 7 a 
 Landscape and Gypsies, Philippe J. de 
 
 Loutherbourg, R. A,i: Henry... Jssas sees es 100 
 | Interior of Cathedral, Peeter Neeéfs the / 
 i.) Ser’: St, (Ce) Bente mit 2 $e) acietae Sep Pee 120 
 | Portrait of Mrs, Otway, ‘Sir Joshua” Reyn- 
 bf Olas Stamley'! feces eaice orate area omen 550 
 Landscape and Ruins; Richard Wilson; R. 
 
 By, Bentley wade. co thse seek ee oteered sires 110 
 Sea Piece and Shipping, Sir Augustus W. 
 
 Calicott; \T. Carmichael: gcu.. vas pane sate 145 
 The Quack Doctor, Thomas Wyck; E 
 
 Berolaheimet  s .uiis'sif odie sw ce bigs wield Ma Ae 100 
 Shipping, Ludolf Backhuysen; Stanley..... 160 
 Coast Scene—Moonlight, John Crome, (Old 
 
 Crome;) Sidney Abenheim........2....55 250 
 Princesse Clementina Sobieski, Nicolas Lar- 
 
 gillleres 8). P.’ Schotterie visi ckwice. car ke 500 
 Venetian Scene, Francesco Guardi; name 
 
 TOC TVs Sis eid he wig a wale VU a ee Reale le 625 
 Portrait of the Artist, Angelica Kauff- 
 
 mann; name not given... .....i cc yee ve ees 1,620 
 Portrait of Miss Peel, Sir Martin Archer 
 
 Shee: G. Fe Richmond 3 ec. akie, ye ee he 550 
 Portrait of Lord Dundonald, Thomas 
 
 Gainsborough; Mr. Henry......... has alae re) 
 Portrait of Inigo Jones, Sir Anthony Van 
 hs: DY G6 Ss Pte ONRUIALY ¢ scien ay diel e-e ioe aiolank oak 4,100 
 Child with Basket of Flowers, John Hopp- 
 
 40s (Hi, ERGO ZHELIMEN. Ly. ote usw heed Oeaoken 1,550 
 Lady Mary Wortley Montagu, Charles An- 
 
 dré Van Loo, (Carle Vanloo;) name not 
 
 PUM OVT 55 se Od ss gs cle hed aise settee ld ashe Oe a ae 585 
 Portrait of a Gentleman, Aelbert Cuyp; 
 
 PENT ERATION 6.4 a Ban obbdia ie ciechl elated oy o's Wels 800 
 Landscape, George Barret; S. P, Schotter. 175 
 Girl with Bird’s Nest, Richard Wilson; 
 
 DEA ESET oo cies 2 Vic See gee eA AN gid oblate ten” 300 
 Child and Dog, Sir’ Peter Lely;S. P. 
 
 SGRORTE 6s os sini ara Wik Cie ciety 2nd et wk rea eon 400 
 Portrait of Mrs. Pope, John Opie: Mrs. Sin 
 
 Claire 4... S DPMS UPSD ciathcate 0: allow oan peer ain ge 300 
 River Scene—Moonlight, John Bernay 
 
 Crames)G . i: Richmond 70.055 <sbpe<ses 275 
 Portrait of Buffon, Francois Hubert 
 
 Drougis; C, Hildebrandt...... EO | foie) P POO 
 
 i - ee 
 
| ost Beene, ‘Gustave CouRbEty ; 
 ora pvleiag egies say > Few Hehe Ve 
 | | he Garden of’ ‘the gsperiaes, William 
 
 Sal (Ste Git aie w Gly ales lelecel anes 425 ‘Havell; Robert igs Colter oie olan sd 200, 
 " Cottag i Landscape with Cattle and Ruins, Philipps | 
 G H. Richmond... 16... cee sewn es 
 
 200 | J, de Loutherbourg, R. A.; H. D, Lacey.. 160) 
 
 Horses—Morning, James Ward; G. H. Rich- | Portrait of the Queen of Bohemia, Cornelis 
 
 CENA EAL SN RTN MO ope ic aon Sire Se Aad be, 150 | Janssens Van Ceulen; F. Hauseman,,., 800 Eo l 
 Bee divenine: James Ward; G, H. Rich- ae Sen Cows, Geeree Vincent; #80 ’ PR 
 Beds Asa ckin MALEATE ATE BAe CRA e @ Gable chieeanine ‘ 
 James, Bari’ of Cardigan, Sir Wiltiam | Portrait of a lady, ‘Adrien Catpentiers; F. RP a ae 
 Beechey: J. H. Jeffries... fess seiges uses 1,000 Faustian: i2.09.45 Gide eka 4 Praaimeets 190 7 y 
 Portrait of Miss Maria Siddons; Sir Thomas Landscape. with “yutned church, John . eras Sune 
 Lawrence; S. P. Schotter....02..0...0008 550, Crome, (Old Crome ;) 8,P2 Shotter...... 820 | : ; 
 Portrait of John Fothergill, M. D., Gilbert | “Rocky Glen,” Gustave Paul Doré; C. | ie i) oe 
 | MeStugrts Ge Eh “Richmond. . 5,) ec eh en's ss 575) Hildebrandt, 9. 3. s0s sass 125 f \ ue 
 Lady Catherine Wyndham, Sir Godfrey James Innes-Ker, afterward “Fifth Harl of - 4 
 lee Kneller; S. P, Schotter. <2... 1.55. 0- eee ee 750 | Roxburgh, Sir Henry rite denutene Jy G. . wits 
 | |Windsor Park, James Stark; G. H. Rich- TITER BIO ET: bc ch 1s 15 04 ae REE SRI ASS Poe aes 500° . 
 | SRRRIRCTEGL Wot aLatele etwyvig ocd «als, yet tase aes iss 1,025 morse gd ade ‘ane is Sir Henry "Rae- aye . a 
 Po) 3] atley; James urn; G, , URICHMONG soe eae Cine} 
 mi) Wattage: Bsterior, Hep mae ty. ery beacnde nese 525 | Interior, Pieter de sneer: a@, H. Rich- bs | | Julius D. Tehenhauser is to se 
 mn t of Queen Anne, Sir Godfrey Knel- | TONG HP se Maker viene aama Nie | Februar in 
 ih tee H. Gertrles POSE bs EO Sa i 500 | View on the Grand Canal, Venice, “Canal- let ma ae and 27 the paintings 
 Portrait of the Pelham Children, John Single- | étto, (Antonio Canale;) (name not given). 2,550) § gathered as an art‘lover | and a 
 — § ton Copley; ee eee AS ES PbS neat PRR ES 1,000 _ Ete bites of Richard. Evans, Sir Thomas + b00! ‘chant for twenty-five Years, ~ 
 Me! s, William Collins; Eugene wrencey Je Fae Wa, : 
 +f ees ae ruin a arms Rats renin dita 4,100 | The-Carrier’s Cart, Thomas. sou daub? | They captivated all his. interest 
 Portrait of Mozart the Elder, Johann Zof- . : $. Pi Shotter..... 425) ‘quitted is business as” a banker in Dag. 
 a fany; C pp ueteneanet: Water at Reset s\eus Peet 4 me Cader ey James. ‘Baker | Pyne; “(name a and, which nadewecue to: cs 
 tn 5 = } NOE IVER) os is.2 tis seio ee sb Rane eamiee eta profitable him, 
 il Portrait, of Lady Buller, Thomas ‘Gains: ae buy paintings for himself” 
 a oroug: VOUS Sx oho ae eben eRe so 525, 33 
 Galerie d’Apolion in the Louvre, “Victor | His judgment as a. ai of 
 Naviet; BH: Berolgheimer:.. cs... see sets Wis authoritative. W. 
 ah Green Room, William Hogarth; M. without visits to art 
 AVOD voce ccna taseesisneccccerveve veneers 
 Infant Christ Sleeping on a Cross, Guido and the charm of wo 
 
 iNaviet; E, Berolzheimer.....isceehses 225 around him? He fg to 
 
 he Dragon Inn, George Morland; 3. 'P. “politics in Mngland, 
 oe Ereeon PRE eae VES Ve ona nin Sooe before he was a banker, 
 Christ on ‘the ‘Waters, William’ Van’ ‘de return to them. ‘i 
 
 Velde. the Younger, David Teniers the . His collection com: prises” 
 Younger; G.. H Richmond... .a..+..3- 525! ‘quez, Largilliere Paoasth 
 
 Portrait of Joseph Addison, Sir Godfrey ‘rence, Romney, Rene embran 
 
 e] for h 
 
 a Tubeas, a Hoga Bork 
 
 Kenellers Gi He Gilder ss sc soe aie abe cee 275) {gs 
 Lady in a White Dress, Angelica Kauff.- study by Raphae. 
 
 idd ae a ak AEP worasworth” “Hienes 450 dee 
 
 oF rs ortrait o am ordswor enry } 
 
 Prove to be Conservative Bidde William Pickersgill; L. F. Whiting,...:. 410 Tt Is s brilliant with work 
 Street Scene in Rouen, Shieh Robert Stan- usual here. There et: i 
 
 _ One $5,000 Purchase. 
 
 | oS ey & e cheoee als gees 6: “nit 310) th 
 
 7 é an rien 0. €; i, 
 
 | df bent JbLé/ Teds ebrandt eae einen api ae “Art Associat! nee, 
 The sale of pictures belonging td J. D. | D paintings of “Ma, 
 
 SEHD Te abe asec essere sere rsroe ee eeerernce 
 
 Original sketch for The Spanish Mar- 
 riage, besiege hs anita sorree J. Col- 
 
 Ichenhiuser, held under the direction of | 
 the American Art Association in Mendels- 
 
 z ier’ 5... Sigiew Gals 
 
 - sohn Hall last night, showed an average in. vey Be the Neckar, J.°M. W. “Turner: itl 
 prices above that of the night before. MOUZheIMeEr ooops eee ees e tet eces ? 175 Tek Ps TTT SSC eae 
 _ Agents of the Metropolitan Museum of | Ba igtee George “Morland; 8. W. 410 A NEW ART CATALOGUE, 
 
 Art were bidders, but when the dealers ‘Boy’ with Bird Cage, si An Mlust 
 
 , aut apse ’ rat: 
 went above their limit price the agents of | Shee; W, 3. us ed Edition of the Rook of 
 } ‘ Lake Scene with Ruins, Jehenhauser Paintings, 
 
 | the museum sat back in their seats con- B. Harrison ..,. iD 
 
 Liberality in the number of il 
 inserted and in the marginal spa 
 both reproductions and letter ee 1a 
 the illustrated edition of the Icheni: 
 
 aia aee Pigs, Ghia a ‘dt “George 3B. 
 
 |dtentedly, for the museum’s wail space is eler te 
 
 | to-day more valuable than most paintings, | 
 | even those of high price. Examples of the | 
 work of artists, missing in the big Metro- | 
 
 Van Beyeren; ; 
 
 'politan collection, are wanted by the ri tan Strest Nice is ck Van’ Deelén. | catalogue rather a portly volume, bu 
 Trustees at reasonable figures, but the ae ena Harpy iene, Frederick 180 _ attractive one? “Ofthe 135 pictures Boas 
 agents were under rigid instructions, | a tts; H. G. Ward.. ke 850 ing to Mr. Julius D. Ichen! duser, whic 
 
 | The attitude of the Museum recently has | Fenator T Crimson Gowr 1 a American Art Association is now os 
 
 ‘| proved a sharp surprise to the dealers and Cla sical hee ce mevith en a] areal in: ae ee rs ace aie 
 
 i : general public has ous 1 name, G [Dughery pes Ge EA ed 
 the auctioneers, but the general public peuligeer ta) ante is het, or, which is limited to’ 200 copies. gue, 
 
 -|made up tor their disappointment by lib-_ 
 léral buying. Eighty paintings last night | 
 ‘/ brought $60,105. This, added ito the $36,- 
 | 425 of the previotis night, makes the total, 
 | obtained for 155 paintings $96,580. 
 | The idea among the supposedly knowing | 
 |ones last night was that the highest figure, | 
 $5,000, was bid by the agenis of the Metro- 
 | politan Museum, and that a few of the pict- | 
 |ures Which brought lesser prices also were | 
 gathered in for that institution. On the | 
 | Other ‘hand, there were those who insisted | 
 that the high-priced painting, Paul Potter’s | 
 |** Landscape and Catile,’’ had gone to the 
 -eollection of Senator Clark. There were a. 
 few who believed that it had been pur-— 
 | chased by J. Pierpont Morgan, 
 The\paintings sold last night, with he mé; 
 titles, the names of the painters, purchas- Italian Lanéscave with the comprehensive catalog 
 "a =e the prices were as follows: | ee i Ge Cc. Y. Chester, oe sg many illustrations, will 8 
 ma ¢ } rortr: of Tho: AT “1 : ee | ica 
 " Sea ee cia 1°) | eLiaeney wile lton ae Beton ths cone mio 
 illustrations, and the care ta 
 ‘i Lely; F. Hauseman.,.. is BBO. them, with the informatio 
 ard Sh shes S444 ASIN RENE. tyes Sore with Cattle: By A x older painters: less known in this 
 lal . . Daub! Fishel, & 000, than on the other side of the Agana gi 
 the book a Ki Loans among Am ‘ 
 catalogues, 
 
 Why the cataloguer, in t 
 of Turner’s duiyieaas a eke hg a 
 
 inte 
 in the familiar name: of Pe sore 
 Lake,” giving to readers “tage Wi 
 _giore,” it would puzzle any one ise. to 
 plain. The curious absurdity is is repeat 
 in the introduction, in a statement wi 
 pig FS edges. there would be 
 
 lisposition to quarrel, 
 
 the exhibition: “Nor ae 7 visio 
 more exquisite eae nese,” 
 views of ca 
 
 by th e stately pile of ee 
 aria della Salute. As a whole 
 
 Figs 3 
 
 Petia and poguae: “Peter” Paul nibens; 
 
 Fishel, Adler & Schwartz... R PSE 
 
 | Flying a. Kite, George | 
 
 f % ee mies ¥ Schwartz... rae 
 ae AV. arric ohn Singleton oO a3) 
 
 ginal Bt Rai x phaei’s Ortiges, as agent gleton Copley; J 9 
 phae Rartaetto Sa Hhrenbreltstetn, PM. WK Parner: Frank 
 
 Ee Se Ree igs. | BARISAN ENG aie uomimt can eevee sy cla tae A oo 3,500 / 
 ints Rus- ‘ OB, Matthow Calted ‘from ‘the Heccint Bee 
 iesscat of ee B88 778: ‘ustom, 1 Be 
 
 ite E. : 
 Lago di Maggiore, Pa 
 ner; EH. Berolzheimer. 
 
 : Be PESOMRPEE Uae ia Fetog ok Nts ae ee ancy as an, 450 
 ra eae re 155° A yer a of St. Mark's, Tintoratto 
 bi tsa heal ACY BO eh iy Sc oe ! Orn. re (real “name Jacopo Robust da ee G. 
 
 tee ee 250 Ward 
 
 ASSN I OK RSS et ve he ge A eS A Pe 
 
 FS ORS Pele WER ae 28 WN TE w oad 4 B84 & Wile whe alg 
 
 Whitley 
 
 in 
 7 Ha 
 
 oo a 
 
ae 
 ON FREE VIEW, DAY AND _ EVENING 
 wl Hedy AMERICAN ART GALLERIES 
 
 SALE AT MENDELSSOHN HALL 
 ON THURSDAY AND FRIDAY EVENINGS “ 
 FEBRUARY 26th anp 27th, AT 8.30 O’CLOCK 
 
 4 aS : 
 
 Z 
 
‘ C 
 
 EDITION LIMITED TO TWO 
 
 ~ = 
 . 
 = . 
 ¥ 
 — 
 > t 
 - + 
 ‘ 
 ‘ 
 ’ 
 . 
 ° * 
 a 
 . i « sd = 
 ' 3 
 - 
 4 — sa 3 
 > * - 
 Ee = poe 
 - 
 . - - 
 4 
 > = 2 
 . i ¥] 
 i u 
 Ee" 
 74 
 . SS Ba = 
 ‘ov tcf 
 
 HUNDRED COPIES 
 
 Cw 5 
 
 * 
 ~* 
 cs o .? os 
 . 
 i> 
 . 
 a “ 
 . an ‘ 
 - 
 - _* -- 
 ” 
 en eae 
 a= - 
 an 2 
 ~ 3 - 
 ¢ . 
 « 
 : ‘| 
 ¢ ? 
 e "St ; 
 7 
 * 
 
> : a 
 J = Aj 
 > v* va 
 4 f<- *: ! 
 oa} i 
 
 Be OATALOGUE OF VALUABLE 
 THE EARLY ENGLISH, DUTCH, 
 FLEMISH, AND FRENCH SCHOOLS, 
 TO BE SOLD AT UNRESTRICTED 
 
 MR. J. D. ICHENHAUSER 
 
 THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY 
 
 OF THE AMERICAN ART ASSOCIATION 
 MANAGERS 
 
 NEW YORK, 1903 
 
 PICTURES BY MASTERS OF 
 
 PUBLIC SALE BY ORDER OF 
 
Illustrations by A. W. Elson §& Co., Boston. 
 Photographic Negatives by Chester Abbott Lawrence, New York. 
 
INTRODUCTION 
 
 Notwithstanding the variety that characterizes this collec- 
 tion of pictures, there is running through it a prevailing note. 
 Almost without exception, Mr. Ichenhauser has been influenced 
 in his selection by a feeling for color. Consequently we may 
 anticipate that the exhibition will be one of remarkable richness, 
 and, with all its diversities, of a reasonable homogeneousness. 
 
 For it hinges upon a notable gathering of portraits, inter- 
 esting as examples of the artists represented and as portraits of 
 historic personages. And if we pursue the analysis still further, 
 we shall find the collection centres round the early art of Eng- 
 land, including the work not only of Englishmen, but of those 
 foreigners who were attracted thither, or whose works found 
 favor there while still of small account in their own country; a 
 summary which includes landscapes, as well as portraits. Out- 
 side of this main group is a scattering of foreign painters, some 
 few of whom belong to the nineteenth century. This is a fairly 
 just characterization, and certainly a convenient one. 
 
 England was first awakened to the dignity which painting 
 had reached abroad in the reign of Henry VIII., when Holbein 
 visited the country. ~ His literal fidelity of portraiture and his 
 power as a colorist coincided with and established a racial prefer- 
 ence that was to be more or less the distinguishing trait of Eng- 
 lish appreciation. The great German is not represented in this 
 collection, the earliest example in connection with England being 
 Cornelis Janssens Van Ceulen’s Portrait of the Queen of 
 Bohemia. She was the daughter of James I., and destined by 
 her marriage with the Elector Palatine to become the progeni- 
 
trix of the House of Hanover. We shall scarcely discover any 
 suggestion of the coarseness of the Georges in this delicately 
 refined face and in the grave sobriety of the costume. The 
 painter’s position at the Court of St. James was seriously im- 
 paired when, in 1682, Charles I. invited thither Anthony Van 
 Dyck. The latter, as Walpole tells us, was accustomed to 
 receive £60 for a full-length, and £40 for a half-length portrait, 
 charging his royal patron an average of about £50, which was 
 not infrequently reduced. In the present collection are two 
 examples of his art: portraits of Queen Henrietta Maria, and of 
 the celebrated architect, Inigo Jones. The great artist ‘‘ loved ”’ 
 the latter, and his portrait of him is one of the most virile and 
 sympathetic interpretations of a fine head that one could desire 
 to see, while his portrait of the queen is a beautiful example of 
 his courtliness of style, wherein the exquisite costume is treated 
 with a breadth and nuance indescribably splendid. 
 
 These were times of splendor, following on the spacious 
 days of the great Elizabeth and the renaissance of English lit- 
 erature under the inspiration of Shakespeare and Ben Jonson. 
 There was to be a setback, however, in the necessary but artis- 
 tically obnoxious interruption of the Puritan movement, to be 
 followed in turn by the inevitable reaction of the looser morals 
 and lower ideals of the Restoration. Sir Peter Lely, who had 
 arrived in England in 1641, the year following Van Dyck’s 
 death, weathered the tumultuous time, and under Charles IT. 
 was made principal painter to the Court. He is represented on 
 this occasion by three charming portraits of children, one of 
 them of special interest, since it represents the noble and ill-fated 
 Algernon Sidney, and by the portrait of a grande dame, the 
 Countess of Peterborough. In this there is a certain affectation 
 pf pose, but with what a gusto the gown is painted! We are 
 reaching a period when the braveries of velvets and satins loom 
 up very large in the artist’s eye. We may as well acknowledge 
 
 al nail 
 
it, and, while recognizing the inferiority of motive as compared 
 with that of psychological study of character, yet allow it due 
 meed of praise. There is a joy in sumptuousness of fabric; we 
 realize it to-day, and so did Kneller. 
 
 The latter reached London in 1674, and soon secured the 
 notice of Charles II., who, to save himself trouble, as Walpole 
 relates, sat to both Lely and Kneller at’the same time. The 
 latter’s picture was finished first, and his fame at Court, thus 
 established, continued through the reigns of the succeeding 
 sovereigns into that of George I. His ‘‘ Portrait of Queen 
 Anne ’’ in this collection is a fine example of his facile skill in 
 the rendering of sumptuous fabrics, while that of ‘‘ Richard 
 Lord Clifford and Lady Jane, His Sister,’’ distinguished by 
 similar qualities, betrays also the meretriciousness and affecta- 
 tion of his style, which were due as much to his English envi- 
 ronment as to his German temperament; representing, indeed, 
 an amalgam of the two. 
 
 If we digress for a moment from following the course in 
 England, we may note how the Frenchmen, Mignard, Largilliére 
 and Vanloo, with their finer racial instinct, could give a subtle 
 allurement to portraits of no more seriousness psychologically. 
 Nor is it entirely a digression, for the picture by the last named 
 is a portrait of that brilliant and erratic Englishwoman, Lady 
 Mary Wortley Montagu; while one of the examples of Largil- 
 liére represents the Princess Sobieski, wife of the elder Pretender 
 to the English throne. A refined elegance distinguishes these 
 portraits, the latter being especially beautiful in color, and painted 
 with extreme delicacy. Again, in Mignard’s ‘‘ Portrait of Anne 
 of Austria’’ the magnificent costume plays the largest part in 
 the conception; but with what a frankness of motive and painter- 
 like reserve the artist has confined himself to simply rendering 
 its various characteristics of splendor! On the other hand, the 
 interest of Drouais’s ‘‘ Portrait of Buffon’ consists in the preci- 
 
sion with which it records the great naturalist’s exceptionally 
 noble head. As a picture it will not compare with the work of 
 his English contemporary, Reynolds. For with Drouais we 
 have reached the latter half of the eighteenth century, by which 
 period a school of native art has arisen in England, and English 
 artists have for a time a monopoly of what is vital in the world 
 of painting. 
 
 The collection recalls the founder of the English school in 
 one picture by Hogarth, ‘‘ The Greenroom’’; a reminder of 
 the interest which the painter, himself so dramatic, maintained 
 in the drama, and an example of one of his ‘‘ Conversation 
 Pieces,’’ as they were called at the time, in which he introduced 
 many figures, for the most part portraits, in characteristic 
 groups. It also includes specimens of the work of Wilson, 
 Romney, Reynolds and Gainsborough, and by the first-named 
 a rare example of his art in portraiture, ‘‘Girl with Bird’s 
 Nest,’’ a very sweet study of a dreamy-eyed, entirely childlike 
 child. His portraits, examples of which are in the Garrick Club 
 and several private collections in England, were mostly executed 
 before his visit to Italy in 1749. Gainsborough’s portrait of 
 Lord Dundonald is a good example of his feeling for delicate 
 tonality; while that of ‘‘ Lady Buller,’’ very choicely reserved 
 in color, has some beautiful passages of painting in the flesh 
 parts, and notably in the hand. In both portraits the nature of 
 the subject stands out with quiet force, tinctured in the manner 
 of presentment by the artist’s own. Of the two portraits by Sir 
 Joshua in this collection, the ‘‘ Richard Grenville, First Earl 
 Temple,’’ is a most important work: the picture of a full-sized 
 figure in the robes of a peer, with the regalia of the Order 
 of the Garter, drawn and painted in the artist’s most magisterial 
 manner, and in perfect preservation. 
 
 The reputation of English painting, and the estimation in 
 which portraiture was held in England, drew thither painters 
 
from abroad. The young Swiss, Angelica Kauffmann, was 
 introduced in 1765 by the wife of the English ambassador at 
 Naples. Her beauty and many accomplishments, coupled with 
 the sad romance of her life—for she had been entrapped into a 
 marriage with the valet of the Swedish Count de Horn, who 
 had impersonated his master—made her the admired of society. 
 How she herself shared the admiration can be seen in the 
 portrait of herself in this collection; very sweet and elegant, 
 and affectedly conscious. 
 
 How different in character is the ‘‘ Portrait of Mozart the 
 Elder,’’ by another visiting stranger, Johann Zoffany; entirely 
 unaffected, as it is uninspired, a bluntly truthful record of the 
 visual facts, and not without some dignity of color. Benjamin 
 West, who is represented by a water-color, ‘‘ Agrippina,”’ 
 reached London in 1768, and at this period Copley was already 
 sending pictures from Boston for exhibition in London. He 
 finally settled there in 1775 and secured speedy recognition. 
 Two of his portraits are here, ‘‘ David Garrick’”’ and the ‘‘ Chil- 
 dren of the Pelham Family ’’; the latter, a particularly impor- 
 tant example. In that same year, 1775, Gilbert Stuart arrived 
 in London and was befriended by West. Ten years later he 
 set up his own studio, and in the seven years which intervened 
 before his final return to America, in 1792, achieved an unpar- 
 alleled success. His portrait of ‘‘ Dr. Fothergill,’’ in this col- 
 lection, ranks among his best. The famous London physician 
 was a close friend of Franklin’s, and understood and sympathized 
 with the American Colonists; and Stuart has painted his head 
 with the mingled tenderness of feeling and virility that he 
 expended only upon subjects who interested him deeply. 
 
 Among the younger contemporaries of Reynolds none so 
 well maintained the dignity of the early movement as Raeburn ; 
 and his portrait in this collection, of ‘‘ James Innes-Ker,”’ is a 
 striking specimen of his forcible characterization and honest 
 
manliness of style. These qualities were to appear but fitfully 
 among the lesser men who followed. Yet Lawrence, who did 
 so much to prettify the art, is represented here by two works of 
 serious dignity ; ‘‘ Miss Cuthbert,’’ and the portrait of one of his 
 assistants, ‘‘ Richard Evans.’’ There are three examples by 
 Opie, a single one by Hoppner, two by Shee, and a good 
 example of Beechey ; while Pickersgill’s portrait of ‘‘ Words- 
 worth,’’ both for the subject and for its rendering, is a work of 
 more than ordinary interest. This portion of the summary may 
 be concluded with the mention of Leslie’s ‘‘ Duke and Duchess 
 Reading,’’ one of his little pictures of ‘‘ genteel comedy,’’ skil- 
 fully executed, and very choice in feeling. 
 
 The early landscape art of England is represented by ex- 
 amples of the well-known men, and of many of those who are 
 in less repute, while no less than nine Turners are included. 
 Wilson appears with three Italian scenes, one of them a view 
 of Tivoli from nearly the same spot as in the larger ‘* Tivoli 
 Landscape’’ which recently belonged to the Warren Collec- 
 tion. There is also a landscape by George Barrett, who, as 
 master painter to Chelsea Hospital, was receiving £2,000 a year 
 for his pictures, while Wilson’s went begging. ‘‘ The Carrier’s 
 Cart ’’ is a good instance of one of Gainsborough’s minor works, 
 while out of six canvases by Morland the ‘‘ Sow and Pigs ’”’ 
 is a superlatively fine example. By his brother-in-law, James 
 Ward, are two subjects of horses; one of them, ‘‘ Horses, Morn- 
 ing,’ being particularly good in drawing and color. He worked 
 in the manner of Morland, and unscrupulous persons have not 
 hesitated at times to substitute the latter’s signature and sell 
 the pictures as his. 
 
 Of the Norwich school there is one example by Stark, two 
 charming landscapes by Vincent, an unusually important one 
 by William Collins, and three ‘‘Old Cromes’’; “among the’ 
 latter a ‘‘ Moonlight’’ of splendid quality and _ strength. 
 
The single Constable, ‘‘ Man Watering Horse,’’ is a small 
 picture, but characteristically forceful. Others which should 
 be noticed are an excellent ‘‘Sea Piece and Shipping,’’ by 
 Callcott ; a ‘‘Street Scene,’’ by Caleb R. Stanley; a ‘‘ Rough 
 Sea,’ by J. Stannard; and a very handsome modern picture, 
 ** Spanish Fishermen,’’ by Frank Brangwyn. 
 
 The nine pictures by Turner include three oil paintings and 
 six water-colors. Three of the latter are from the ‘‘ Liber 
 Studiorum,’’ numbers 7, 33 and 48, respectively ; examples 
 of extreme rarity, and in their delicacy of method and compre- 
 hensiveness of suggestion fully justifying the repute in which 
 the series is held. Nor could one imagine more exquisite water- 
 colors than the two views of ‘‘ Lago di Maggiore,’’ indescrib- 
 ably dainty, extraordinarily full of character. Of the three oil 
 paintings the finest is, perhaps, the ‘‘ View on the Neckar,’’ in 
 which the grandeur of the natural facts are supplemented by so 
 beautiful a spirit of imagination. 
 
 The review of the pictures of the English school shall be 
 concluded with a reference to two full-sized heads of dogs by 
 Landseer. In their structural drawing, in the broad finish with 
 which the hair is rendered, and in the expression of character, 
 unmixed with any sentimental allusion, they represent the great 
 animal painter in one of his strongest phases. 
 
 The collection includes six examples of American landscapes 
 —a Julian Rix; a William Keith; a Bunce; ‘‘ Hiding in the 
 Haycocks,’’ a rare example of Wm. Bliss Baker, whose achieve- 
 ment and still greater promise were cut off by his early death; 
 and two examples by Blakelock, one of them, ‘‘ Autumn 
 Landscape,’’ being a picture of very subtle charm. 
 
 Among the sprinkling of modern pictures should be noticed 
 a particularly handsome ‘‘ Coast with White Cliffs,’’ by Cour- 
 bet, a large and sketchy, but very delicate, Daubigny, and For- - 
 tuny’s study for ‘‘The Spanish Marriage.’’ Following back 
 
to the eighteenth century, we shall find two of Paul Joseph 
 Sauvage’s very interesting imitations of bas-reliefs, and from 
 the previous century one of Gaspard Poussin’s warm-toned, 
 finely composed Italian landscapes. 
 
 Representing Italian art are the following: A moderate 
 portrait by Tintoretto; a curious subject of the infant Christ 
 asleep upon a cross, by Guido Reni; a study by Ricci, and 
 good ‘examples of Canaletto and Guardi; while an exquisitely 
 beautiful drawing by Raphael, a study for ‘‘The Entomb- 
 ment,’’ in the Borghese Palace, is one of the choice, particular 
 gems of the collection. A very interesting fountain subject 
 by Velasquez seems to be an echo of his visit to Italy. 
 
 Mention has been made of the Van Dyck examples, and 
 among the other representations of the Flemish school is a 
 study by Rubens for his large picture, ‘‘ Pluto and Proserpine, ”’ 
 in the Madrid Museum. The Dutch pictures include a rare 
 example of Dirk van Deelen, whose subjects of Italian archi- 
 tecture were filled in by Van Herp, Palamedes, Stevens and 
 W ouverman—in this case by the first named. Another instance 
 of collaboration is ‘‘ Christ upon the Sea,’’ in which the tumul- 
 tuous water, represented with fine freedom of movement and 
 beauty of color, was executed by the best known of the Dutch 
 marine painters, Willem Van de Velde the younger, while the 
 figures were added by the younger Teniers. It is a picture of 
 quite remarkable impressiveness. There is a good example also 
 of that other eminent marine painter, Ludolf Backhuysen. By 
 Gerard Van Honthorst, who studied, and acquired the style of, 
 Caravaggio, in Italy, is a large subject, ‘St. Matthew at the 
 Receipt of Custom,’’ naively unreligious in its conception, but a 
 work that commands attention by the strength of the character- 
 ization in the several heads and by the accomplished facility with 
 which the draperies are painted. An unusual example of Cuyp’s 
 versatility is the fine ‘‘ Portrait of a Gentleman ’’; and by his 
 
father, Jacob Gerritsz, appears an exceedingly honest, interest- 
 ing subject, ‘‘Girl with Orange.’’ Wynants is represented by 
 a charmingly characteristic subject from the neighborhood of 
 Haarlem; Berchem, by ‘‘ Man Cleaning White Horse’’; Ostade, 
 by a choice little picture, ‘‘ Man beside a Cottage’’; and Pieter 
 de Hooghe, by a quite important interior. A portrait by Rem- 
 brandt, of his son Titus, is a fairly good example of the noble 
 gravity of his method, with richness of color, firm and luminous 
 flesh, and a general handsomeness of pictorial arrangement. 
 
 But the finest example of the Dutch school, the picture 
 which, perhaps, emerges most triumphantly from all the others 
 in the collection, is the ‘‘ Landscape with Cattle,’’ by Paul Pot- 
 ter. This is a work of magnificent vigor and grandeur of color, 
 full of natural feeling for the cattle and the landscape, and remark- 
 ably effective in composition ; a picture that is no mere tour de 
 force, but a splendid exhibition of wholesome, luxurious strength. 
 
 This brief summary would seem to prove how diverse in 
 character the collection is, demanding a constant change in the 
 attitude of one’s mind as one turns from picture to picture ; and 
 the more so since the owner has frequently, in the case both of 
 portraits and landscapes, penetrated into paths of selection un- 
 familiar to the general student in this country. Such examples 
 have their varying degree of interest, whether for painter-like 
 qualities or for the link they supply in the history of art, or for 
 their reference to the outside history of their day. But the 
 majority of the names, among which the less familiar are 
 sprinkled, need no introduction. The examples of their work 
 will be found to present a very good average of quality, empha- 
 sized by no inconsiderable percentage of work of first-class 
 character. It is thus a collection that offers much valuable 
 material for the attention of museums, and much to stimulate 
 the appetite of the individual collector. 
 
 CHartes H. CaFrFin. 
 
et 
 
 Ray 
 
 =a 
 of 
 
 | aa é " S PROMPTLY AT 8.30 O'CLOCK 
 aT MENDELSSOHN HALL 
 
 | -—s FORTIETH STREET, EAST OF BROADWAY 
 
 # 
 , 
 
é i 
 
 Ma “5 Me, 
 
 , a Pint Poe ae 
 ‘ ~ tis , 5 
 
 é 
 
 R. 
 
 ~ 
 
 ; 
 
 aA river winds back from the left foreground, passing round 
 
 ay a eit of land on which a fisherman is seated, appearing and 
 ag Bee pearing as it approaches a village whose low spire and 
 houses nestle among the trees. On the brown bank, to the right 
 of the foreground, sits a figure in red, and two other figures 
 appear along the road which skirts the stream. 
 
 Height, 8 inches; length, 10 inches. 
 
 Te. eo. 
 
CORNELIS DUSART 
 
 ae 8 Bf a? 
 
 2—-THE TOPER 
 
 Leaning back in his chair, against a dark olive background, 
 a man of fleshly build and comfortable mien lifts his brown felt 
 hat in salute, as, with lips apart in anticipation, he eyes a large 
 green goblet that is held in his right hand. His long black 
 sleeveless coat, worn. over a maroon under-garment, is open low 
 down on the chest, revealing the edges of a gray shirt. The 
 jolly, rubicund face and coarse, large hands are painted with 
 great delicacy. 
 
 Signed at the left, Corn. Dusart f. 
 
 Height, 7 inches; width, 5% inches. 
 
PETER BRUEGHEL 
 _VILLA GE NE 
 
 Four men, one of them in red, are grouped on the left of 
 the shadowed foreground, beyond which a path winds across the 
 village green to achurch. On its right three houses stand close 
 em . _ together, adjoining a wooden bridge which leads to two more 
 eg -houses on the opposite side of the stream. The latter extends 
 back to ‘a delicately painted woody shore and hill, while in 
 is front of the bridge it widens out into a sheet of water on which 
 _ appears a man in a boat. At the extreme right of the fore- 
 - ground stands a tree, with its boughs and foliage curving over 
 the corner of the sky. 
 
 Height, 7 inches; length, 8 inches. 
 
 PAINTED ON COPPER. 
 
 % ee yee 
 
PETER gees 
 ri Na ees : D Sanagelr 
 
 4—LANDSCAPE AND FIGURES 
 
 A road passes across the foreground, leading down on the 
 left to a river, and rising on the right, between trees, towards a 
 house that occupies a knoll. <A figure in blue stands in the 
 doorway as if to welcome a traveller who is approaching, accom- 
 panied by a man with a bag on his back, and followed at some 
 distance by another, who bends beneath his load. A woman and 
 child are seated on the left of the roadway. The river winds 
 back through the left of the composition, crossed in the middle 
 distance by a three-arched bridge, on the right of which are a 
 cluster of red roofs and a church. The vista terminates in pale 
 gray slopes, dotted with trees and cottages, and leading up 
 to faintly visible hills. 
 
 Height, 7 inches; length, 8 inches. 
 
 PAINTED ON COPPER. 
 
GEORGE MORLAND 
 
 4 YE 
 
 1768-1804 
 
 ~ 
 
 ae An oak tree, growing on the left, spreads its en across 
 
 Ps: top f the picture. On the bank, beneath it, a shepherd 
 
 ae white smock-frock reclines, with a crook in his hand and his 
 
 dog at his side; while a little way back, to the right of him, 
 
 aman i in a red coat sits with his elbows on his knees. On the 
 
 pee ees are two sheep, two others appearing in the distance, which 
 aad ts vaguely blue. The little study is rich in color. 
 
 snod at the right, G. M. 
 ; Height, 4% inches; length, 5% inches. 
 
GEORGE MORLAND 
 
 6—GYPSIES 
 
 On a bank, to the left, under a spreading beech tree, a party 
 of gypsies is gathered round a pot suspended over a fire. Con- 
 spicuous in the group is an old woman in a red cloak, while a 
 man in corduroy trousers and blue waistcoat kneels down, as if 
 blowing the flame. A dog occupies the front of the picture, 
 and a man lies asleep on a bank at the right. 
 
 Signed at the right, G. M. 
 Height, 4% inches; length, 5% inches. 
 
JOSEPH MALLORD WILLIAM 
 TURNER, R.A. 
 
 2 
 e4 
 
 x 7 0 - 1775-1851 ate, LYALL er ae Larrr1Eert Cha. 
 
 7—STREET IN DOVER 
 
 Black and White 
 
 Across the front is a shabby row of windows and doors; a 
 woman standing beside a window, within which a man sits at 
 work. Above them is a lean-to roof, rising to a ruined struc- 
 ture, with gables on the right. Trees appear beyond it, and in 
 the distance, to the left, the solid mass of the Castle Hill. A 
 single scrubby tree rises from an elevation in the middle dis- 
 tance, on the left. 
 
 Height, 6% inches; length, 8 inches. 
 
 From THe Eart oF WarwWICK’s COLLECTION, AND BEARING THE COLLECTOR’S MARK 
 
 IN THE RIGHT CORNER. 
 
JAMES F.. DANBY, A.R.A. 
 
 g pb ‘ne wnet Lt tae 
 
 8—ON THE MEDWAY 
 
 Over the green water, rocked into spray by the breeze, 
 a boat with steersman and two scullers is approaching the 
 hulk of a three-decker, to the right of which lies a frigate | 
 with a white line above her black hull. A dismantled | 
 man-of-war is visible farther up the river, where the shore on 
 both sides stretches horizontally across the picture. On the 
 right is a sprinkling of red and white cottages, the ruins of 
 Rochester Castle standing up at the back, and faint green hills 
 appearing in the distance. The sky is white and hazy on the 
 horizon, with dapples of white cloud in the upper blue; very 
 fresh and atmospheric. 
 
 Signed at the left, F. Danpsy. 
 
 Height, 8% inches; length, 14 inches. 
 
JOHN SYER 
 
 _ The water stretches in a broad sheet through the front of 
 
 e icture, and on the bank opposite stands the mill, mount- 
 up in a pile of reddish-brown roofs, backed by trees. On 
 
 h right a woman kneels at the water’s edge, washing clothes, 
 hi ee the left of the picture, across the water sluice, is a 
 
 ype 
 
 Height, 10 inches; length, 14 inches. 
 
 From THE CotuecTION oF Mr. James Dote. 
 
THOMAS ANDREWS 
 ae ie seals 
 
 10—THE SEAMAN’S RESORT 
 
 . 
 | 
 
 The greenish-yellow plaster of the walls, on which hang 
 two paintings of men-of-war, is illuminated by the light which 
 pours in over the half door at the left, on which a seaman in 
 white duck suit leans, talking to a woman outside. To his left, | 
 on a bench against the shadowed wall, a man in a blue tunic 
 and ample white trousers, tucked up over black gaiters, sits | . 
 with a stick in his hand, listening to the conversation; while 
 to the right of the group a third man, in a red coat, leans his 
 elbow on the table, smoking a churchwarden. On the table are 
 a blue and white punch bowl, a black bottle, and the ace of 
 diamonds; and on the floor, some more cards and a broken pipe. 
 
 Signed on front edge of table, THomas ANpreEws, Sepr., 1822. 
 
 Height, 12 inches; width, 10 inches. 
 
CHARLES ROBERT LESLIE, R.A. 
 
 27S s 1794-1859 We, Ke ee ene 
 
 1I—THE DUKE AND DUCHESS READING 
 
 The figures are seated on a yellow sofa, facing us, the 
 gentleman’s left hand resting on the lady’s shoulder. In his 
 other hand he holds a volume of ‘‘ Don Quixote,’’ and the lady, 
 inclining her head forward with a charmingly rendered gesture 
 of absorbed interest, lays a finger on the open page. Her black 
 silk gown, cut square round the neck, with an edging of lace 
 and a scarlet bow, has a panel of white silk down the front, 
 while the single slash of the sleeve reveals the white under- 
 sleeve. The gentleman wears a black beaver hat with white 
 feather, a broad lace collar over the yellow doublet, and a scarf 
 of orange-red silk draped over his left shoulder and wrist. 
 
 The picture is a good example of Leslie’s ‘‘ genteel 
 comedy ’’ subjects, very skilfully painted, and particularly 
 charming in its quiet refinement of feeling. 
 
 Height, 9 inches; width, 7% inches. 
 
 From tHe CoLitection oF Sir W. Cunuirre Brooks, Bart, 
 
: JOHN CONSTABLE, R.A. 
 .. Er acid | | rre-1887 7 a Oy 
 
 12—WATERING THE HORSE 
 
 Standing in the water, which aotends across the front of 
 the picture, is a horse with a man on its back. On the left ee 
 
 > 
 
 of the pond, beside a willow tree, appears a cottage with yellow- - om eae 
 ish walls and brown roof. Across the water are large trees, aie es a 2g 
 under one of which sits a woman in a white apron, while beyond | art 
 the meadow is a view of distant woods. The little picture has _ 
 
 the large gravity of Constable’s more important work. 
 
 Height, 8% inches; width, 8 inches. 
 
 From THE CoLtecTIoNn or Mr. J. Travers SMITH. 
 
a 
 - 
 
 a 
 < 
 
 Ms 
 
 ere 
 
 _ ‘THOMAS CRESWICK, R.A. 
 1811-1869 ve of 2 oan ioe SBE . 
 
 ROAD TO BALLAHULISH 
 
 ae a 
 » haan elle 
 
 ie or A woman and child are descending a steep path on the 
 _ right, underneath a wall of rocks with birch trees at the top, 
 ; one of them extending its foliage over the path. In the centre 
 of the foreground is a bunch of daintily painted trees, around 
 _ which the road abruptly descends, passing back through the left 
 ice of the picture. It is skirted by a wall, and follows the course of 
 Ports s: | : L : : 
 a river bounded in the distance by sloping green hills capped 
 
 _ with cloud. On the road appear a dog and two figures. 
 
 Signed at the right, T. C. 
 Height, 7% inches; length, 10% inches. 
 
GEORGE MORLAND | 
 
 LS es ete: Seemnry ——— 
 
 1U4—WINTER SCENE—SKA TING 
 
 On a small pond in the foreground, with ragged edges of 
 snow-covered grass, a man has fallen, his hat rolling over the 
 bee ice, while a companion skates to his assistance. On the right a? 
 r bank a man in blue coat is kneeling to adjust his skate, and be- es 
 ‘ hind him a woman in red cloak, accompanied by a little girl, is” a 
 y approaching a cottage at the back. Its thatched roof is covered _ 
 ‘a with snow, as are the straw heaps to the left of it and the bare 
 : 
 t 
 > 
 z 
 
 branches of the tree on the right. _ The sky is a dull drab-pink, ~ 
 with a break of blue in the centre, around which are white Pi 
 clouds. | : he 
 
 Signed at the right, G. M. 
 ee Height, 10% inches; length, 14 inches. 
 
JAN WYNANTS 
 
 Ae wie No Lol Vland: 
 
 145—SMALL DUTCH LANDSCAPE 
 
 This scene of rugged road and sand dunes is a characteristic 
 subject of the artist, reminiscent of the country round Haarlem, 
 where he spent sixty years of his life. 
 
 A stream winds through the left of the composition, with 
 dark olive scrub and grass on the left bank. On the opposite 
 side a rough road follows its course, passing beneath a shelv- 
 ing wall of sand, which is crowned with vegetation, while near 
 the front a shattered tree-stem rears up, with fronds of foliage 
 sprouting from its base. Below it, on the road, a man with a 
 gun stops to speak to a woman who is seated, his two dogs 
 meanwhile resting; and along the road, in the middle distance, 
 moves another person. These tiny figures are full of animation. 
 At the end of the road are two elm trees, beyond which show 
 distant blue hills under a warm slaty sky, that reddens as it rises, 
 until it finishes in blue. 
 
 Signed at the right, J. Wynants, 1674. 
 
 Height, 10% inches; length, 13% inches. 
 
JOSEPH MALLORD WILLIAM 
 TURNER, R.A. 
 
 na es pete bee tite 
 é 
 
 16—THE STRAW-YARD. 
 
 No. 7 of the “ Liber Studiorum ” 
 
 The painting is executed in sepia and indigo. At the back 
 of the yard is a thatched barn, over the top of which the 
 foliage of an elm appears. To the left stands a wheat rick, from 
 which a man is handing sheaves to another, on a ladder against 
 the side. A wagon is being filled with them ; and near the two 
 horses harnessed to it are four others, loose among the straw. 
 On the right of the foreground lies a pool, and by a gate at 
 the back of the yard a man with a fork over his shoulder walks 
 beside another, who is wheeling a barrow. The character of the 
 scene is depicted with extraordinary ease and completeness. 
 
 Height, 7 inches; length, 10% inches. 
 
 PuRCHASED FROM THE Rev. SEBASTIAN BowneENn, S.J. 
 
 . 
 . 
 { 
 
JOSEPH MALLORD WILLIAM 
 TURNER, R.A. 
 
 7 a 
 Ll ot * 1775-1851 Reet 9 
 
 17—THE RIVER WYE 
 
 - No. 48 in the “ Liber Studiorum ” : 
 
 The ruins of Tintern Abbey crown a wooded knoll, below 
 which the river passes, broadening towards the front. A figure 
 stands waist deep in the stream, and another is seated on the 
 left bank, four cows and a horse appearing in the meadow 
 behind him. In the distance the river flows under a steep hill 
 covered with trees. Executed in sepia, the picture, to any one 
 who knows the spot, recalls its features with delightful feeling 
 for their beauty. 
 
 Height, 7 inches; length, 10 inches. 
 
 PurRcHASED FROM THE Rev. SEBASTIAN BowneEN, S.J. 
 
a ee ee Oe ee Beanies 3B 
 
 ‘JOSEPH MALLORD WILLIAM 
 TURNER, R.A. 
 
 ews 
 parc eae 1775-1851 
 
 if 
 
 oy 
 
 It ) on x 
 a ‘ee of Ae “ 
 
 J 
 
 18—ST. CATHERINE’S HILL, NEAR GUILDFORD 
 
 No. 33 of the “ Liber Studiorum ” 
 
 —————— Oe ee a a ae oe 
 
 This water-color is executed in sepia, and represents a 
 
 broad road leading back, with tall elms on its left, to a steep 
 eminence crowned by the ruins of an abbey. On a plateau 
 near the summit is a flock of sheep. On the right of the road a 
 stone wall bounds a meadow, and near the front a man stands 
 by the open gate, through which his three horses have passed, ‘ 
 talking to another man, who stands on the road with a jar in | 
 each hand. The picture shows the exquisite skill and beautiful 
 treatment of natural facts which distinguish the best of this 
 
 famous series. 
 
 Height, 7 inches; length, 10 inches. 
 
 PurcHaAseD From THE Rev. SEBAsTIAN BowpeEn, S.J. 
 
—? 
 
 ADRIAAN VAN OSTADE 
 
 Doe 1610-1685 ie OF VU oa, Fcc ie 
 19—MAN BESIDE A COTTAGE 
 
 Leaning forward and grasping a stick, a man is seated on 
 a bench in front of a brick cottage, which has a window to the 
 right, with vines growing over it, and an entrance to the left, 
 closed by a half door. He is clad in a slouch hat, a drab coat 
 fastened across the chest by one button, brown breeches and 
 reddish stockings, a dark olive cloak falling from his shoulder 
 over the left leg. The light is concentrated on his bearded face. 
 
 Signed at the upper right, A, vy. OsTaDE. 
 Height, 10 inches; width, 744 inches. 
 
 From THE CoLLecTION oF THE Hon. G. Browne. 
 
i a ee ie mee 23 Onitonnie 
 
 20—COTHERSTONE, WINNER OF THE DERBY, 1843 
 
 Cotherstone was bred by John Bowes, of Streatlam Castle, 
 Durham, and trained by Bill Scott, who was in the saddle when 
 he won the Derby in 1848. He was sold the following year to 
 Earl Spencer for three thousand guineas, but, after winning the 
 Royal Stakes at Newmarket, broke down at Goodwood. The 
 engraving of this picture by E. Hacker is included in Taunton’s 
 ‘* Portraits of Celebrated Race-horses.”’ 
 
 The bay horse, in racing trim, with jockey up, in black cap 
 and jacket, stands across the picture, facing to the right. The 
 level turf stretches back to a house on the right, surrounded by 
 trees. A little way behind the horse, on the left, stands a high 
 pole, marking, probably, some measured distance on the training 
 ground. 
 
 Signed at right lower corner, H. ALKEN. 
 
 Height, 12 inches; length, 16 inches. 
 
 WITH THE ENGRAVING. 
 
A. D. PEPPERCORN 
 
 /p - 
 7 (/ Contemporary eae: Lp VNertfpariiiae 
 i 
 
 / 
 
 / 
 
 21—-LANDSCAPE—A GRAY DAY 
 
 A meadow stretches back from the foreground, on the left 
 of which three white cows and a brown one are grouped near a 
 gate. This leads into a belt of wood which skirts the pasture 
 to the middle distance, where the view is bounded by a hedge. 
 The trees, growing out of brownish brushwood, are in various 
 tones of olive black, blurred by the gathering darkness, in which 
 the wood has the appearance of loose and penetrable density. 
 The darkened grass is lush and vigorous, the whole scene being 
 saturated with cool, moist atmosphere. 
 
 Signed on right lower corner, PEPrE. 
 
 Height, 12 inches; length, 18 inches. 
 
ANTON GRIEFF 
 
 ae , 
 é ea 1670-1715) Cereb became 
 
 22—STILL LIFE 
 
 A white spaniel with brown ears lies asleep under a little . 
 tree from which a game-bag is suspended. ‘The game, both 
 furred and feathered, is piled around, a conspicuous object being 
 a hare stretched on its back, underneath a gun that rests against 
 the tree. 
 
 Height, 14 inches; length, 17 inches. 
 
 + 
 
BARON DOMINIQUE VIVANT 
 DENON 
 
 1747-1825 an . 
 tg af i ao . 2 fan ae, Sas ae 
 
 23—_VIEW NEAR CAIRO 
 
 In 1798 Denon accompanied Bonaparte’s expedition to 
 Egypt in the capacity of artist and archeologist. The picture 
 represents him standing before a ruined temple, at the head of a 
 group of soldiers and Arabs who have exhumed amummy. Two 
 men are kneeling beside the open sarcophagus, while two others 
 hold up the mummy for the savant’s inspection. In contrast 
 with his rapt contemplation is the nonchalance of an Arab 
 who sits beside a fallen piece of masonry, smoking a long pipe. 
 At the back of the group, soldiers are on guard at the entrance 
 to the temple enclosure, within which stand pillars with lotus- 
 leaved capitals and a pylon, glistening white against the clear 
 blue sky. i 
 
 Height, 14 inches; length, 18 inches. 
 
 From tHe CABINET DE LA MALMAISON. 
 
CASPAR NETSCHER 
 
 gs An Set Se A. OR tben 
 
 24—LADY OF FASHION AS SAINT CATHERINE 
 
 The lady is seated, facing three-quarters to the left, and 
 slightly turns her head with a little smirk of conscious rectitude. 
 The hair is smooth upon the crown, with a row of ordered ring- 
 lets over her forehead, and clusters of ringlets round her neck; 
 while above the modish coif floats a halo, ringed against a 
 crimson curtain at her back. A string of pearls encircles her 
 neck, and butterflies of pearl and jet decorate her citron-colored 
 fichu. The robe is of gray satin, and a gauzy scarf of lapis- 
 lazuli blue is draped over the left arm. The left hand holds a 
 palm branch, while the right rests upon a broken torture-wheel.. 
 
 The picture is set behind an oval gold mount. 
 
 Height, 17 inches; width, 12% inches. 
 
eae hee 
 a eta 
 £ Sety te 
 4 Lun Vee, 
 
 v\ 
 
ee 
 
SIR EDWIN LANDSEER, R.A. 
 
 1802-1873 ee ee ie 
 
 / 
 ( 
 
 25—ODIN 
 
 : The head of a St. Bernard, full size, is shown facing to the 
 right, but inclined sufficiently to the front to show the farther 
 eye. The color is orange tawny, darkest on the ear, with a 
 narrow white blaze extending from the white muzzle over the 
 head. Below the black collar is a white ruff. These are 
 the colors and markings particularly prized in this breed. The 
 head is painted in Landseer’s broadest and most masterly style, 
 a perfect example of sympathetic comprehension. 
 
 Height, 17 inches; length, 21 inches. 
 
 THIs PICTURE, FORMERLY THE PROPERTY OF Mrs. DrumMMonp, HAS BEEN FREQUENTLY 
 
 ENGRAVED. 
 
SIR EDWIN LANDSEER, R.A. : 
 
 ae é te y woe Z if, : 
 are 1802 119) wertlee 
 
 26-—HA FED 
 
 A companion to the preceding picture, this one represents 
 the head of a magnificent rough-coated Scotch deer-hound, 
 facing in profile to the left. The color of the muzzle is white 
 dusted with fawn; a darker tone of fawn marks the ear, and 
 a brownish streak extends along the upper jaw. The eye is of 
 peculiar brilliancy, and, with the slight protrusion of the tongue, 
 gives to the head an indescribable animation. A brown collar 
 with large ring attached to it surrounds the neck. In its in- 
 comparable realism it is a noble companion to the ‘‘ Odin.’’ 
 
 Height, 17 inches; length, 21 inches. 
 
 FoRMERLY THE PROPERTY OF Mrs. DRUMMOND, AND FREQUENTLY ENGRAVED. 
 
Lai) = - 
 
GUSTAVE COURBET 
 
 7 satin fi ) 55 al a} VA 
 r ; sd se 2 L fe y, ; re / 
 6 o7 1819-1878 4 7 Coie Cet git. Bae 
 
 27—_COAST WITH WHITE CLIFFS 
 
 The scene is from the neighborhood of Etretat, its con- 
 spicuous feature being a bold wall of white cliffs, which has 
 a natural arch upon the left, and stretches across the middle 
 distance, clothed on its summit with yellowish grass. Above 
 it the sky is heavy with slaty-colored vapor, melting into softer 
 gray as it reaches the pale greenish blue of the upper heaven. 
 The sun shines full upon the cliffs and on the sheet of turquoise 
 sea which extends to the reddish-brown sand in the foreground. 
 On the right of this, in shadow, rises a steep formation of pur- 
 plish brown rocks. 
 
 There is a splendor of force both in the contrast and in 
 the quality of the color scheme, and a vigorous realism in the 
 rendering of the character of the scene. 
 
 Signed at the left, G. Courser. 
 
 Height, 18 inches; length, 22 inches. 
 
REMBRANDT VAN RYN 
 
 Ce ae eae OEM Gi give F 
 ij | 
 
 28—PORTRAIT OF THE ARTIST’S SON TITUS 
 
 The bust and notably handsome head are shown against 
 a dark olive background, into which the black velvet cap and 
 golden-brown curls imperceptibly merge. The face is almost to 
 the front, with a shadow over the forehead; large brown eyes, 
 wide apart; a broad, straight nose; and full lips curving up at 
 the corners. Over the closely fitting white shirt the dark olive- 
 green robe shows a V-shaped opening, while the sleeve is caught 
 up at the shoulder with a jewel. The portrait is rich in color, 
 the flesh firm and luminous, and the whole distinguished by pic- 
 torial splendor and gravity of characterization. 
 
 Height, 24 inches; width, 20 inches. 
 
 From tHE Cotiection or Lisevt.-Cot. G. Pmxineton Brake, THurston Howse, 
 
 Bory St. Epmunps. 
 
a 1, — % EAR cA 
 *) M : ae WY Tee 
 t eM LAY 
 sf f LA r 
 s i va 
 s “A wou 
 M ‘a " 
 oe 
 ‘ 
 % 
 * 
 (i 
 ap tet S 
 ’ 
 . 
 | 
 * 
 / 
 | 
 i 
 F 
 . 
 j 
 1 
 ) 
 { 
 h 
 - 
 
SIR THOMAS LAWRENCH, P.R.A. 
 Wa Ye f 
 Beg 7-77 vyeo-90 | Ae Ri bereryrrel 
 
 29—PORTRAIT OF MISS CUTHBERT 
 
 The head and bust are shown facing three-quarters to the 
 front, surrounded by an olive-drab background. The black hair, 
 parted on the top and smooth over the crown, is worn in ringlets 
 at the side, and at the back is gathered into a knot, decorated 
 with a chain of gold shells. The handsome face has large brown 
 eyes, and cheeks and lips aglow with healthy color. The black 
 velvet bodice is worn low over the shoulders, with full sleeves, 
 its upper edge curving down over the bosom to a point, where a 
 glimpse of lace is visible. Long pendants of reticulated gold- 
 work hang in the ears. 
 
 Height, 24 inches; width, 20 inches. 
 
 A portrait oF Mrs. CuTHBERT BY THIS ARTIST WAS EXHIBITED AT THE RoyAtL 
 
 ACADEMY IN 1817. 
 
NICOLAS BERCHEM 
 
 Ee Sek. rie 1020-16857 may, 
 
 30—MAN CLEANING A WHITE HORSE 
 
 The light illuminating the centre of the stable-yard strikes 
 full upon the back of a white horse which a man is rubbing over, 
 and glances on the head and breast of a woman who sits a little 
 to the right. She is dressed in a citron-colored bodice and dull 
 red skirt, engaged in needlework, and a little boy at her side is 
 dragging by a string a piece of board with a stone on it, at which 
 a dog is barking. In the shadow behind the group stands a 
 bay horse with white underbody; and in the shadow on the left 
 of the foreground lie a cow and goat, with a sheep beside them, 
 in the light. The yard is bounded by a rocky wall, against 
 which is built a stable with lean-to roof and a square tower; 
 while through a doorway in the wall at the back appear two 
 mules, one of them ridden by a man, beyond the group being a 
 view of hills and trees. 
 
 Signed near the left, N. Bercuem f. 
 Height, 16 inches; length, 21 inches. 
 
 From THE CotitEcrion or W. H. Forman, Cattaty CasTLe, NoRTHUMBERLAND. 
 
a ats 
 
JAMES BAKER PYNE 
 a yer 
 o 7 oot Alo i ain ee 
 
 31—_-VIEW NEAR TIVOLI 
 
 Occupying an elevation on the right of the foreground is a 
 picturesque group of cottages with white walls and brown roofs, 
 framed in with trees. A steep road descends from them, 
 bounded on the left by a parapet wall which is built upon the 
 brink of the slope. The road passes across the front, and then 
 continues gradually to descend between trees to the plain below. 
 This stretches away, intersected by a winding river, to a distant _ 
 horizon; prominent on the right of the middle distance being a 
 white church. The foreground is animated with figures. Some 
 appear near the cottages ; at the turn of the road, on the right, 
 a man walking beside a donkey with a woman on its back is 
 passing a group of children, and a pedestrian and a horseman 
 are descending to the plain. 
 
 Height, 18 inches; length, 24 inches. 
 
WILLIAM COLLINS, R.A. 
 
 2rd.” 7 fs los 
 
 32—FISHERMEN’S CHILDREN 
 
 A nondescript shed, with fishermen’s tackle visible through 
 the open door, occupies the right of the foreground. Near it in 
 the centre of the picture a boy in red knitted cap stands beside 
 a little girl, resting one hand on her shoulder and with the other 
 pointing to attract her attention. Three fish lie at their feet on 4 
 the sand, which stretches back to a broken fence that marks the 
 edge of the water. The latter is bounded along the right by a 
 perspective of cliffs, on the top of which in the middle distance 
 stands the flagstaff of a coastguard station. At this point a 
 wooden jetty projects from the base of the cliff, and the gray 
 water is dashing itself into white foam against the piers. 
 
 Signed on the door, above the basket, Wit1t1am Coins, A.R.A. 1816. 
 
 Height, 15% inches; length, 28% inches. 
 
DOMINICUS VAN TOL 
 
 1631 (?)-1676 Y ihe is 
 
 88—THE PLEDGE 
 
 On the left of the picture, beside a crimson-seated arm- 
 chair, a hunter has his hand upon the shoulder of a young 
 woman, at the same time touching his glass to the one she 
 holds. <A coal scuttle hangs from her left arm. Behind her is 
 a large barrel, from which a woman stoops to draw beer, look- 
 ing up, meanwhile, to the two figures. On the right of the 
 foreground stands a green-covered table, with pewter flagons, 
 a copper strainer, two tall wineglasses, a brass bowl, long clay 
 pipes, a peeled lemon and a white cloth, while underneath it, in 
 shadow, are a basket and jugs. This part of the scene leads 
 under an arch to an inner chamber, with rafted ceiling and a 
 window, high up on the left. Here two men are playing at 
 checkers, and an old woman, carrying a dish, has stopped to 
 watch them. A large lantern and green drapery hang from the 
 arch. 
 
 Height, 18% inches; width, 16% inches. 
 
SIR PETER LELY 
 
 mn S ‘) PPS 
 ae rorr-s000 PP SA Lies. 
 
 / 2 ate d 
 
 384—PORTRAIT OF ALGERNON SIDNEY 
 
 In view of the tragic end of the gifted and noble Algernon 
 Sidney, this portrait of him as a boy, painted for his mother, 
 the Countess of Leicester, has a pathetic interest. The large 
 gray eyes look steadily to the front, the mouth also is large and 
 full of expression, and the finely shaped head is covered with 
 blond hair that falls in soft waves to the shoulders. The bust, 
 facing three-quarters to the left, is clad in a plum-colored robe, 
 which shows a little white beneath the chin. 
 
 Algernon Sidney was born in 1622, a son of the second 
 Earl of Leicester. When the Civil War broke out he took the 
 side of the Parliament, and was severely wounded at the battle 
 of Marston Moor. He sat as one of the judges at the trial of 
 Charles I., though he was not present when sentence was pro- 
 nounced, and did not sign the warrant for execution. Never- 
 theless, he characterized it as the ‘‘justest and bravest action 
 that was ever done in England or elsewhere.’’ He lived abroad 
 in exile for nearly eighteen years until he was pardoned by 
 Charles II. But he was regarded as a dangerous character, 
 and at the discovery of the Rye House Plot was attainted on 
 suspicion of complicity. The only witness against him was the 
 self-confessed traitor, Lord Howard, and though two witnesses 
 were necessary to convict, the notorious Judge Jeffreys garbled 
 the law and condemned him. He was beheaded on Tower 
 
 Hill, 1688. 
 Height, 18 inches; width, 14 inches. 
 
 From THE DvuKe or Mar.sporoucn’s CoLLecTION, BLENHEIM PALACE. 
 
Nie, 
 
SIR PETER LELY 
 
 1617-1680 Y 
 
 35—HENRY SIDNEY (LORD ROMNEY) 
 
 - 
 
 A Companion to the Preceding Picture 
 
 The subject of this portrait was the youngest son of Robert, 
 second Karl of Leicester, and the brother of Algernon Sidney. 
 Born, 1641; died, 1704. 
 
 While the body is in profile towards the left, the head fronts 
 almost full face, with eyes looking towards the right. The shirt 
 lies open at the neck, with collar overhanging the plum-red 
 doublet that is buttoned across the chest by two cords. The 
 sleeve is very full, with a large rosette embroidered on the 
 shoulder. The face, crowned with soft, blond hair that curls 
 to the shoulders, is of great beauty, & propos of which the follow- 
 ing quotation from the ‘‘ Dictionary of National Biography ’’ is 
 interesting : 
 
 ‘*In the summer of 1665 he was appointed Groom of the 
 Bedchamber to James, Duke of York. . . . The promise 
 given when he was a mere boy (and Lely had painted him for 
 his mother) of being extraordinarily handsome had been amply 
 
 redeemed. ’’ 
 Height, 18 inches; width, 14 inches. 
 
 From tue Dvuxe or Mariporoucn’s CoLitection, BLENHEIM Patace. 
 
 — oo m ; -C J : 
 Be. og Pas Se LS lg 
 ers? oo aes OS ALITTLE. 
 
JOSEPH STANNARD 
 
 te ro ror-s8a0 Ly ate 
 
 36—ROUGH SEA 
 
 The water moves across the front of the picture in a series 
 of rollers, olive gray in the hollows, whitish on the lighted 
 edges. Towards the left a boat, with sail down, is being sculled 
 by two rowers, five other figures occupying it. Two gulls 
 hover in the centre, and a spar floats upon the right. Beyond 
 it, in the middle distance, a broad-beamed lugger is coming 
 forward under jib and mainsail. They are tawny-colored, and 
 a Dutch ensign flies at the masthead. Numerous other sail- 
 boats appear in the gray distance, and on the left is a stretch 
 of elevated coastline. Loose cumulus covers the sky, creamy 
 in the lighted parts and slaty-gray in the shadows—an effect 
 full of breezy suggestion. 
 
 Signed S, left lower corner. 
 
 Height, 17 inches; length, 21 inches. 
 
PHILIPPE J. DE LOUTHERBOURG, 
 R.A. 
 
 jp 
 2 
 a 1740-1812 A. sos ian 
 
 87—_LANDSCAPE AND GYPSIES 
 
 On the left of the handsome woodland scene is an oak 
 whose greens are touched with russet tints. Beneath it a 
 fire has been kindled, and a gypsy is kneeling on one side of it, 
 while on the other a figure lies asleep. Their donkeys are 
 resting in the centre of the foreground, and farther to the right 
 on the road which winds back through the wood a hunter, with 
 two pointers at his heels, is leaning forward to kiss a gypsy girl. 
 On the right of this group a shattered tree-trunk rises above the 
 bushes, and in the background of the scene is a mass of delicate 
 bluish-green foliage, which forms a pleasing contrast to the 
 rich, strong color of the foreground. 
 
 Signed at lower right of centre, Pu. pe LourHeRBourG. 
 
 Height, 17 inches; length, 21 inches. 
 
PEETER NEEFS THE ELDER 
 
 Between 1578 and Ge Ce 1656 
 
 yd iat 
 38—INTERIOR OF CATHEDRAL ae 
 
 Reaching back to the altar is a long vista of nave, sur- 
 mounted by ribbed vaultings, with a triforium gallery extending 
 between the clerestory windows and the arches, while the piers 
 that support the latter are decorated with pictures. On each 
 side appears a view of the aisles, and the foreground extends 
 beyond the nave on each side with a small transept. In the one 
 upon the right a barefooted woman with two children by her 
 side stands near a beggar, and behind the group a comfort- 
 ably dressed man leans upon the masonry, gazing at a tomb. 
 Figures are sprinkled over the pavement of the nave; a monk 
 in the foreground being in conversation with two peasants, 
 while farther back another monk in gray is talking to a lady 
 who leans upon the arm of a gentleman and has two children 
 by her side. | 
 
 The picture, painted on copper, is a fine example of this 
 painter’s mastery of architectural perspective. On the back of 
 it is the memorandum, ‘‘ Lot 275. P. Neefs. Bought at Alton 
 Towers for J. M. Threlfall Esq., by Thos. Agnew and Sons.”’ 
 
 Height, 18 inches; length, 23% inches. 
 
 From THE Ear oF SHREWSBURY’S COLLECTION. 
 
SIR JOSHUA REYNOLDS, P.R.A. 
 
 y) 
 a 1723-1792 4 eo vy re 4 
 
 89—PORTRAIT OF MRS. OTWAY 
 
 A dull-blue sky, broken by sooty-gray clouds, surrounds 
 the head, which is inclined three-quarters to the left, the direc- 
 tion of the eyes being towards the front. The profusion of 
 brown hair, touched with gray, is drawn off the forehead, a la 
 Pompadour, with whitish-gray ribbon, piled upon the crown, and 
 arranged in rolls and curls at the neck. The nose is thin, the 
 upper lip rather long, the mouth precise, the chin pronounced 
 and resolute ; a face of some severity, but much womanly dig- 
 nity. A narrow black ribbon is tied in a bow round the neck ; 
 and over a lace chemisette, drawn down to a point on the bosom 
 with a brooch, is a loose bodice of black silk, with the simple 
 adornment of a double bow of narrow velvet. 
 
 Height, 24 inches; width, 1844 inches. 
 
RICHARD WILSON, R.A. 
 
 eta UC. 6. ently 
 
 40O—LANDSCAPE AND RUINS 
 
 In the foreground, patches of blue water appear among 
 rugged brown rocks, and on the right is a tree-stem with twisted 
 limbs and loose bunches of tawny leaves. Beyond it a shattered 
 trunk stands out against a background of brown foliage. Oppo- 
 site this a two-arch bridge crosses the stream, leading to a slight 
 eminence on the left. Here the ruin stands, consisting of two 
 towers, joined by a curtain wall, which is pierced with a row of 
 windows. The light strikes the sides of the towers and illu- 
 mines also the green middle distance, which stretches back to 
 two gray mountains. 
 
 Height, 14 inches; length, 20 inches. 
 
SIR AUGUSTUS W. CALLCOTT, R.A. 
 pee Oo Mats, ve ASA Latin 
 
 1779-1844 
 41—SEA PIECE AND SHIPPING 
 
 The sea is of olive hue, flicking up into silver on the curl 
 of the waves, and whitening towards the horizon. Near the 
 centre rolls a dark-hulled fishing-smack with brown sail, flying 
 the Dutch ensign from her masthead and a blue and white 
 
 ~ pennon from her gaff. In the front is a rowboat with three 
 men in it, two of whom are paying out a trawl. Other ship- 
 ping appears in the offing. A creamy cloud illumined with 
 light hangs in the centre of the sky, and to the right of it is 
 a moving mass of slaty vapor. 
 
 Height, 18 inches; length, 21 inches. 
 
ft 
 
 THOMAS WYCK 
 
 oe 0 6 Clee ? 
 
 42—THE QUACK DOCTOR 
 
 Notwithstanding a tall window to the left, the drab interior 
 is dimly lighted and, with its rows of jars on shelves, accumu- 
 lation of apparatus and numerous figures, presents a crowded 
 appearance. The centre of the scene is the doctor himself, in a 
 black gown edged with fur, who is seated at a table on which 
 a volume of Galen, open at the beginning of the first book, 
 rests against a globe, inscribed with the signs of the zodiac. 
 He leans back to address a young woman who stands behind 
 his chair, with her hands pressed timidly together, while an 
 old woman at her back is making a gesture with her forefinger. 
 In front of the doctor’s table, upon the floor, lie an astrolabe, 
 some jars and phials. In a group to the right are three boys, 
 one of whom holds a pair of bellows.. Behind them in the rear 
 corner of the room some apprentices are preparing medicines 
 at a counter, while on the opposite side of the background a 
 young man sits at a writing-table with a prescription in his hand, 
 on which a boy at his side is gazing. From the ceiling hangs 
 a large cage, on which perches a cockatoo. 
 
 Signed on the leg of the bench, T. W. 
 
 Height, 20 inches; length, 23 inches. 
 
LUDOLFEF BACKHUYSEN 
 
 1631-1708 
 
 Vi 
 
 483—SHIPPING 
 
 The sea is a silvery green, rocking up and down in a smart 
 breeze. Near the centre of the forepart rides a fishing-smack 
 with brown sail, in which are five men. To the left another 
 is heading up to windward, and behind it in the distance 
 a frigate approaches. Upon the left of the composition lies a 
 three-decker, flying the Dutch ensign, with the courses flapping 
 from her lowest yards. Over the horizon are masses of slaty 
 clouds, darker towards the right ; then a stretch of lighter sky, 
 changing to drabbish gray at the zenith. 
 
 Height, 21 inches; length, 27 inches. 
 
 From THE CoLtection oF GENERAL Mackinnon, C.B. 
 
JOHN CROME (OLD CROME) 
 
 DQ 4 pre 1769-1821 ee. 
 ES c Sf y AAI 
 ( 
 
 44—COAST SCENE—MOONLIGHT 
 
 The sky, a luminous olive green, barred with concentric 
 broken rings of cirrus, indigo in hue, grows gradually yellow 
 towards the horizon, where the full moon shows over a bed of 
 dark slaty cloud. Its reflection streams across the gray and 
 brown sea, to a fishing-vessel that looms up on the sand in the 
 foreground, a mass of luminous dark brown. The mast is un- 
 stepped and a sail clings to it, another sail drooping on the sand 
 from a spar. Through the darkness upon the left a dredging- 
 hook is visible, and off to the right, near the edge of the water, 
 two men have kindled a small fire, whose crimson glow affords a 
 beautiful contrast to the pale light around it. In the offing to 
 the left a sail-boat is faintly distinguishable. 
 
 With its rich tonality, fine atmospheric quality and solidly 
 drawn foreground, the picture is a most impressive example of 
 the Norwich master. 
 
 Height, 22 inches; length, 28 inches. 
 
 From THE COLLECTION OF CAPTAIN THURLOE. 
 
——_—s 
 
 ——s 
 
NICOLAS LARGILLIERE 
 
 va) 
 
 rr ae A 
 nae ~Y f toe Or pA 
 ie} IO : 1656-1746 ; of Lanes a at pAEeé- 
 45—PRINCESSE CLEMENTINA SOBIESKI 
 
 This lady was the wife of James Francis Edward Stuart, 
 the ‘‘ Elder Pretender,’’ son of James II., who abdicated the 
 throne of England. Their son Charles in time became the 
 ** Younger Pretender.’’ The exiled family had obtained hos- 
 pitable asylum at the court of Louis XIV. 
 
 The bust is slightly inclined to the left, the head being 
 almost full face. The powdered blond hair clusters in short 
 curls on each side of the brows and is frizzed over the crown, 
 and decorated with a sprig of apple blossom. The silk gown of 
 delicate Nile blue has a turn-over collar, pearly pink, coming 
 down to a low point on the breast, where a crimson flower and 
 golden-brown leaves nestle against the lace of the chemise. 
 Three pearls are fastened to the top of the shoulder, and the 
 sleeve is embroidered with a little pattern in gold. A drapery 
 of old-gold color crosses diagonally behind her back, and over 
 it appears a patch of blue sky. ‘The picture is very lovely in 
 color, and painted with extreme delicacy. 
 
 Height, 24 inches; width, 20 inches. 
 
 EXHIBITED AT THE Stuart Portrait Exursirion, NEw Gattery, Lonpon. 
 
FRANCESCO GUARDI 
 
 Hi pele ER 1712-1798 Be OC | tones 
 
 46—VENETIAN SCENE 
 
 A reach of the Grand Canal extends across the front of the. 
 picture, and in the centre of the background rises the Church 
 of Santa Maria della Salute. Mounting the steps to the 
 entrance and dotted over the wide quay in front are numerous 
 figures, one beside the stairway, which descends to the water, 
 talking to a man who stands in a boat. Other craft lie near the 
 wall to the right, and in the forepart of the water are two 
 gondolas, one containing three women and a man, besides the 
 gondolier. A brown structure stands on the left of the church, 
 and to the right is a stretch of buildings, over the top of which 
 show a campanile and a dome. The sober color scheme is 
 extremely rich in tone, and the character of the scene, both in 
 its architectural features and in the animation of the figures, 
 is represented with delightful spirit. 
 
 Height, 25 inches; length, 30 inches. 
 
 From THE CoL.tectTion oF Lorp FarnuHAmM. 
 
ANGELICA KAUFFMANN, B.A. 
 
 fo 
 
 /) : ? 
 Jb 24.” 1741-1807 Ss e: (ae Lbaged 
 
 47—PORTRAIT OF THE ARTIST 
 
 The romantic temperament of the artist appears in this 
 portrait of herself. The head inclines back on the long slender 
 neck, the gray-blue eyes are raised with an expression of sad 
 longing, and the costume is an elegant adaptation of the 
 Greek. A white veil, blue in the shadows of the folds, lies 
 upon her blond, lightly powdered hair, which falls in ringlets over 
 her forehead and strays in curls on to her shoulders. Round her 
 neck is a gold band with a row of pendants. Her gown is of 
 creamy material, short-sleeved and low-necked, falling over the 
 bosom in a series of festoons, while a bluish-gray mantle, edged 
 with a filigree gold border, drooping from the shoulders, is 
 drawn together in front by her left hand, over which the other 
 is languidly laid. The figure is silhouetted against a dark olive 
 background, gradually growing lighter towards the right. 
 
 Height, 30 inches; width, 25 inches. 
 
 From tHe CoLiEectTion oF Prince Torionta, Rome. 
 From THE Co.LiectTIon oF Ernest Becxettr, M.P. 
 
SIR MARTIN ARCHER SHEE, P.R.A. 
 
 aos OY be Veh 
 48—PORTRAIT OF MISS PEEL 
 
 Daughter of Sir Robert Peel, Bart. 
 
 The child, in a low-necked, short-sleeved, white frock with 
 a pink band round the waist, is seated on the ground in front of 
 a birch trunk and dark rock, beyond which appears a distant 
 view of trees, hill and sky. She holds a rose in her bosom with 
 her left hand, while the other rests on a stone, beside which lie 
 some cherries and corn-flowers. Her face, looking to the front, 
 has the gracious, simple charm of childhood, fresh in color, the 
 white brow crowned with auburn ringlets. A little red shoe 
 peeps from beneath the long skirt. 
 
 Height, 30 inches; width, 25 inches. 
 
 From THE Coniection or E. Hypr-Grec. 
 
a 
 
THOMAS GAINSBOROUGH, R.A. 
 
 1727-1788 
 
 2 ia 
 
 49—PORTRAIT OF LORD DUNDONALD 
 
 Archibald Cochrane, ninth Earl of Dundonald (1749-1881), 
 succeeded to the title in 1778. He was the author of the ‘‘ Ele- 
 ments of Agricultural Chemistry,’’ published by his friend Sir 
 Humphry Davy. 
 
 The figure is clad in a yellowish brown coat, fastened with 
 one button over a white waistcoat and white cravat. The gray 
 wig, painted with extreme delicacy, comes to a point over the 
 forehead and is curled at the side, finishing at the neck in a tie. 
 The brows are strongly defined; the eyes blue; the curved nose 
 of pronounced length and the underlip slightly protruding. The 
 figure, seen against a dark olive background, presents a color 
 scheme of sensitive tonality. 
 
 Height, 30 inches; width, 25 inches. 
 
 From tHe Cortection or Mrs. Coate, Vitta Mavresauz, St. JEAN ve Lvz. 
 
= 
 
 SIR ANTHONY VAN DYCK 
 
 1D fp 
 
 1599-1641 © 
 50—PORTRAIT OF INIGO J ONES git 
 3 Eg y} C, ee Ket aa ee 
 
 The subject of this superb portrait, the architect Inigo” 
 
 Jones, was born in 1572. ‘‘ His name alone,’’ writes Walpole, 
 ‘“‘would save England from the reproach of not having her 
 representative among the arts; she adopted Holbein and Van 
 Dyck; she borrowed Rubens; she produced Inigo Jones.”’ 
 His early promise attracted the notice of William, Earl of Pem- 
 broke, an eminent patron of the arts, who sent him abroad to 
 study in France and Italy. Upon his return he was made gen- 
 eral inspector of royal buildings by James I. Among his prin- 
 cipal works are the Banqueting Hall at Whitehall, the Palace 
 at Greenwich and Greenwich Hospital, the portico of St. Paul’s, 
 and the Royal Exchange. He died in 1651. ‘*‘ Van Dyck,”’ 
 says Cunningham, ‘‘loved him much and painted him often.’ 
 One of these portraits is in the Hermitage, St. Petersburg. 
 
 The present one represents the head and bust facing three- 
 
 quarters to the right. The grand head, impetuous and proud ~ 
 
 in character, with alert gray eyes, that have the iris large, is 
 inclined to the left and slightly raised, a black velvet _skull-cap 
 surmounting the brown ringlets. <A thin mustache trims the 
 upper lip, and the lower slightly protrudes above the white 
 pointed beard. The flesh tones are luminous and glowing with 
 vigorous health. A broad collar of lace falls over the black 
 velvet robe. 
 Height, 25 inches; width, 21 inches. 
 
 Parntrep For tHE Mippertron FAmity or STOCKELD PARK, NEAR WETHERBY, YORK- 
 SHIRE (vide “Country Famities or ENGLAND”). It passep to Dr. HaicH, or THor- 
 PARCH, THEN TO Mr. W. Howearte. 
 
 EXHIBITED AT THE VAN Dyck ExursiITioN IN THE GROsVENOR GALLERY, LONDON. 
 
 a 
 
 Ee ee a a ee 
 
 ——- 
 
 Sr 
 
— 
 
‘ ee 
 
 Ee ; Sw ae 
 bo Wid) 
 
 OE Rp ete 
 
JOHN HOPPNER, R.A. 
 
 Be sie 1759-1810 & a Ai 
 ire Ry (Pk aM Jerre heenier 
 
 $1—-CHILD WITH BASKET OF FLOWERS 
 
 Against a leafy background, with hollyhocks growing on 
 the right, a little girl in a white frock is seated on the ground, 
 holding up a basket filled with flowers. Her smiling face is 
 inclined over her left shoulder and encircled with the curving 
 brim of a white beaver bonnet tied under the chin with satin 
 ribbons. The frock, low on the neck and short-sleeved, is con- 
 fined round the waist with white ribbon, and below the skirt 
 appear her little yellow shoes over white stockings. 
 
 Height, 36 inches; width, 28 inches. 
 
 From THE Correction or Hon. W. F. B. Massey-Marnwarine, M.P. 
 
CHARLES ANDRE VAN LOO 
 
 (CARLE VANLOO) 
 
 e aS 5 a 1705-1765 Vn OE Ce 
 
 52—LADY MARY WORTLEY MONTAGU 
 
 A daughter to the Earl of Kingston, and second cousin on 
 her mother’s side to Fielding, the subject of this portrait, even 
 in childhood, was a favorite of society for her wit and beauty. 
 In 1716 she married without her father’s consent Kdward Wort- 
 ley Montagu, and accompanied him to Constantinople, where 
 he was ambassador to the Porte. Upon her return to England 
 in 1718 she had a bitter quarrel with Pope, who had been her 
 friend. In 1789 she left her husband and resided chiefly in 
 Italy, dying, however, in England in 1762. She is remembered 
 for her brilliant letters written during her travels, published by 
 her great-grandson, Lord Wharncliffe, in 1837. 
 
 The lady is dressed in Turkish costume, the figure, seen 
 to the waist, being almost full face. A turban of soft gray ma- 
 terial sprigged with cream, with a veil at the back, is set upon 
 her dark hair, which is brushed off her forehead in curls, and 
 hangs down in a long plait over the right shoulder. The head 
 is inclined to the left with a suggestion of coquetry, that is con- 
 tradicted by the large brown eyes, wide apart and far-reaching 
 
in their gaze, but echoed in the dainty tilt of the nose and 
 in the delicate expression of raillery in the little, flexible lips. 
 She wears pearls in her ears and a chain of slender gold links 
 round her tapering neck. The folds of a citron-colored robe are 
 crossed over her bosom, and kept in place by a scarf-belt, fas- 
 tened with a buckle of two large disks. An olive-gray cloak, 
 edged with white fur, hangs from her shoulders. 
 
 The remarkable personality of the subject lends an interest 
 to this portrait, which is also a good example of a painter highly 
 honored in his day both in France and Italy. 
 
 Height, 29 inches; width, 20% inches. 
 
 From tHe Bown Coriection, Curistiz’s, 1885. 
 From tue Cortrction or Hon. W. F. B. Massey-Matnwanrine, M.P. 
 
AELBERT CUYP 
 
 3 rae wma Jt Dp 
 
 58—PORTRAIT OF A GENTLEMAN 
 
 The fine head, covered with dark brown hair that curls up 
 over the ears and round the back of the neck, fronts three-quar- 
 ters to the left, the figure being shown nearly to the waist. 
 The face has the ripe colors of health, with light brown 
 eyes looking to the front, and a brown mustache and beard, 
 the latter clipped short to the cheeks and to a point below the 
 chin. A broad collar, formed of layer upon layer of thin white 
 cambric, falls over a black cloth robe with large arm-holes, 
 showing the drab sleeves of the undergarment. On the edge of 
 the robe, where it opens down the front, the left hand is lightly — 
 laid. The portraits by this artist are rare, and the present one 
 is an unusual example of his amazing versatility. 
 
 Height, 27 inches; width, 22 inches, 
 
eae. aa 2 
 
 GEORGE: BARRET, R.A. 
 
 ‘ 1728-1784 | . oe 
 jam A CO Ltrtm 
 
 54—LANDSCAPE 
 
 The scene is the level sward of a park studded with beech 
 trees. ‘Two stand in the foreground, and a little farther back, to 
 the right of them, is a fallow doe suckling her fawn, which lies 
 beside her-. To the left of the trees an open space of grass 
 stretches to a clump of trees, near which are two. stags, while 
 under the trees that bound a farther glade appears a flock of 
 sheep. ‘The foliage has the pale golden hues of early autumn. 
 
 Height, 25 inches; length, 30 inches. 
 
RICHARD WILSON, R.A. 
 
 In this rare example of Wilson’s art as a figure painter, the 
 white-frocked figure of a little girl is seen half length, profiled 
 against the landscape, while her face is three-quarters to the 
 front. Her left hand, lifted to her bosom, holds a bird’s nest, 
 over which the other hand is placed like a lid. Below appears 
 the brown and white head of a spaniel, looking up. The 
 child’s light brown hair is drawn up into a knot on her head, 
 a fringe of soft wisps spreading over the forehead. The sweet 
 little face, so earnest and childlike, has blue, dreamy eyes, 
 freshly colored cheeks, and a pretty purse to the lips. She is 
 standing on a slope of brown meadow under the foliage of two 
 beech trees, one of which has a patch of light on its trunk, just 
 to the right of the child’s head. 
 
 1714-1782 
 
 rahe BrP 
 
 55—GIRL WITH BIRDS NEST 
 
 Height, 30 inches; width, 25 inches. 
 
SIR PETER LELY 
 
 1617-1680 
 
 rn AU LikrtiEr 
 
 56—CHILD AND DOG 
 
 In this very charming picture a little girl is represented 
 with her left hand on the neck of a pointer. The figure, seen to 
 the waist, is placed against a dark olive background, which is 
 reduced to an oval by a framing of warm brown color. A lace 
 cap fits closely to the head, leaving a row of yellow curls, which 
 surround the forehead. The cheeks are rosy with health, and 
 the blue eyes glance frankly to the right. <A string of pearls 
 encircles the neck. The child is dressed in a trim gown of 
 French gray satin, with an embroidery of gold and blue upon 
 the sleeve, and an apron-like arrangement of lace on the body. 
 
 Height, 30 inches; width, 25 inches. 
 
 From THE CoLttection or E. ArrKEN, STANFIELD CoLLece, TopMorRDEN. 
 
JOHN OPIE, R.A. 
 
 SD aes ro 1761-1807 ia te 
 
 57—PORTRAIT OF MRS. POPE 
 
 This lady is Mrs. Elizabeth Pope, the first wife of Alex- 
 ander Pope, the actor and miniature painter. She was a 
 popular actress, and her portrait was painted by Dupont, Dance, 
 Wheatley and others (1744-1797). 
 
 The lady, a handsome brunette, sits with her right elbow 
 on a table, and her hand lightly clasping the tress of golden- 
 brown hair that lies upon her shoulder. A trim white handker- 
 chief is strained over her head and fastened under her chin, the 
 beautiful hair falling from it in a wave low down over the fore- 
 head. The features are strongly defined, and the complexion 
 is dark, with ripe, warm color. The plain white gown, low- 
 necked and clinging to the bosom, is shown as far as the knees. 
 The figure, inclined slightly to the right, with the left arm lying 
 along the side of the dress, is relieved against an olive-brown 
 background. | 
 
 Height, 30 inches; width, 25 inches. 
 
JOHN BERNAY CROME 
 
 > 
 
 1798-1842 
 a 5 
 
 58—RIVER SCENE—MOONLIGHT 
 
 The upper sky, especially towards the left, is hooded with 
 dark vapor, while the moon rises above a cloud near the horizon. 
 Its light floods a distant basin of water, bounded at the back 
 by mountains, and streams through a narrow entrance between 
 rocks into the sheet of water in the front, where it fans out over 
 the surface. The conspicuous feature of the scene, however, is 
 the narrow entrance, the slopes of which are covered with piled- 
 up buildings on the left, and on the right with towered struc- 
 tures, while the bank on this side curves round to the front, 
 slender birch stems rising out of its luminous shadow. The 
 water is dotted with boats ; one, in the front of the picture on 
 the right, containing two figures, laying a net. 
 
 Height, 22 inches; length, 35 inches. 
 
FRANCOIS HUBERT DROUAIS 
 
 1727-1775 
 Poa eo Autthroaie 
 
 59—PORTRAIT OF BUFFON 
 
 The subject of this portrait is George Louis Leclere Buffon 
 (1707-1788), the celebrated naturalist and philosopher, whose 
 ** Natural History ’’ and ‘‘ Epochs of Nature’’ gave a new and 
 important direction to the study of the natural sciences. He 
 was a member of the French Academy, and received from the 
 king the title of Comte de Buffon. 
 
 The massive globe-like head is covered with a tightly fit- 
 ting white wig, coming to a point over the magnificent forehead 
 and curled in a single roll over each ear. The gray eyes have 
 an expression of quiet, earnest directness; the mouth is firm and 
 kindly, the face full, with large under-chin. Round the throat 
 is a neat turn-over collar of soft white material, from which the 
 cravat-ends hang low down over a coat and waistcoat of pale 
 ruby velvet. The figure is seen as far as the elbows, posed 
 three-quarters to the left before a red curtain. Though painted 
 in a somewhat precise manner, the portrait is handsome in com- 
 position and full of force and life. 
 
 Height, 30 inches; width, 25 inches. 
 
= 
 
co x 2 
 Fag 3 eT OUD tho 
 
MLLE. PHILIBERTE LEDOUX 
 
 Nhe 
 
 60—LADY IN A WHITE DRESS 
 
 In an Empire gown of creamy white material a young lady 
 sits sideways before a pale drabbish green background, turning 
 her face towards the left shoulder, and poising on her right hand 
 a tress of golden-red hair. Her left arm is held behind her, 
 covered below the elbow with a gray, gauzy veil. A silk ribbon 
 encircles her head, a band of gold her waist and a narrower 
 band her sleeve, on which is clasped a gold-mounted jewel. 
 
 Height, 30 inches; width, 25 inches. 
 
NICOLAS LARGILLIERE 
 
 1656-1746 
 oe Z A Onetyaaa 
 
 61—PRINCESSE DE CONDE 
 
 The figure is shown half length, facing three-quarters to the 
 left, seated in a chair, over the back of which hangs a crimson 
 drapery. The blond hair, powdered and curled, and softly re- 
 lieved against the dark olive background, is brushed back so as to 
 leave the beautiful forehead exposed, except for a single curl. 
 She holds a carnation to her breast, and a bunch of roses and 
 jessamine upon her lap. Her grayish white gown is cut in a circle 
 round her shoulders and neck, bordered by a flounce of Flanders 
 lace that falls in a rivulet down the bodice, and also decorates 
 the short full sleeves. The latter is gathered up by a dark blue 
 jewel set in gold, a similar ornament decorating her breast, 
 while smaller jewels appear at intervals in the lace below. 
 
 Height, 30 inches; width, 25 inches. 
 
FREDERICK WATTS 
 a AS gar sie Se ag Uvtfrin~wi_ 
 
 62—LANDSCAPE AND COTTAGE 
 
 A river occupies the left of the foreground and reaches to 
 the middle distance, where it bends to the right, passing at that 
 point the left bank, on which cottages, with high-pitched drab 
 roofs, appear among the trees. In the farthest distance are 
 misty blue hills; nearer, a village of red roofs and a white 
 church tower; still nearer, cattle are feeding under some elms, 
 whence the pasture widens towards the front, edged upon the 
 right by a row of trees. It is terminated by an old stone wall 
 with an irregular opening leading to the immediate foreground 
 on the right, where a cottage stands, in front of which, upon the 
 riverside, a boy is lying; another kneels behind him, and a child 
 in white is also kneeling—all of them intently examining the 
 contents of a fishing-net. 
 
 Height, 25 inches; lengih, 34 inches. 
 
JAMES WARD, R.A. 
 gb.” wroo-10000, 0 U [eb borored 
 
 63—HORSES—MORNING 
 
 In his earlier pictures Ward imitated the style of his 
 brother-in-law Morland, and his pictures have frequently been 
 sold as examples of the latter. 
 
 Filling the centre of the background is a drab-boarded, 
 thatched stable, in the open door of which appears a carter at 
 the head of a brown horse. Outside, across the picture, stands 
 a white one, and harnessed to it is a light bay, the latter facing 
 away from the front, towards a meadow on the right, where a 
 cottage shows against the faint mass of a distant hill. Their 
 cruppers are decorated with red and white fringe. 
 
 The heavily framed horses are drawn with finely generalized 
 truth, and the picture has considerable charm of mellow color. 
 
 Height, 22 inches; length, 28 inches. 
 
JAMES WARD, R.A. 
 
 64—HORSES—EV ENING 
 
 At the end of the day’s work in England the carter takes 
 his horses to the farmyard pond. The latter is represented in 
 the picture, extending across the foreground, and in it stand 
 three horses. The centre of the group is a white horse, at 
 whose head is a brown one, while the back and quarters of a 
 bay show in the rear. On the white horse sits an old man in 
 yellow jacket and reddish-brown breeches. A _ gabled shed 
 stands among the trees on the opposite side of the pond, and to 
 the right is a mass of distant hills. The scene is pervaded with 
 the warm glow of the evening light. 
 
 Height, 22 inches; length, 27 inches. 
 
 7 1769-1859 "Aa gre GE 
 
SIR WILLIAM BEECHEY, R.A. 
 
 1753-1889 
 fPa MW Sear te 
 
 65—JAMES, EARL OF CARDIGAN 
 
 On the back of the canvas the following is lettered with a 
 brush: ‘‘ James, Earl of Cardigan, Constable and Governor of 
 Windsor Castle, and Keeper of the Privy Purse to the King, 
 etc., February, 1798.’’ 
 
 The portrait represents a large and he heavy-featured 
 gentleman in a blue coat and white waistcoat, sitting in a red 
 upholstered armchair, with his hands laid upon his knees, the 
 left holding a snuffbox. The figure is seen as far as the waist, 
 turned towards the right, while the head is somewhat inclined 
 to the front, and the blue eyes look straight out of the picture. 
 The gentleman wears a gray wig, slightly pointed over the fore- 
 head and bushy above the ears. The collar and cuffs of the 
 coat are rose-colored and embroidered with gold lace, and frogs 
 of gold lace are stitched under the buttons down the front and 
 above the wrist of the sleeve. 
 
 Height, 36 inches; width, 28 inches. 
 
SIR THOMAS LAWRENCH, P.R.A. 
 
 . es i 
 ae 1769-1880 ra oc bs ey. 
 o a i ‘ T Li Zee 
 
 66—PORTRAIT OF MISS MARIA SIDDONS 
 
 The subject of this picture was the daughter of the cele- 
 brated actress. Dressed in white, she leans her folded arms 
 upon a balustrade, a crimson drapery hanging in a loop from 
 her left shoulder to her waist, so as to leave the right hand 
 exposed. The bust is seen, nearly in profile, against a dark sky 
 of drab tones, with a glint of indigo in the upper left corner and 
 a touch of light over some trees on the horizon. Her head, piled 
 
 . with soft yellowish brown curls, some of which lie over her fore- 
 head, is held a little back towards a column in the background, 
 as she turns to the spectator with a smile. The circular neck of 
 her dress is trimmed with a gold edging, and the short sleeves 
 terminate above the elbow in a bracelet studded with blue and 
 red stones. 
 
 Height, 30 inches; width, 25 inches. 
 
GILBERT STUART 
 
 J ae Se de C ite 
 
 67—PORTRAIT OF JOHN FOTHERGILL, M.D. 
 
 In the grave dignity of the whole composition, and in the 
 masterly painting of the head and hands especially, this portrait 
 is a superb example of Stuart’s art. The subject, also, is one 
 of peculiar interest. Of Quaker stock, born in Wensleydale, 
 Yorkshire, and educated at Edinburgh, Dr. Fothergill became 
 one of the most successful physicians in London. He had 
 family connections with the American Colonists, and, when 
 troubles began to arise between them and the mother country, 
 made patriotic efforts to produce a better feeling, writing a 
 pamphlet entitled ‘‘ Considerations Relative to the North Amer- 
 ican Colonies ’’ and associating himself closely with Franklin. 
 The two became firm friends, and Franklin’s words, on hearing 
 of Fothergill’s death, were, ‘‘I can hardly conceive that a better 
 man ever existed.’”’ 
 
 The subject, seen to the knees and almost full face, is 
 seated in an armchair covered with Spanish leather, the strong, 
 placid head and the erect figure in its severe drab costume being ~ 
 outlined against a dark brown background. The gray wig is cut 
 square across the forehead, lying trim and close to the head and 
 curled at the side in a series of horizontal rolls. The eyebrows 
 
ae AST eT 
 a IP TS 
 
are straight and delicate, with breadth of space between the blue 
 eyes; the nose is long and pronouncedly aquiline, and the mouth 
 wide, with mingled sweetness and decision. An open volume 
 lies upon the knees, covering the left hand, while the right is laid 
 against the leaves. 
 
 It is doubtful if Stuart ever painted anything finer than this 
 portrait, masterly in technique, so sympathetic and discerning 
 in its rendering of character. 
 
 Height, 36 inches; width, 28 inches. 
 
 From THE CoLiection oF Mrs. Ancvus. 
 THIS PICTURE IS MENTIONED IN Bryan’s “ Dictionary oF PAINTERS.” 
 
SIR GODFREY KNELLER , 
 
 -, 
 
 —, «+f 1646-1728 Yee 
 ce oA has GA Mee 
 68—LADY CATHERINE WYNDHAM . : 
 
 As an inscription written in the lower right-hand corner of 
 the picture testifies, this lady was ‘‘ daughter to Charles, Duke 
 
 ~ of Somerset,’’ the sixth of his house, popularly known as the 
 ‘*Proud Duke of Somerset.’’ She was the wife of Sir W. 
 Wyndham, Bart. 
 
 In front of a dark curtain and the suggestion of a tree and 
 of dull slaty sky the figure faces us in a robe of ruby velvet, the 
 body of which is formed by two folds, overlapping at the waist - 
 and displaying in their angle a lawn chemise. The sleeves are 
 loose, and caught up in pleats over a full undersleeve bordered 
 with a flounce. The lady’s left hand rests on a plum-colored 
 cushion, decorated with a border and tassels of silver bullion, 
 while her right arm is extended downwards with the hand spread | 
 out in a gesture of affected elegance. Heer head inclines slightly - 
 towards her right shoulder, surmounted by dark hair which is 
 brushed close and gathered into a knot behind the left ear and 
 at the back of the neck. A soft wisp strays over the brow and ~ 
 another appears coquettishly on her right shoulder. ee 
 
 Height, 32 inches; width, 28 inches. 
 
 From THE CoLLECTION OF THE DUKE oF BUCKINGHAM AND CHANDOS, STOWE. 
 
fe 4 ‘ 
 Lidl Catherine 
 v4 OF 
 AURARANL —i/ a 
 
 UY 
 t» Charles Duke 
 
 SONAL EA 
 
Saptinn 
 
ale 
 & 
 
 ve Wy 
 
JAMES STARK 
 
 ee, 1794-1859 - Le Z te Ji Sa ea 
 
 69—WINDSOR PARK 
 
 In the lane, through the park, a woman in a red dress 
 looped up over a brown petticoat, with a basket on her arm, 
 stands talking to a man who sits upon a white horse. A. black 
 dog, with white muzzle, stands to her right, and in front of the 
 horse are clustered some sheep. Others have straggled ahead 
 and are standing in a little pool of shallow water, while three 
 are moving almost at the end of the lane, beneath an arch of 
 two trees, which frame in a distant view of brown roofs. On 
 each side of the roadway is a sloping bank, covered with grass 
 and fern, and crowned with clusters of young beech trees. 
 Three stems are prominent on the right, backed by a wooden 
 fence, over the top of which is a thick growth of trees. The 
 path is barred with alternate light and shadow. 
 
 Height, 28 inches; length, 36 inches. 
 
FRANCIS WHEATLEY, R.A. 
 hie 1747-1801 tA 
 es a 2 Lrivil¢ 
 
 70—COTTAGE EXTERIOR 
 
 A white cottage, with thatched roof projecting upon 
 brackets over the casement, stands on the right of the picture; 
 roses grow over it, and a mass of brown leafage overhangs the © 
 roof. In the doorway stands a woman with her baby, and by 
 her side is a child blowing a trumpet. To the left of them 
 a girl is hanging clothes upon a line. On the opposite side 
 of the doorway a man stands watching a woman as she plies 
 her flax-wheel. In the centre of the foreground a girl in 
 crimson petticoat balances a basket on her head. Behind her, 
 on the left of the picture, is a circular well-head, on which a 
 rooster is perched. 
 
 Height, 50 inches; length, 68 inches. 
 
SIR GODFREY KNELLER 
 
 1646-1728 oA 0 
 = ro L / ] 
 oS SIZ. a go. ay 
 
 71—PORTRAIT OF QUEEN ANNE V 
 
 The queen is represented full length, standing with her right 
 elbow on a truncated column that is covered with a mauve silk 
 cloth, embroidered and fringed with gold. On it rests her crown. 
 With her left hand she lifts her crimson cloak, so as to reveal its 
 ermine lining. It is worn over a loose silk robe of lapis-lazuli 
 blue, that masses itself in free folds upon the floor. The robe 
 meets low down upon the bosom, its edges adorned, like the 
 chemise, with Flanders lace, while the open sleeves are caught 
 together with jewels over the white silk under-sleeve, which is 
 looped up to the elbows. The face is crowned with clusters of 
 black curls, a big one allowed to droop over each shoulder and 
 a tight little twirl adorning each side of the forehead. Pearls 
 depend from the ears and are strung round the neck, and a large 
 brooch is fastened on the breast. A toy terrier is gambolling at 
 the base of the column. The figure is seen against a mass of 
 olive-brown masonry, with a bush of crimson roses on the right, 
 beyond which, in the distance, is a view of Windsor Castle, 
 framed in by trees. 
 
 The picture is chiefly the glorification of a superb costume, 
 rendered, however, with an elegance and verve that represent 
 the painter at his best. 
 
 Height, (7 inches; width, 57% inches. 
 
 From THE CoLLEecTION oF Lorp RANELAGH. 
 
JOHN SINGLETON COPLEY, R.A. 
 
 ‘CHILDREN 
 
 oo 1737-1815 
 he Olan, 
 
 “| 
 
 72—PORTRAIT OF THE PELHA 
 
 The three children are grouped out of doors beside a steep 
 bank, on which an apple tree grows among some bushes. On 
 the left stands a little girl whose face and blond curls are 
 framed in the large circular brim of a blue hat decorated with 
 blue and white feathers. With both hands she holds up the 
 skirt of her white dress so as to form a pocket, in which lie some 
 apples. She wears a blue sash, while red slippers show below 
 the long petticoat. To the right of her, the older of the two 
 brothers, perched on the bank and holding to a bough, is handing 
 down to her another apple. He is dressed in a dull crimson 
 suit with a large white frill round the neck. The little boy 
 is in act of climbing up the bank, turning his head at the 
 moment to look to the front. His suit is of dull yellow, set 
 off with a blue sash. On the left of the foreground a white 
 hat with a band of blue ribbon lies upon the grass. 
 
 Height, 92 inches; width, 58 inches. 
 
 From tHe Corttection or Mrs. Daves. 
 
tis 
 
 <— ‘ 
 
ROR aa: lied, sag 
 
WILLIAM COLLINS, R.A. 
 
 1788-1847 a ; ot) 
 
 fof 70. °? 0. fF. ores 
 
 73—HARVEST SHOWERS - 
 
 - 
 
 In this landscape, the largest that Collins ever painted, the 
 horizon is piled with whitish cumulus, and the gray expanse 
 above is streaked with shreds of distant rain-mist from a sooty 
 overhanging cloud. The light falls variously over the landscape, 
 which is intersected by a little river. In the foreground the 
 water and the right bank are in deep shadow, and the cool green 
 meadows, which stretch away to a great distance, are barred 
 with pale yellow, while the opposite shore is bathed in warmth. 
 On a log by the riverside a man in his shirt sleeves sits, baiting 
 a hook, and behind him a woman and a boy, carrying sheaves, 
 are approaching under the branches of a brownish-green tree 
 on their way from gleaning in a golden wheat-field, where the 
 harvest is being gathered up. ‘The field is bounded by a hori- 
 zontal strip of trees, among which a spire and red and white 
 cottages appear. Beyond them the ground rises to a point and 
 slopes gradually to the left, and in the farthest distance lies a 
 range of hills. 
 
 Signed near the stile, on the left, W. Coins. 
 Height, 40 inches; length, 64 inches. 
 
 From THE CoLLEcTION oF Mr. Isaac M. Curriz, 
 
JOHANN ZOFFANY, B.A. 
 
 4) 
 eee 1733-1810 (~ 
 ce ae ( fis Lita 
 
 74—PORTRAIT OF MOZART THE ELDER 
 
 Leopold Mozart, the subject of this portrait, father of the 
 great composer, and himself a violin-teacher, visited England 
 in 1764, when the boy genius was eight years old, and remained 
 until late in 1766. By this time Zoffany, who had arrived in 
 1758, was in great repute as a portrait painter. 
 
 Seated in an alcove, from which stretches back a long 
 salon of the old Kew Palace, the gentleman is seen full length, 
 the left elbow resting on a table and the fingers held against 
 the cheek. He wears a gray wig, smooth upon the top and 
 rolled over the ears; a coat of dark blue velvet, the edges 
 bordered and cross-strapped with gold braid; a stiff collar, and 
 lace cravat hanging half way down the blue satin waistcoat; 
 black velvet breeches and white silk stockings, and black velvet 
 shoes with silver buckles. Among the various objects on the 
 table is a beautifully painted violin. 
 
 The figure is uniformly lighted with cool, clear light, but 
 through the high windows of the salon, sunshine strikes in 
 patches on the floor. Between the windows are console tables, 
 with tall mirrors above them, which reflect the pictures upon 
 the opposite wall, and in one case a window with a garden 
 beyond. 
 
 Height, 64% inches; width, 50 inches. 
 
 From THE CoLLecTION oF GENERAL Mainwarinc, THe Ovp Patace, RicHMoND, 
 SurRREY. 
 
 i ee. SO 
 ie oF ok 
 
eee 
 
SECOND NIGHT’S SALE 
 FRIDAY, FEBRUARY 2%th 
 
 PROMPTLY AT 8.30 O’CLOCK 
 
 AT MENDELSSOHN HALL 
 
 FORTIETH STREET, EAST OF BROADWAY 
 
RALPH ALBERT BLAKELOCK 
 
 a cad Contemporary Fa ps Poy enna / 
 %5—SMALL LANDSCAPE 
 
 On the left of the foreground are two slender trees, leaning 
 towards the centre, while on the right rises a small mound 
 crowned with a thicket of trees and bushes. Farther back lies 
 a pool of water enclosed within irregular banks, and beyond it 
 stretches a flat vista sprinkled with trees. The sky is gray, 
 with flusters of creamy-white clouds. 
 
 Signed at the right, R. A. Buaxetocx. 
 
 Height, 634 inches; length, 10 inches. 
 
WILLIAM GEDNEY BUNCE 
 
 j Contemporar Ly \4 
 bay fees eek fe OF ara 
 76-—ENTRANCE TO THE GRAND CANAL—SUNSET 
 
 Water Color 
 
 Seen across a long stretch of water that reflects the orange 
 and primrose hues of the setting sun, two campaniles stand up 
 like sentinels, one on each side of the entrance to the canal. 
 They are flanked by towers, roofs and domes; San Marco and 
 Santa Maria della Saluta showing faintly in pale purple shadow 
 against the horizon. A white sail is just visible in the entrance, 
 and to the right a rosy-colored one. The upper sky, gradually 
 paling towards the zenith, is lightly streaked with rosy wisps of 
 vapor. It is a charming little specimen of Mr. Bunce’s very 
 
 individual style. 
 Signed at the left, Wm. Gepney Bunce, VENICE. 
 
 Height, 13% inches; width, 94% inches. 
 
WILLIAM KEITH 
 
 ” ie alg fo. & /Farc(_ 
 
 Contemporary 
 %7—LANDSCAPE WITH POOL AND CATTLE 
 
 On the right of the foreground is a slip of dark olive, grassy 
 bank, beyond which a pool stretches to a handsome clump of 
 trees. A meadow on the left, raised above the level of the 
 water, extends to another group of trees, near which four cows 
 are feeding. The horizon is misty, the whitish sky above being 
 dappled with tufts of claret-colored cloud. Very sketchily and 
 boldly executed, the little picture is exceedingly impressive. 
 
 Signed at the left, W. Kerru. 
 
 Height, 10% inches; length, 21% inches. 
 
RALPH ALBERT BLAKELOCK 
 
 Contempor f) 
 p> See | J. (0 rie 
 
 78—AUTUMN LANDSCAPE 
 
 On the right a noble hickory rears up its tall, straight trunk, 
 topped with a fine bunch of foliage. Its bark is beginning to 
 peel off in lateral strips, as also is that of two smaller stems 
 which lie across the grass and fern in the foreground. A little 
 farther back, on the left of the glade, rises a knoll surmounted by 
 two trees, whose slender trunks show against a bush of yellow 
 leaves, opposite to which the sprinkled foliage of a young maple 
 has turned to crimson. At this point the ground descends 
 abruptly, and one sees, low down and extending to a great dis- 
 tance, a level plain, spotted with a sheet of water, and bounded 
 on the horizon by a gray, smoothly rounded hill. Above it the 
 sky is pale and hazy, but mounts by degrees to the delicate blue 
 of a thrush’s egg. 
 
 Full of the mellow quiet of an autumn afternoon, the 
 picture in its color scheme, as bold as it is sensitive, represents a 
 particularly beautiful example of this artist. 
 
 Signed at the left, R. A. BLaKELock. 
 
 Height, 20 inches; width, 16 inches. 
 
JOHN CROME (OLD CROME) 
 a oe ates 
 
 79—VIEW NEAR NORTH ELMHAM 
 
 A beech trunk lies in the foreground, and from it extends 
 a stretch of grass, along which a woman in red skirt, followed 
 by three children, is approaching a cottage. The latter, covered 
 with white plaster, luminous in the warm evening glow, has a 
 high-pitched roof, and a tall chimney built up from the ground. 
 There is a cluster of foliage near it on the right, and on the 
 opposite side appears a distant view of sunlit meadow, bordered 
 with trees. The approach to this is narrowed by a bank on the 
 left of the picture, which is crowned with trees. In its sweet- 
 ness of color, richness of tone and truth, the picture worthily 
 represents this genuine student of the simple countryside. 
 
 Height, 12 inches; length, 17 inches. 
 
 1769-1821 an oir a 
 
RICHARD WILSON, R.A. 
 
 ee 1714-1782 we /t- thea 
 
 80—TIVOLI LANDSCAPE 
 
 This smaller picture represents, from a somewhat different 
 point of sight, the same subject as in the larger landscape of 
 the Warren Collection, recently dispersed. In the foreground is 
 the same low wall surmounted by a wayside shrine. Beyond 
 it on the left rises the steep declivity crowned with buildings, 
 among which appears the temple of Vesta, near two poplars. 
 At the right of the foreground is a sloping bank, on which the 
 light strikes, smiting with particular brilliancy the white shirt 
 of a man who stands by a reclining figure. Behind them rise 
 a rock-pine and three small trees. In the middle of the pic- 
 ture a level plain extends to a distant horizon under a grayish 
 blue sky swept with white-rimmed clouds. 
 
 The little canvas has the dignity of composition and sweet 
 placidness of feeling that characterize the artist’s more impor- 
 tant works. 
 
 Height, 14% inches; length, 17% inches. 
 
BENJAMIN WEST, P.R.A. 
 
 oa 
 Ly P 
 
 1788-1820 (2. ie fe 
 
 Lh dS 
 81—AGRIPPINA 
 
 Water Color 
 
 The subject represented is the procession of Agrippina with 
 her children and ladies through the Roman camp, where the 
 soldiers were in a state of mutiny. 
 
 Agrippina, with a baby in her arms and a child clinging to 
 the skirt of her robe, is represented in the centre, while behind 
 her stand two maidens with linked arms, one of whom holds 
 her hand over her face. <A soldier kneels at her feet, and 
 another, to his right, leans upon his shield, bowing his hel- 
 meted head over his arm. On the left is a separate group, 
 soldiers raising up their hands to heaven, a man straining forward 
 with bent body, his head to his hand, and two figures kneeling, 
 with their eyes fixed upon the central figure. 
 
 The sketch is executed with a pen, and washed in with 
 tones of sepia, pale rose and blue. 
 
 Signed at the left, B. West, 1785. 
 
 Height, 16 inches; length, 24 inches. 
 
JOSEPH MALLORD WILLIAM 
 
 TURNER, R.Ac @ 
 
 Eos li ae 
 
 1775-1851 
 
 82—LAGO DI MAGGIORE, LOCARNO 
 
 Water Color 
 
 Save for a little loop of land on the left of the front, where 
 three tiny figures stand, the gray water stretches clear across the 
 picture, extending back to a horizontal shore line. Here, to the 
 left of the centre, are two white buildings near together, and to 
 the right a single one; all three reflected in the lake. Behind 
 them succeeding ranges of hills slope down from right and left, 
 stopping abruptly in a gorge which winds back through the centre. 
 Beyond this rises a broad, high mountain. Quite indescribable 
 is the delicate transparency of this little picture, so minutely 
 refined, and yet so spacious in suggestion and grand in feeling. 
 
 Height, 5 inches; length, 7 inches. 
 
oo 
 
 Be re ’ 
 
 yok 
 
 0% 
 ? 
 1 
 \ 
 ‘ 
 - 
 ‘ 
 “ 
 “* 
 y 
 ‘ 
 1 
 ‘ 
 
JOSEPH MALLORD WILLIAM 
 TURNER, R.A. 
 
 a a 1775-1851 a eae 
 
 88—LAGO DI MAGGIORE, PALLANZA 
 
 Water Color 
 
 In this exquisite little picture two figures are traversing the 
 road on the left of the foreground, where a single ash raises its 
 tall stem and spreads its tawny foliage against the sky. The 
 road skirts the lake, which stretches back in a broad sheet of dull 
 blue water, bordered on both sides by gently rising mountains. 
 At the end of the lake the little town occupies the level shore. 
 Immediately behind it is a wooded eminence with a building on 
 the summit, and beyond it show successive ranges of pale gray 
 and blue mountains. Most pure and delicate in color, mingling 
 precision and broad simplicity, the picture has a charm of crafts- 
 manship and suggestion of space and distance that are extraor- 
 dinary. 
 
 Height, 5 inches; length, 7 inches. 
 
RAPHAEL 
 
 aed (RAFFAELLO SANZIO 2 
 LGLE: XQ , 
 :, : DECTVWN 
 1483-1520 
 
 84—ORIGINAL STUDY FOR RAPHAEL’S FAMOUS 
 PAINTING, “THE ENTOMBMENT”’ 
 
 This gem of rare value, executed in sepia, on vellum, is the 
 original study for Raphael’s picture of ‘‘ The Entombment’’ in 
 the Borghese Palace. 
 
 On the background of rock 1s inscribed, in Hebrew charac- 
 ters, the text from the Gospel commencing, ‘‘ He went to 
 Pilate, and begged the body of Jesus.’’ Joseph of Arimathexa 
 is seen at the head of the hewn tomb, with his hands under the 
 Saviour’s armpits, as the disciples Peter and John lower the 
 body by means of a white linen cloth. In the foreground 
 the Magdalen kneels to kiss the feet, her hair streaming on 
 the ground. Beyond the figure of Peter, on the left, a woman 
 stoops beneath the Christ’s arm, which she has passed over 
 her shoulders, holding His hand in hers. Behind her, another 
 woman sustains the drooping form of the Virgin. 
 
 Notwithstanding the smallness of the figures and the free- 
 dom of the brushwork, the character of each person, his or her 
 share in the incident, and separate kind of emotion are rendered 
 with a completeness and a degree of reverential tenderness 
 
indescribable. In the grandeur of suggestion, also, the diminu- 
 tive scale is forgotten. 
 
 Height, 6 inches; width, 5% inches. 
 
 WITH THE ENGRAVING. 
 
 ENGRAVED BY VOLPATE. 
 
 ForMERLY IN THE COLLECTION oF Sir THomas LAWRENCE. 
 
 EXHIBITED AT THE YORKSHIRE Finr Art Exursirion, York, 1866, spy J. Mason, 
 or Yorx. 
 
 From THE Co.iectTion or Mr. T. Brown, HEApINGLy, YORKSHIRE. 
 
JOHN RUSKIN 
 
 see 1819-1900 Sa 
 / ae ie h, (Ribanmd 
 é ene : 
 
 85—PORTRAIT OF MRS. KEEVIL DAVIES 
 
 Water Color 
 
 Mrs. Keevil Davies was an intimate frierid of Ruskin’s, 
 who had known her since she was twelve years old. The por- 
 trait was painted about 1873, at Brantwood, Coniston Lake. 
 
 The lady’s face is represented in profile against a pale blue 
 background stippled with white. The dark hair, except for a 
 few little wisps over the forehead, is drawn up into a roll at the 
 top, garnished with a black bow set on lace, and hangs at the 
 back of the head in an ample chignon. On the black velvet 
 round her neck are two rows of turquoise; and from a chain 
 threaded with turquoise a cross is suspended on her bosom. 
 The bodice is of a deeper blue, cut to a V in front, with edgings 
 of lace. The prevalence of blue in this picture recalls the fact 
 that, in his lectures at Oxford about the time in which this pic- 
 ture was executed, Ruskin would habitually wear a bright blue 
 necktie, which was in lively contrast to the rusty green of his 
 cap and gown. 
 
 Signed three times at the right. 
 Height, 19% inches; width, 124% inches. 
 
 FoRMERLY THE PROPERTY OF Mrs. Keevit Davies. 
 
 SO 
 
SEBASTIANO RICCI 
 Ss itd 1662-1784 Jt. A] Macty 
 y 
 
 86—-THE MAGDALEN WASHING THE FEET OF 
 CHRIST 
 
 Study 
 
 The subject represented is the incident of the feast given 
 by Simon the Pharisee when the Magdalen washed the feet of 
 Christ with her tears. 
 
 The table is set under a portico, across the ceiling of which 
 a dull purple velarium is hanging, and beyond this immediate 
 foreground appear various structures of classical design. The 
 Christ, seated at the head of the table on the left, has raised one 
 hand in admonition, and with the other is pointing to the Mag- 
 dalen, who kneels across the front. His head, surrounded by a 
 luminous aura, is turned towards His companion at the feast. 
 One of these has a goblet raised in his left hand, and a napkin 
 held fastidiously in the other, while an older man at the Christ’s 
 side pauses in his eating, holding a fork in the air as he sternly 
 and intently listens to the words of the Man who undertakes 
 to forgive sins. At the right end of the table a youth leans 
 forward, as if about to offer a napkin to the Magdalen. 
 
 Signed at the right, Ricctus recrr, 1713. 
 Height, 19% inches; length, 234% inches. 
 
 From THE CoLLecTION oF Sir Henry G. P. Bepincreip, Barr. 
 
JOHN OPIE, R.A. 
 
 nar, ack a 4; oa 
 1761 
 87—HEAD OF A GIRL 
 
 The head faces three-quarters to the left, surmounted by a 
 high-crowned felt hat with broad, curling brim, while the bust 
 is in profile. So much of the costume as is visible shows a white 
 muslin stock, protruding in a bunch below the chin, and a drab- 
 green redingote with large roll-over collar, and a band below the 
 bosom. Soft wisps of hair lie over the forehead, and the face, 
 with its rosy cheeks, has a pleasant, happy expression. The 
 background is of light olive green, and the color scheme of the 
 whole picture plays upon tones of green in union with the flesh 
 tints and white cravat. 
 
 Height, 1714 inches; width, 14 inches. 
 
 From THE COLLECTION OF THE LATE Mr. A. W. BENNETT. 
 
PIAT JOSEPH SAUVAGE 
 
 oe 4 TE ie 
 ie 1744-1818 ao - “a oe 
 
 8—INFANT BACCHANALS 
 
 Executed on a white ground, in imitation of bronze bas- 
 relief, a style for which this artist was celebrated, is a proces- 
 sion of infant Bacchanals approaching a bust of Priapus, which 
 surmounts a pedestal on the left. One of the nine holds up a 
 thyrsus, which two are running forward to seize, while another 
 on the right of them carries a garland. Behind him is a band of 
 four engaged in a struggle, two of them having fallen to the 
 ground. At the end of the procession marches one who holds a 
 staff entwined with ivy and surmounted by a fir cone. 
 
 Height, 17 inches; length, 31 inches. 
 
PIAT JOSEPH SAUVAGE 
 et EE 1744-1818 
 
 bit It hatleghe 
 
 89—INFANT BACCHANALS 
 
 This is a companion picture to the preceding one, and con- 
 tinues the procession. ‘Two figures move at its head, one carrying 
 a bunch of grapes, the other a thyrsus. Two others follow, 
 blowing upon curved trumpets. Succeeding them are two who 
 bear aloft a cup, and behind them are three figures, dancing, 
 with linked arms. 
 
 Height, 17 inches; length, 31 inches. 
 
WILLIAM BLISS BAKER 
 
 2 
 1859-1889 
 of Opel? eee Pages 
 
 Bee. 
 
 90—HIDING IN THE HAYCOCKS 
 
 The yellow surface of the sunlit meadow, sprinkled with 
 haycocks, is spotted with the dark green foliage of apple trees 
 and their attendant shadows. Behind a haycock on the right of 
 the foreground two youngsters are in hiding, while a third 
 approaches in the centre, hesitatingly, and with hands extended. 
 The real feeling of out-of-doors pervades the scene; the drawing 
 throughout is excellent, and the picture is an interesting record 
 of a painter whose already signal achievements were cut short 
 by a too early death. 
 
 Signed at the right, Wm. Buss Baxer, 1881. 
 Height, 22 inches; length, 30 inches. 
 
 MENTIONED IN CHAMPLIN & PERKINS’ “ CYCLOPEDIA oF PAINTERS AND PAINTINGS.” 
 
GUSTAVE COURBET 
 
 oe Vom 1819-1878 
 
 91—COAST SCENE \/: 
 
 Crusty brown rocks rise on the left of the foreground of 
 sand. Here lie three boats in echelon by the water’s edge, a net 
 hanging over the side of the front one. The smooth sea, a 
 sheet of turquoise blue, spotted by a single white sail, stretches 
 back to a horizon streaked with red. Over it is a belt of small 
 billowy clouds, and above these a reach of greenish gray, grow- 
 ing bluer towards the zenith. The sky is particularly good, and 
 the color throughout the picture fine in quality. 
 
 Signed on right lower corner, G. CourBET. - 
 
 Height, 19 inches; length, 28 inches. 
 
WILLIAM HAVELL 
 
 1782-1857 ; J 
 Beer Aicbar § tathir 
 
 92—THE GARDEN OF THE HESPERIDES 
 
 A spot of verdure is encircled by mountains which tower 
 up abruptly on the right, in shadow, but at the back glow softly, 
 buff and mauve, in the sunshine. Down a zigzag cleft in the 
 face of them a torrent leaps ; its water, when it has gained the 
 level, flowing through a lawn of sunlit grass sprinkled with 
 trees, and broadening out at the left of the foreground into a 
 pool that reflects the pure blue of the sky. On the farther 
 bank is a group of four girls, one of them approaching the edge 
 with a water jar on her head. In the foreground, on the left, 
 an apple tree bends its branches, laden with fruit, to the ground; 
 and near it, on a rock spread over with white draperies, sits a 
 i girl in white, offering an apple to a figure that bends forward 
 with a lowered torch in hand. There are four attendants, one 
 of whom carries a basket. The landscape is very sweetly im- 
 agined in pure, limpid coloring. 
 
 Height, 18 inches; length, 33 inches. 
 
PHILIPPE J. DE LOUTHERBOURG, 
 R.A. 
 
 Shy? | ae 0 an 
 
 93—LANDSCAPE WITH CATTLE AND RUINS 
 
 In front is a stretch of shallow water, to the left of which 
 a youth in red coat is stepping over a narrow board causeway, 
 at the same time steadying the seat of a girl who is riding a 
 white horse through the water. On the opposite bank lie gray 
 boulders of rock, excellently painted, and near them is a group 
 of animals. A white cow turns her head back towards a don- 
 key, and three sheep and another cow have just emerged from 
 the water. A little farther back a red cow is starting to trot 
 up the road, which mounts between two rocky banks covered 
 with bushes and spanned by an arch. The latter leads to a pile 
 of buildings on the left, with red roofs and a bell-turret. Be- 
 yond the edge of the rocks on the right appears a perspective of 
 plain, extending to a pale blue horizon. 
 
 The picture, an example of the conventionally conceived 
 landscape, has considerable charm of composition and color, and 
 offers some passages of accomplished painting. 
 
 Height, 23% inches; length, 31 inches. 
 
CORNELIS JANSSENS VAN CEULEN 
 
 About 1590—Between 1662 and 1664 
 
 anh 
 
 94—PORTRAIT OF THE QUEEN OF BOHEMIA 
 
 The subject of this portrait is the Princess Elizabeth, 
 daughter of James I. of England. Her children were the two 
 princes Rupert and Maurice, and Sophia who married the Elec- 
 tor of Hanover and became the mother of George I. She is 
 commonly known by the title of Queen of Bohemia (1596— 
 1662). 
 
 The figure is shown to a little below the waist, slightly 
 inclined towards the left. A black cap, with high round 
 crown and flapping brim that widens at the back and hangs in 
 a deep valance, surmounts the brown hair, which is frizzed and 
 puffed over the ears. The face is delicately modelled in pale, 
 ivory-like tones, faintly rose upon the cheeks; and the eyes, 
 which glance straight out of the picture, are brown and limpid. 
 Over the tight-fitting black silk dress is a stiff white tippet, 
 fitting close to the neck in a band of black silk, cross-laced with 
 black over the breast, and spreading across the shoulders. The 
 portrait is exquisitely refined in tone and in expression. 
 
 Height, 30 inches; width, 25 inches. 
 
 Signed at the left, near centre, CorneLIs JANSSENS VAN CEULEN. 
 
GEORGE VINCENT 
 
 us cee ; 
 
 95—-LANDSCAPE AND TWO COWS 
 
 Two cows are standing, near the front, in a road which 
 curves back between hedges and trees to a brick cottage with 
 steep roof. Half way back a man and boy stand talking to a 
 woman who sits on the left of the road under a group of beech 
 trees yellowed by autumn. The bank on which they grow 
 slopes gently down to flat meadow-land, with water showing in 
 the foreground, a row of willow trees in the middle distance 
 and, beyond them, a level vista reaching to the horizon. 
 
 Height, 24 inches; length, 30 inches. 
 
ADRIEN CARPENTIERS 
 
 Died about 1778, at an advanced age 
 
 pi aa , ef age 
 
 96—PORTRAIT OF A LADY 
 
 With acceptable sentimentality, because she lends herself to 
 a very decorative picture, the lady sits with her head inclined 
 towards her left shoulder, the cheek touched by her fingers, 
 while her elbow rests upon the arm of the chair. Her head- 
 dress is of soft white material, draped in turban fashion over 
 her dark brown hair, threaded with pearls, and hanging down 
 her neck. <A cloak of delicate rose velvet, edged with ermine, 
 : droops from her shoulders, and the gown is worn very low upon 
 : the breast, the bodice being formed of dove-gray silk, folding 
 across the figure and fastened with a large garnet brooch, from 
 which depend two strings of pearls. The edge of the bodice is 
 softened with a lawn frill, and loose sleeves of the same material 
 reach to the elbows. This exceedingly dainty color scheme is 
 contrasted with a background of golden brown. 
 
 Signed at the right, A. Carpentiers, P. 1762. 
 
 Height, 30 inches; width, 25 inches. 
 
JOHN CROME (OLD CROME) 
 
 | a re 1768-1821 
 97—LANDSCAPE WITH RUI EP LEE 
 “ise CO 
 
 The landscape, rich in tone under the glow of the late 
 afternoon sun, presents a familiar scene of rural beauty, distin- 
 guished, however, by the unusual feature of a ruined church. 
 The latter is on the right of the middle distance, a background 
 of golden-brown and green oaks softening the jagged outline of 
 what is left of the tower: one side, and a fragment of the retain- 
 ing wall and of the chancel end with its empty window. Close 
 against this nestles a low, thatched cottage, by the side of which 
 is a gate leading into a meadow, where another cottage shows 
 among the trees. Three ducks are swimming in a pool at the 
 right of the foreground, and from the centre stretches back a 
 winding road. Presently it is crossed by a bar of yellow sun- 
 light, and here a woman walks beside a pack-donkey, making 
 her way towards a farmhouse with tall red chimney that lies in 
 the distance, framed in with trees. The sky above the horizon 
 is slaty-hued, with rooks winging their way home across it, and 
 higher up passes to gray, which grows to warm cream as it 
 verges on the pale blue of the zenith. 
 
 The picture, so true to nature, pure in color and of luxu- 
 rious tonality, executed with a mingling of breadth and finish, 
 is a particularly pleasing example of the Norwich artist. 
 
 Signed at the left, J. Crome. 
 
 Height, 30 inches; width, 25 inches. 
 
_ GUSTAVE PAUL DORE 
 me." | 
 
 PNA 
 ly 
 1833-18838 J eo le yd 
 98—ROCKY GLEN 
 
 A precipitous wall of rocks fills the background, except for 
 a little patch of light high up on the right. The gray boulders 
 are green with moss and lichen, and embrowned with dry fern, 
 and below them a path slopes steeply up towards the right. At 
 the foot of the ascent a figure in scarlet appears in front of four 
 slim birch trees, leaning forward, as if watching for the arrival 
 of some one. On the opposite side of the foreground a stream 
 purls along its stony bed, and on the bank above it springs a 
 single large beech trunk. 
 
 Signed at the right, G. Dore. 
 
 Height, 33 inches; width, 25% inches. 
 
SIR HENRY RAEBURN, R.A. 
 
 oe NE we Ned 1756-1828 
 g WEE 
 
 99—JAMES INNES-KER, AFTERWARDS FIFTH 
 EARL OF ROXBURGH 
 
 On the death of the fourth Earl of Roxburgh, in 1805, 
 without surviving issue, James Innes-Ker laid claim to the 
 earldom, on the strength of his great-grandfather’s marriage to 
 the granddaughter by a second marriage of the first Earl of 
 Roxburgh. In 1812 the House of Lords granted him the title. 
 
 The body is shown full front, nearly to the waist, clad in a 
 double-breasted black coat, buttoned up to the white cravat, that 
 is tied in a little bow. The strong head, painted with unusual 
 breadth and certainty, is covered with short gray hair; gray 
 eyebrows surmount the deep-set eyes, and the face is firmly 
 moulded and fresh in color. The figure is seated in a red-backed 
 chair against a dark olive background. The portrait represents 
 a fine example of Raeburn’s art, forcibly direct in characteriza- 
 tion and virile in execution. 
 
 Height, 30 inches; width, 25 inches. 
 
SIR HENRY RAEBURN, R.A. 
 
 er fsa wo 1756-1823 Wd ge. VA 
 
 100—PORTRAIT OF MRS. INNES 
 
 From under the frill of a close white cap a few brown 
 ringlets show around the forehead. The cap is fastened under 
 the chin with a band of lace, framing a sturdy face which has 
 heavy-lidded blue eyes, a long nose with fine nostrils, and a 
 firm mouth. A red shawl hangs over the sleeves of the tightly 
 fitting black bodice. The figure is sitting three-quarters to the 
 right, the head inclined to the front and the eyes gazing full 
 from the canvas. 
 
 Height, 30 inches; width, 25 inches. 
 
PIETER DE HOOGHE 
 
 16382-1681 
 
 7 eo 
 
 101—_INTERIOR 
 
 The ceiling and its cross beams, and the walls decorated 
 with three landscapes in black frames, have a prevailing tone 
 of olive drab; the deepest shadow lying in the large chimney 
 corner on the right, which is surmounted by a high shelf with 
 arow of pewter plates. Near the foreground, beside a table 
 covered with a scarlet cloth, on which rests a blue and gray 
 jug with pewter lid, stands a lady with her back to us. A 
 round cap of pale rose silk is set at the back of her blond-gray 
 ringlets; a broad white bertha, edged with lace, covers her 
 shoulders, and her black silk gown is looped up in panniers 
 over an old-gold underskirt. The bertha catches the highest 
 light, which also illuminates the white cap and apron of a lady 
 who sits in the centre of the picture, looking up from her needle- 
 work, which lies on a black cushion on her lap, to talk to the 
 visitor. In the background, to the right, two little girls sit 
 facing each other, also engaged in needlework, while a third 
 stands behind, watching them. In the foreground, to the right, 
 is a leather-backed chair, over the seat of which hangs an olive- 
 green cloak. 
 
 Height, 2414 inches; length, 28 inches. 
 
 From THE CoLLEcTION oF Lorp NortTHwIck. 
 
CANALETTO (ANTONIO CANALE) 
 
 ty i Bi Maal 1607-1768 
 
 wi Zerg Mi binenthut 
 
 102—VIEW ON THE GRAND CANAL, VENICE 
 
 Buildings with gray-green walls and reddish roofs stand 
 on both sides of the picture; the water stretching between 
 in a narrowing vista, bounded in the distance, where the canal 
 makes a turn, by a horizontal line of houses and towers, softly 
 outlined against the greenish-blue sky. The scene is alive 
 with shipping and gondolas. One of the latter, propelled by 
 two gondoliers, is crossing in front of the picture, and a little 
 back of it lies a small vessel from which a man has just landed 
 in a boat. He is mounting the steps which lead to the quay, 
 
 : 
 
 upon the right, where figures are grouped beside a house that 
 has two arched windows with open shutters, one above the 
 other, a woman appearing on the balcony of the upper one. 
 Beyond this shows a dome surmounted with a cupola, and some- 
 what farther on the quay projects in a little point on which 
 stands a low building like a lighthouse. The picture is beau- 
 tiful in color, with truthful rendering of the aérial perspective, 
 and presents a characteristic example of Canaletto’s skill in 
 architectural portraiture. 
 
 Height, 21 inches; length, 31 inches. 
 
 From THE Cottection or Miss Krincarrp. 
 
SIR THOMAS LAWRENCE, P.R.A. 
 
 /OVO- HRSA 
 yo: 1 fall 
 
 108—PORTRAIT OF RICHARD EVANS 
 
 The subject of this beautiful portrait is the painter Richard 
 Evans, who reciprocated the compliment by painting a portrait 
 of Lawrence, now in the National Portrait Gallery, London. 
 
 He is represented as far as the elbow, facing to the right, 
 wearing a reddish-brown velvet surtout with a broad collar of 
 brown fur. Round his neck is wound a white cravat, fastened 
 in a little bow. The face is inclined to the front, the eyes 
 glancing towards the left; the flesh tints are clear and fresh, and 
 the expression of the features at once spiritual and manly. The 
 soft golden hair is parted at the side and brushed over the top 
 of the head in waves, which encroach a little upon the forehead. 
 
 Height, 30 inches; width, 25 inches. 
 
 From THE CoL.EcTION oF W. G. GALLoway. 
 
THOMAS GAINSBOROUGH, R.A. 
 
 1727-1788 
 
 ees AO Sho. 
 
 10iA—THE CARRIER’S CART 
 
 A familiar feature of English country life is the carrier’s 
 cart which makes periodical visits to the neighboring market 
 town. Such a one is shown in the picture, hooded and drawn 
 by a chestnut and a white horse, returning home at sunset. ‘The 
 road is narrow, coming round from behind a rocky bank on the 
 right, and overarched by an ash tree on the opposite side. The 
 foreground presents a mingling of mellow brown tones, while 
 the sky is a greenish blue, with masses of white cloud; the 
 whole scene being penetrated with the softly palpitating warmth 
 of a summer evening. 
 
 Height, 30 inches; width, 24 inches. 
 
JAMES BAKER PYNE 
 
 RE a ie hs _ 1800-1870 
 
 y ep 
 = 
 
 105—CADER IDRIS / 
 
 99 
 
 The mountain, ‘‘ Arthur’s Seat,’’ as the Welsh name im- 
 plies, is seen in the distance, rosy and yellow in the sunshine, 
 the tints growing fainter as the ridges recede against the pale | 
 gray primrose sky. The broad plain is intersected by a stream 
 which is crossed in the middle distance by a wooden bridge set 
 on stone piles, and in the foreground rushes, foaming and blue, 
 between slabs of drab rock coated with brown weeds. 'To the 
 right is a bright pateh of yellow ground, out of which crops a 
 formation of rocks, like ruins. Along a distant road, on this — 
 side of the picture, two horsemen are galloping, and two figures 
 appear on the rocks on the left of the foreground. The picture 
 is excellent in perspective, with considerable charm of color and 
 atmospheric effects. 
 
 Signed at lower right corner, J. B. Pyne, 1846. No. 184. 
 Height, 22 inches; length, 33 inches. 
 
 From THE LeeTHAM COLLECTION, YORK. 
 
THOMAS GAINSBOROUGH, R.A. 
 
 SIS. 1727-1788 | 
 
 106—PORTRAIT OF LADY BULLER 
 
 The background, enclosed in an oval mount, is of a drab- 
 olive tint, against which the lady’s face is seen in profile under a 
 black beaver hat that has a tuft of black feathers in front of 
 the crown. Her dark brown hair is gathered into a bunch of 
 curls at the back of the neck. She wears a white neckcloth 
 and a drab cloth jacket, with the top button unfastened, showing 
 white silk lapels and a mouse-colored velvet collar. She is 
 seated in a crimson-backed chair, studded with nails, her right 
 hand, of delicate beauty, resting upon a brown leather-covered 
 book that stands open upon her lap. 
 
 Height, 30 inches; width, 25 inches. 
 
Dee 
 
 VICTOR NAVLET 
 
 vo 
 
 About 1827-1886 
 
 In, 7 Player. 
 
 107—-GALERIE D’ APOLLON IN rill LOUVRE 
 
 The picture shows one end of the gallery and a small part 
 of its barrel-vaulted ceiling, while through the entrance in 
 the centre, screened in its upper part by a handsome gville, 
 appears a farther gallery, flooded with light. The entrance 
 is surmounted by two sculptured nymphs supporting an 
 emblazoned cartouche, and in the semicircular space above 
 them a mural painting is dimly visible. Standing near a 
 window on the right of the room is a lady in the crinolined 
 costume of 1864, while on the left of the foreground is a gilded 
 console table, bearing a statuette. 
 
 Signed at the left, B. Navuxrt, 1864. 
 Height, 36 inches; width, 29 inches. 
 
 MENTIONED IN CHAMPLIN & PERKINS’ “ CYCLOPEDIA OF PAINTERS AND PAINTINGS.” 
 
OO =< 
 
WILLIAM HOGARTH 
 
 1697-1764 
 
 ee 
 
 108—THE GREEN ROOM 
 
 Cet Oy ie ae 
 & #! tiae bss Bae Vg 
 
 The figures are disposed in a band across the picture, 
 mostly in light against a dim rich background of wall, with a 
 columned entrance to a farther room; while overhead the 
 ceiling is draped with a grayish-green velarium. In the centre 
 
 _ of the group is a lady in a short golden-brown dress with full 
 skirt, that she slightly lifts as she extends her hand to a man 
 in shabby black suit, perhaps an author, who holds his hat 
 behind his back. To the left of these figures an actor in full 
 curly wig, with a crimson drapery across his body, extends his .. 
 
 - hand towards the visitor, turning at the same time to a lady 
 on his right, as if to introduce her. She stands behind a table 
 on which rests a bowl of fruit, towards which one hand is 
 stretched, while the other is placed on her breast. On the 
 right of the composition is a row of musicians, ranged beneath 
 
 — et ar a 
 - eethieeeat | ae 
 
 a sculptured composition of two figures that surmount a marble 
 slab supported by caryatides. In front of this group sit two 
 ladies, one holding a sheet of music, the other playing on a lute. 
 In front of the table a servant in black livery is on his knee, 
 taking wine from a cooler, and at a doorway back on the left 
 the call-boy’s face shows round a curtain... 
 
 Signed on the cooler, at the left, W. Hocartn f. 
 
 Height, 32 inches; length, 36 inches. 
 
y ; 
 
 GUIDO RENI 
 
 EPO 1575-1642 A. : 
 Co Abella 
 
 109—INFANT CHRIST SLEEPING ON A CROSS 
 
 On a brown wooden cross, stretched diagonally across the 
 picture, the Child’s body is laid asleep, the arms folded over the 
 breast. The clear flesh tints and soft yellow hair are shown 
 against a dark yellow background. It is a curious subject, 
 represented with a mastery of drawing. 
 
 Height, 26 inches; length, 35 inches. 
 From tue Co.iiection oF Mr. James Dore, Repitann House, DurpHam Park, 
 
 WEsTBURY-ON-[ RIM, GLOUCESTERSHIRE. 
 EXHIBITED AT THE Bristot Art Loan Exuisition, 1893. 
 
 4 
 a 
 
| 
 
\ 
 
GEORGE MORLAND 
 
 1763-1804 
 
 110—THE DRAGON INN 
 
 The brown boughs and foliage of an oak spread across the top 
 
 of the picture, allowing a view of sky of robin’s-egg blue with 
 white clouds. Roofed by the tree, the inn occupies the right half 
 of the composition; the sign of the dragon appearing on a board, 
 attached to the drab wall. Through the open door a woman’s 
 form is visible, moving away; while outside, a little child stands 
 by a sleeping spaniel, and the buxom daughter of the house is 
 serving beer to a traveller, probably the owner of the pack- 
 donkey which is waiting in the centre of the road. A child 
 stands beside the man, and on his other side is a laborer, hold- 
 _ ing a pipe to his mouth. In the shadow on the left of the 
 foreground is a tall wooden pump. The picture is warm and 
 luscious in color, with extremely handsome arrangement of light 
 and shade, offering an unusually fine example of Morland’s art. 
 
 Signed at the right. 
 
 Height, 27 inches; length, 36 inches. 
 
 From Tue Coiitection or Lievt.-Cor. Wittiam WHETHERLY. 
 
WILLEM VAN DE VELDE THE 
 YOUNGER 
 
 a ES Ve 
 DAVID TENIERS THE YOUNGER 
 
 1610-1690 
 111I—CHRIST ON THE WATERS 
 
 Near the centre of the front a boat is rising to a wave, 
 which breaks in spray over its bow. In the fore part a sailor in 
 red cap is holding the sheet of the bellying sail, while in the 
 stern three disciples kneel with hands extended in entreaty 
 towards the Saviour, asleep with His head resting on His hand. 
 Behind Him is another figure, with hands together in prayer. 
 The olive-colored water rocks up and down, brown in the hol- 
 lows, and with silver flickers of foam on the tops of the waves. 
 Its movement is magnificently rendered, and with a purity and 
 vigor of color thoroughly characteristic of the young Van de 
 Velde, the best marine painter of the Dutch school of the 
 seventeenth century. Some distance off, on the left, a two- 
 masted vessel is visible, with mainsail spread; and still farther 
 off, to the right, a three-masted ship heels over before the wind. 
 
 Dark olive clouds, surrounding a lighter surface, fill the left 
 of the sky, which towards the right is broken up into drab and 
 creamy clouds with a trace of blue. ~ a 
 
 Height, 23% inches; length, 33% inches. 
 
 From THE CoLLECTION oF Mr. Samvuren Hacvue Stanrey, Low Hovse, ILKiey, 
 YORKSHIRE. 
 
SIR GODFREY KNELLER 
 
 A sis 1646-1728 QO ae 
 oP” st aha } A a 
 7 beret, XX: Klas 
 
 112—PORTRAIT OF JOSEPH ADDISON 
 
 / 
 
 : The figure is shown to the waist, the left hand being 
 slipped into the open front of the coat, and the right arm 
 extended to the edge of the frame, as if the hand, which is not 
 visible, were resting on a cane. The pose is three-quarters to 
 the left, with the head, however, inclined to the right, and the 
 eyes glancing in the opposite direction. 'The powdered wig on 
 
 each side of the parting rises in crisp rolls, which are continued 
 at the sides, and terminate in loose curls on the shoulders. The 
 coat of deep blue velvet, lined at the turnover of the collar and 
 cuffs with old rose, is fastened at the waist, leaving visible, in 
 the interval above, a strip of white shirt. White ruffles with 
 : lace edging hang below the cuff, and two long bands of lace 
 form the cravat. Behind the figure is a mass of reddish-brown 
 masonry, with a slim tree-stem to the right; and farther, green 
 trees under a warm gray sky, which has a glint of blue at 
 the top. ‘ 
 
 The picture, despite a little affectation in the pose, is a fine 
 example of the portraits of that period, being painted with dis- 
 tinguished skill. 
 
 Height, 36% inches; width, 31 inches. 
 
 From THE Cotitection or Mr. K. R. Murcuison. 
 
ANGELICA KAUFFMANN, R.A. 
 
 1741-1807 
 FE a dese 
 118—LADY IN A WHITE DRESS 
 
 Dm OE. Sie 
 
 Very charming in its simple grace is this portrait of a lady, 
 the head and bust turned slightly to the left, before an olive-drab 
 background. Her thin white gown, of Empire design, clings 
 closely to the bosom and to the cushion of the shoulder, and a 
 mantle, dull brown in the shadows, falls from her right shoulder 
 across the left arm. The face is of an old ivory tone, with black 
 eyebrows, large dark gray eyes, delicate nostrils and long upper 
 lip. On the crown of the head the golden-brown hair, parted 
 in the centre, lies in soft waves, with ringlets at the side, and at 
 the back in a roll from which a loop descends upon the neck. 
 In the ear is a hoop of gold. 
 
 Height, 25 inches; width, 21 inches. 
 
HENRY WILLIAM PICKERSGILL, 
 R.A. 
 
 4 
 1782-1875 i 
 : 114—PORTRAIT OF WILLIAM WORDSWORTH 
 
 This artist, during his long career, painted the portraits of 
 
 many celebrated men, among them more than one of Words- 
 worth. There is one in the National Portrait Gallery in Eng- 
 land, executed evidently at avout the same time as the present, 
 for the expression of the head is precisely similar, though the 
 arrangement differs, the figure being full length and facing in 
 the opposite direction, while the costume varies. 
 
 In the present portrait the figure is shown half length, 
 facing three-quarters to the right, but with the head, as in the 
 other portrait, slightly bent forward, evidently a characteristic 
 gesture. A brown cloak with broad velvet collar hangs over the 
 suit of black broadcloth. Above the high forehead the soft white 
 hair is drawn carefully over the top of the head, a darker wisp 
 curling over the right temple, while the hair whitens again above 
 the ears, below which are trimmed white whiskers. The eyes 
 are fixed in an earnest, tender gaze; the nose is long and sensi- 
 tively modelled, with a fine receding curve of the nostril, and the 
 under lip projects a little from the sweet, placid mouth. The 
 beautiful face, so benignant, grave and kindly, has been studied 
 and rendered with most affectionate discernment. The portrait, 
 indeed, is one of very choice and peculiar charm. 
 
 Height, 30 inches; width, 25 inches. 
 WITH THE ENGRAVING. 
 Ir HAS BEEN ENGRAVED BY J. SKELTON. 
 EXHIBITED AT THE Royat Acapemy, 1851. 
 
 From tue Cotztection or Masor Benson Harrison, THe Grance, LEAMINGTON. 
 
CALEB ROBERT STANLEY 
 
 About 1790-1868 
 4 0. to out 17 1 
 
 1185—STREET “SCENE IN ROUEN 
 “2 Va Bae a 
 Ve U0 A4%1271-041AL 
 
 Handsome trees shade the sidewalks on each side of the 
 street, casting a checker of light and shade on the rows of 
 houses. Those on the left of the picture are sufficiently near to 
 allow of the details being visible, put in with delightful breadth 
 and fulness of suggestion. Under the trees on this side two 
 striped awnings are spread, beneath which sit gayly dressed 
 women. Farther back a market woman is approaching on a 
 mule, her tall white cap making a conspicuous spot, as do many 
 other similar caps, sprinkled among the crowd at the end of the 
 street. Here the houses converge, with a view beyond of two 
 church towers and a smoothly sloping hill. 
 
 The whole scene is pervaded with a quiet effect of after- 
 noon sunlight, and is represented with sympathetic appreciation 
 of its character and charming spontaneousness of manner. 
 
 Height, 28 inches; length, 36 inches. 
 
 From THE CoLLECTION oF THE Hon. A. E. GatHorne-Harpy, M.P. 
 
 —— 
 
‘) 
 Sats 
 ‘ 
 ‘ 
 / i 
 7 
 { ' » N fh ity, 
 ' \ 
 j ; f ; ' 
 i i 
 é 
 4 
 ‘ 
 i i Wot 
 7 ‘ 
 bs 
 ; 
 , 
 ‘ 
 s 
 ¥ 
 ’ 
 ¢ 
 ‘ 
 , 
 2 
 n 
 1 
 , 
 , \ y ‘ay 
 ‘ 
 rt i 
 
JOHN OPIE, R.A. 
 
 ay 1761-1807 Pe: 
 
 1146—HEAD OF AN ORIENTAL 
 
 This strikingly handsome picture, so rich and luminous in 
 color, represents the head and bust of an Oriental, set against a 
 dark olive-green background. The face is of ripe, tawny red, 
 with dark brown hair; large, lustrous brown eyes; a short, broad 
 nose; and full lips, parted. On the head sits a tall cylindrical 
 cap of green velvet, enriched by two broad bands, respectively 
 of gold and silver braid, the latter material being also coiled 
 upon the crown. Overthe bust is draped a silk blanket, striped 
 with green, yellow, white and red. 
 
 Height, 29 inches; width, 25 inches. 
 
 PURCHASED FROM THE EXECUTORS OF Miss Lucy CopEMAN. 
 
AUGUSTE DELACROIX 
 
 : 1809-1868 
 ae i 
 
 117—COAST SCENE ees PP 
 fey 
 
 In the centre of the composition is a little creek, the snug 
 anchorage for two fishing vessels that are moored, one alongside 
 of a wall on the right and the other across the opening at the 
 rear. Their hulls are fully revealed, for it is low tide, and only 
 a shallow pool reflects the sky and the brown tones of a bank on 
 the left. At the top of this stands a cottage with plastered 
 walls and two brick chimneys, which has a little walled yard in 
 which clothes are hanging to dry. Down by the water’s edge a 
 woman kneels before a tub, washing linen, and near her stands a 
 man with hands in his pockets. Upon the opposite side of the 
 foreground a brown sail lies on a wall, hanging to the ground, 
 where two baskets and a besom lie. Farther back, on the right, 
 rises in gradual slopes a yellowish-gray, grassy cliff on which 
 three figures appear. In the centre of the middle distance is 
 a peep of sea under a horizon wreathed in gray, above which 
 mounts a large cluster of white cloud. ‘The picture is rich and 
 warm in tone, with fine suggestion of space and wholesome 
 atmosphere. 
 
 Height, 22 inches; length, 30 inches. 
 
 Signed on left lower corner, A. Dexacrorx, 1834, 
 
ii ee 
 ee 
 a 
 
MARIANO FORTUNY 
 
 1838-1874 
 
 moore.’ 
 
 118—ORIGINAL SKETCH FOR “THE SPANISH 
 
 ye Lf A 
 MARRIAGE as fa i Rei: 
 
 When ‘‘ The Spanish Marriage’’ (La Vicaria) was exhibited 
 at Goupil’s in 1870, Fortuny was little more than thirty years of 
 age. It produced an explosion of enthusiasm and passed into the 
 possession of the Marquis of Carcano. 
 
 In the disposition of the figures and the general arrange- 
 ment of the scene the finished picture shows no deviation from 
 this original sketch. The color scheme also, when allowance has 
 
 been made for the elaboration of the background of the sacristy, 
 with its profusion of rococo decoration, is practically identi- 
 
 cal; with, however, two important exceptions—the officer who 
 stands with his back to the front wears in the sketch a scarlet 
 , coat, which in the final working out of the scheme was changed 
 to cabbage green; while a rose silk dress was substituted for the 
 white costume of one of the attendant ladies. 
 
 These very differences give a value to the sketch, illustrat- 
 ing the artist’s method of refining upon an idea which he had 
 already realized with such vividness and assurance that he 
 needed only to stand by it for a successful conclusion. 
 
 Height, 13 inches; length, 37 inehes. 
 
 From THE CoLiecTIon or Mr. A. L. NicHotson. 
 
JOSEPH MALLORD WILLIAM 
 TURNER, R.A. 
 
 ZS ERD tint! Be 
 / 
 
 119—VIEW OF THE NECKAR 
 
 From the golden yellow sand in the foreground, spotted 
 with a dark crimson mass, the river, softened by haze, stretches 
 back between its mountainous shores to a distant horizon. A 
 burst of creamy light appears above it, shedding off flakes into 
 the gray and blue of the surrounding sky. On the right of the 
 river, in the distance, craggy mountains show faintly through 
 the atmosphere, while nearer to the front rises a blocky mass of 
 lavender and gray, under which a cathedral stands by the water- 
 side. On the left of the foreground a zigzag wall mounts up 
 the grassy slope, at the top of which, under some bushes, sit two 
 figures. Beyond them rise a round tower and rampart walls, 
 while in the middle distance a rock, which hangs precipitously 
 over the water, is crowned with a pile of buildings, faintly seen 
 against the sky. 
 
 The picture, lovely in color, exquisite in its atmospheric 
 qualities, breathes a spirit of romantic poetry. 
 
 Height, 14 inches; length, 17% inches. 
 
 From THE CoLLecTION oF Proressor Cuiirrorp ALitBuTT, M.A., LEEps. 
 
GEORGE MORLAND 
 
 LL / J i! 1768-1804 a Ws yn 3 WA 
 
 120—THE SMUGGLERS 
 
 < 
 
 From a vessel which lies back on the right some men have 
 rowed into a little basin of water under the lee of a high bank, 
 and are engaged in unloading boxes and bales of contraband 
 goods. One, with trousers turned up to the knees, stands back 
 to us in the water, superintending the operation of moving a 
 chest. Another stands half-way up the bank, passing a bundle 
 up to a companion on the top. A seaman in white shirt and 
 blue trousers kneels on the sand to raise a trunk, and near him 
 stands another, with a bale upon his shoulders. Over the gray 
 horizon the sky is brown and cloudy, with a glint of blue towards 
 the right. 7 
 
 | 
 : 
 | 
 : 
 
 Height, 28 inches; length, 36 inches. 
 
 Signed on sack over man’s arm, on the left, G. Mortanp, 1796. 
 
SIR MARTIN ARCHER SHEE, P.R.A. 
 
 yar SEC Coq 
 
 121—BOY WITH BIRD-CAGE 
 
 A boy in red tunic is seated on the ground with his left 
 hand laid on the top of a large wicker cage, in which a bullfinch 
 perches. The costume fits tight over the body and is trimmed 
 down the front with three rows of buttons. A white frilled 
 collar encircles the neck, from which hangs a loop of narrow 
 black velvet, supporting a little cross. 
 
 Height, 30 inches; width, 25 inches. 
 
 EE ———— SO 
 
Eee 
 
 a 
 
RICHARD WILSON, R.A. 
 6 je "eed 1718-1782 
 
 122—LAKE SCENE WITH RUINS 
 
 The vista of water, stretching from a dark bank in the fore- 
 ground, is divided by a bridge of land that crosses from a tall 
 
 tree-stem on the right of the picture to a ruined tower and mass 
 of foliage on the left. Beside the tower stands a woman, whom 
 | a man, leaning on a stick and accompanied by two children, is 
 
 approaching. Across the farther reach of water is a low shore 
 
 with houses, trees and a dotting of white objects. Above 
 the slaty gray horizon mount volumes of clouds, creamy on the 
 upper surfaces, where they form round an open space of blue. 
 
 | Height, 28 inches; length, 32 inches. 
 
 From tHe CoLiection oF Joun Bissy, LiverPoot. 
 
GEORGE MORLAND 
 
 a Pe 1768-1804 
 Pt tee 
 
 123—SOW AND PIGS Sarge 
 
 The mother and her young ones occupy the centre of a 
 wooden, thatched-roof sty, over the low door of which appears 
 a glimpse of blue sky and white clouds. Rearing her forepart 
 on her legs, she looks sleepily out of the corner of her eye, 
 while her fat body, creamy and pink in color, with two soft and 
 sooty patches, reclines in the golden straw. One of the little 
 ones is seen under the mother’s head; another lies in front of 
 the group with its nose in the straw; a third nestles close up 
 to the sow; and the last, a blackish fellow, roots for sustenance. 
 In the left corner of the composition is a wooden bucket. The 
 picture, with its luxurious lights and shadows and resonance of 
 tonality, represents this erratic artist at his best. 
 
 Signed at the centre, G. M. 
 Height, 28 inches; length, 36 inches. 
 
 From tue Cottection or W. H. Forman, CAttaty CastteE, NokTHUMBERLAND. 
 
ALFRED STANNARD 
 a7.” 
 
 12s;—CORNFIELD AT BOUGH APTON .  , 
 
 The cornfield is divided by a path which leads back to the 
 entrance of some private grounds, where the house is seen amid 
 its lawns and shrubberies. On the left of the path the corn has 
 been loaded into two wagons, and the harvesters are gathered in 
 the foreground at their lunch. Opposite the group two women 
 are gleaning, and a child stands near them with a bundle on her 
 head. Above the bank which skirts the left of the field is a 
 view of flat meadows, lighted with a pale glare, while a small 
 rain-shower breaks over the hill in the background, where cot- 
 tages dot the slopes and two windmills the summit. The light 
 bursts through the clouds in the centre of the sky and bathes 
 the cornfield in warmth. 
 
 On a red strip, low down on the canvas, is written—‘‘ Lord 
 Viscount Nevill, Bough Apton.’”’ 
 
 Signed at the right, AtrrED STANNARD PINXT. 1830. 
 
 Height, 26 inches; length, 40 inches. 
 
ABRAHAM VAN BEYEREN 
 Bae eee 1620-1674 
 
 125—STILL LIFE—FISH Vy 
 
 On a long table extended across the picture are spread some 
 large gray fish and crabs, behind which stand a small oyster 
 barrel and a stack of brass bowls, set one upon another. On the 
 barrel lies a fillet of fish, showing the rosy-colored flesh, and from 
 the side of one of the fish protrudes the pink sound. The color 
 scheme is, thus, a very handsome one of gray, rose and olive 
 black, in which the various objects are depicted with mastery 
 and truth. 
 
 Height, 31 inches; length, 42 inches. 
 
DIRCK VAN DEELEN 
 
 1605-1673 
 
 GUILLIAM VAN HERP 
 
 - ae a 1614-1677 #- vA coke Se 
 
 126—-ITALIAN STREET SCENE 
 
 The architectural setting is by Van Deelen, the figures 
 by Van Herp. In the foreground, supported by Corinthian 
 columns, is a lofty portico, projecting from a church on the 
 right. Near the door sits a beggar, and on the paved floor a 
 lady in amber-colored gown with a greyhound by her side is 
 talking to a gentleman in red. Behind them the edge of the 
 portico is crossed by a balustrade, bordering the street, on 
 the opposite side of which stands a large church front. Down the 
 left side of it runs a narrow street, leading to a walled-in mass 
 of buildings, surmounted by a tower. On the left of this street 
 is an immense arch, under the curve of which appear other 
 structures and the blue sky. The streets are animated with 
 figures, single and in groups. 
 
 The picture is a good example of a painter whose works 
 are rare. 
 
 Height, 33 inches; length, 48 inches. 
 
FREDERICK WATTS 
 
 = 3a 1? . Exhibited between 182] and_1862 
 
 | ge 
 foo Ji ict 
 
 127—VENTNOR MILL, ISLE OF WIGHT 
 
 The scene is a little chine of brown rocks, interspersed with 
 shrubs and verdure, at the bottom of which water flows in a 
 zigzag stream, while the flattened reeds in the foreground show 
 how far its fuller stream has encroached. Half-way up the left 
 bank is a small plateau of grass, where a man in a red waistcoat 
 sits upon a beech trunk. On the higher ground above him is a 
 row of three stone cottages with thatched roofs, the one at the 
 right being built over a hollow from which the water flows. On 
 the opposite side of the ravine another stream bubbles down 
 from a slit in a stone embankment, on which the figures of 
 three fishermen show in silhouette against the lavender mass of 
 a distant hill. 
 
 Signed at the right, F. Warts. 
 
 Height, 37 inches; length, 44 inches. 
 
TINTORETTO 
 
 (Real name, JACOPO ROBUSTI) 
 
 ie oe : 
 et? 1518-1594 Poa ) Va JP Gries. 
 128—SHEHNATOR IN CRIMSON GOWN 
 
 The portrait represents a man of ruddy countenance, with 
 short brown hair, and mustache and beard, slightly grayed. He 
 is shown half length, facing three-quarters to the right. The 
 hands are painted with fine decision; the right one, which hangs 
 down, holding a drab glove, and the left, carried above the level 
 of the waist, pointing downwards. A white collar shows under 
 
 _ the stiff standing collar of his crimson robe, which is edged 
 down the front with narrow black fringe and has large pen- 
 dulous sleeves. 
 
 In the right top corner of the canvas is the inscription— 
 Andreas Mauroc *° Vix. Ann. LX. Mens. ITI. 
 
 Height, 40 inches; width, 35 inches. 
 
Dut 
 TE 
 
 / 
 
 GASPARD POUSSIN 
 
 (Real name, GASPARD DUGHET) 
 
 me era ait 1618-1675 
 
 129—CLASSICAL LANDSCAPE WITH FIGURES 
 
 On the left of this handsome composition is a bank in 
 shadow, round the edge of which a road winds towards the 
 front. A figure, wrapt in a blue drapery, is approaching with 
 four goats, and on the right of the roadway sits a man in a red 
 cloak, playing on a pipe. From the bank upon the left rise two 
 ash trees, spreading their tufts of brown foliage against the sky. 
 Between their trunks appears a small lake, the farther shore of 
 which rises in wooded tiers, covered with crag-like ruins. At 
 its base, in the centre of the picture, nestles a monastery, whose 
 long roof and tower show against the distant mountains. In 
 the middle distance a clump of chestnuts stands upon the right 
 margin of the lake, and to the right of them is a glimpse of 
 water curving into the hollows of a hilly coast. 
 
 Height, 30 inches; length, 41 inches. 
 
 From THE CoLLEecTION oF Sir JAMES Barran, M.P., LEEps. 
 
Oe hk 
 ie 
 ‘ 
 < i . 
 + 
 \ ? 
 ‘, * 
 : 
 . 
 2 
 \ 
 \ , ; 
 e j 
 . 
 \ i 
 He 
 ‘ 
 
DIEGO RODRIGUEZ DE SILVA Y 
 VELASQUEZ 
 
 : 1599-1660 
 eee dt” 
 
 130—TEMPLE OF THE WINDS / ~ ; ( eee 
 Vili fAtttttt OT Ve 
 
 y 
 
 Extending across the garden scene is a semicircular colon- 
 nade, or pergola, of massive stonework. It is supported upon 
 arches and surmounted in the centre by a group of sculpture, 
 from under which a sheet of water falls into a large round basin, 
 the parapet that surrounds it curving into the foreground. The 
 latter is animated with figures. On the right a lady holds out 
 her hand to a little boy who runs towards her, with a dog racing 
 behind him; near the centre is a group of two ladies and a 
 gentleman, while to the left a lady stands by a seated figure, and 
 on the parapet sits another with its feet in the water. In the 
 background smooth hills slope down from each side, forming a 
 broad V in the centre, through which appears the distant view 
 of peaked mountains, blue and buff under a warm creamy sky. 
 The dignity of the scene is much intensified by a broad shadow 
 across the left foreground. 
 
 Height, 2514 inches; length, 42 inches. 
 
 From THE CoLiection oF Mr. Wynn-E 11s. 
 
JOSEPH MALLORD WILLIAM 
 TURNER, R.A. 
 
 1775-1851 
 PAP & oe , 
 
 131—THE WRECK ts uy is fi fb fn Clog 
 Yo 
 
 The scene of this picture realizes the lines of Byron in 
 ‘Childe Harold,’’ canto iv., stanza clxxix.: 
 “Upon the watery plain 
 The wrecks are all thy deed, nor doth remain 
 A shadow of man’s ravage, save his own. 
 Sy oe The vile strength he wields 
 For earth’s destruction thou dost all despise; 
 Spurning him from thy bosom to the skies, 
 And send’st him shivering in thy playful spray 
 And howling to his Gods, where haply lies 
 His petty hope in some near port or bay, 
 And dashest him again to earth—there let him lay.” 
 
 On the fore shore lies a body, and across the stretch of rollers 
 a ship is wrecked upon a craggy reef. Behind it the sun is sink- 
 ing, yellow in a flood of scarlet, over which hang brown slaty 
 clouds, permeated by the glow. To the right of the vessel, 
 breakers are dashing upon the base of a cliff that rears up in 
 successive strata of rocks. Outlined against this a seabird with 
 white body and black wings is swooping towards the body. 
 
 Height, 28 inches; length, 36 inches. 
 
 From tHe Coiuection or Mr. C. F. Becxert, Haptey Woop, Essex. 
 
JULIAN RIX 
 
 Contemporary 
 
 - Aharke Lise 
 
 132—EARLY AUTUMN 
 
 In the centre of the foreground a stream forms into a pool 
 with rocky banks and a narrow outlet. The latter is in shadow; 
 so also the right bank and a large oak upon it, which rises out of 
 a cluster of foliage. The light strikes the pool and bathes the 
 meadows on the left, kindling into warmth a reddish maple and 
 a greener one which stand prominently in the middle distance. 
 Behind them is a background of lighted trees, and in the 
 farthest plane a village with red and white houses. The sky 
 is spacious and full of air, with a fluster of luminous white 
 clouds scattered over the pale blue. 
 
 Signed at the right, Jurtan Rix, 97. 
 
 Height, 33 inches; length, 46 inches. 
 
* 
 
 J. F. HERRING, SENIOR 
 
 1795-1865 
 
 i eae 
 1383—WAITING FOR THE FERRY 
 Plaid War 
 
 ae 
 The lake shows at the left, bou (a at the right and back 
 by steep mountains. Two rock-pines stand on the right of the 
 foreground, which terminates in a wooden landing stage, where 
 a group is waiting for the boat. A white horse with a sack of 
 meal over his back has its front feet on the boarding, and along- 
 side stands a bay pony, ridden by a man who has a gray shawl 
 wound round his chest and a blue bonnet on his head. To the 
 left a girl in scarlet cape rests her basket on a post as she looks 
 down to talk with a woman who sits on the floor with her back 
 tous. Her tin can and wooden basket lie beside her, and a black 
 dog thrusts his muzzle into her lap. To the left of the group — 
 stand a white anda brown duck. 
 
 Signed at the right, J. F. Herrine sen. 1851-5. 
 
 Height, 35 inches; length, 45 inches. 
 
“ 
 
PIERRE MIGNARD 
 
 1612-1695 
 
 JP 
 eo ol fia 
 
 134—PORTRAIT OF ANNE OF AUSTRIA 
 
 The subject of this portrait, born in 1601, was the daughter 
 of Philip III. of Spain and wife of Louis XIII. of France. 
 After the latter’s death she was made regent during the minor- 
 ity of her son, Louis XIV., and, with her minister Mazarin, she 
 had to meet the troubles caused by the Civil War of the Fronde. 
 In 1661 she retired to the Convent of Val de Grace, where she 
 died five years later. 
 
 Her figure is shown three-quarters length, inclined towards 
 the left, standing before the base of an immense column and a 
 voluminous crimson curtain. With her left hand she lifts her 
 mantle, while her right rests upon a crown, which lies on a 
 cushion decorated with gold filigree and tassels. The sump- 
 tuous robes are painted with remarkable subtlety and decision. 
 The gown is of gold brocade, with touches of geranium red and 
 silver, the bodice brought to a point at the waist with three 
 pear-shaped pearls at the top and bunches of pearls in a series 
 below it. The full sleeve is looped up over the elbow with a 
 jewelled armlet, under which is a frill of lace and silk. From 
 her shoulders hangs a mantle of blue velvet, sown with fleur-de- 
 lys, bordered with an alternate device of a rosette and true-lov- 
 er’s knot, and lined with ermine. Her dark hair is piled above 
 her head, with here and there the sparkle of a diamond. 
 
 Height, 49 inches; width, 38% inches. 
 
FRANK BRANGWYN 
 
 Contemporary 
 
 BE ES ts 2 ) 
 Ay o ; ue fp ae fe 
 ‘ ee Ee AL « Abt CVE IVIL AY 
 
 135-—-SPANISH FISHERMEN 
 
 The sky is a pure, unclouded blue, and against it flap the 
 lighted and shadowed sails of fishing vessels whose hulls form a 
 compact horizontal band across the middle distance. The water 
 in front is blue like the sky, but spread with flots of buff, red 
 and brown, as its smooth, swaying surface reflects the hues of 
 the vessels and of several small boats that spot the front, still 
 repeating the horizontal direction. In the foremost of these, a 
 drab gondola, with a water jar hanging over its side, is a party 
 of fishermen, one of them playing an accordion, while another 
 stands up holding a bottle. 
 
 Painted flatly with a variegated pattern of rich color that 
 suggests some Kastern rug, the picture is full of force and anima- 
 tion; a good example of this very individual artist. 
 
 Signed on the right, F. B. 95. 
 
 Height, 40 inches; length, 51 inches. 
 
4 y 
 
 ax ae le 
 
 w% bent aly. J 
 
EDWARD C. WILLIAMS 
 
 1782-1855 
 
 Tae iad 
 
 if. = 
 136—THE RED LION INN & C9 
 
 _ Ata table, set in the open air in the centre of the picture, 
 a party of yokels is seated, drinking to the health and, no 
 doubt, at the expense, of a soldier by whom a woman is seated. 
 To the right of the group a wagon drawn by a pair of horses has 
 halted before the inn door, where the landlord stands with a 
 mug of ale. The inn, backed by a red brick. building, -bearing 
 the sign, ‘‘Sion House Academy,’’ is itself constructed of 
 timber work and plaster, with a lean-to stable, beside which two 
 horses stand, while another pokes his head through the doorway. 
 On the left of the composition a road runs back under an 
 avenue of trees, with cottages on the left and a green upon 
 the other side, at the end of which appears the low spire of the 
 village church. In the foreground races a little boy, with the 
 string of a kite in his hand and two dogs at his heels. 
 On a paper at the back of the frame is the artist’s auto- 
 graph statement—‘‘ The Red Lion Inn near Shillinlea, Surrey, 
 painted for H. Wallis, Esq. EK. C. Williams, June 19, 1848.’’ 
 
 Height, 30 inches; length, 50 inches. 
 
GEORGE VINCENT 
 
 ve 1796-18381 
 VB hee 
 
 1387—COUNTRY LANE pt a7, lor 
 
 A lane passes back from the front, with large oaks on each 
 side whose foliage of rich greens and ambers, almost meeting 
 overhead, leaves intervals of soft blue sky. On the right is an 
 arched bridge, under which a brook flows in a stony channel. 
 Farther back in the centre, where the road narrows between 
 two posts, a boy in red waistcoat, with blue coat dangling from 
 a stick on his shoulders, follows a flock of sheep. The lane 
 ahead turns to the right, then winds back to the left round a 
 fenced enclosure of trees, surrounding a red-roofed house, the 
 smoke from its chimney curling softly against some distant pop- 
 lars. In the background the lane once more passes to the right, 
 and here a woman and child stand beside a stile, talking to a man 
 in the orchard on the other side. 
 
 The scene is a lovely one, flooded with sunshine, in the ren- 
 dering of which Vincent was especially distinguished among the 
 painters of the Norwich school. 
 
 Height, 37 inches; length, 48 inches. 
 
ei a 
 as) 
 Vue 
 ooh 
 rra-7 4 
 i ond MN 
 “a 
 4 
 
 . 
 
JACOB GERRITSZ CUYP 
 
 1575—After 1649 
 Eee gg ” 
 
 | J. ‘s 
 1388—GIRL WITH ORANGE ot. Pope. SS ale. es a 
 
 y 
 
 A little girl, in a gown reaching to her feet, is represented 
 standing in a landscape, extending an orange in her left hand. 
 Behind her are two tree-trunks and a distant slope of brownish 
 green grass under a white sky with tawny clouds. The bright 
 chestnut hair, kept in place by a pin and comb, is drawn off her 
 square forehead; the eyes are very far apart, the nose large, and 
 the lips broad and full. In her ears are little crosses formed of 
 four stones, and a chain of gold links is worn over the edge of 
 the chemise. ‘The demureness of the face finds a response in 
 the formal sobriety of the costume. A tippet of white muslin, 
 trimmed with two bands of lace, is fastened by three little string- 
 bows over the black velvet bodice. The latter has a short skirt 
 open down the front over a brown watered silk petticoat, faced 
 and edged with bands of velvet. The child’s right arm hangs by 
 her side with buff gloves held in the hand. 
 
 The costume is painted with skill, and the whole picture 
 has an air of grave distinction. 
 
 Height, 50 inches; width, 38 inches. 
 
 From THE CoLiEcTIoN oF J. W. Saree, BRIGHTON. 
 
THOMAS HUDSON 
 
 1389—PORTRAIT OF WILLIAM PITT, AFTERWARDS 
 EARL OF CHATHAM 
 
 In front of a drab wall, on the right of which is a vertical 
 band of dark olive, the statesman is represented beside a carved 
 wooden table, resting the left hand on an open book, and the 
 other upon his hip. He is clad in a brown velvet coat, with 
 white frilled cuffs, and waistcoat of French gray silk, that has flap 
 pockets at the waist and skirts trimmed with fringe. The body 
 slightly inclines to the right, while the head is turned three- 
 quarters to the left, surmounted by a powdered blond tie-wig, 
 that is brushed back from the forehead and curled over the ears. 
 
 Height, 50 inches; width, 40 inches. 
 
 From THE CoLLEcTION oF Mr. Wm. Morton-Pirr, Cricket Court, CHarp, SoMER- 
 
 SETSHIRE. 
 
WILLIAM OWEN, R.A. 
 
 1769-1825 
 “af 
 
 i eae 
 
 140—MOTHER AND CHILD 
 
 Under the latticed window of a cottage, whose wall shows 
 brick through the broken plaster, rests a settle, in front of which 
 a woman kneels with her right arm round the standing figure of 
 A a little child and her left hand on its arm. The child, clad only 
 : in a short slip, has its arm folded over a kitten at which it gazes. 
 The mother’s head is slightly bowed, showing the knob into 
 which her dark brown hair, worn in ringlets over the ears, is 
 drawn up. 
 
 Her white dress is cut low and clings to the figure, fastened 
 with a claret-colored ribbon at the waist, whence it parts in front 
 over a pale blue petticoat. Behind her figure, to the right, is a 
 bunch of foliage, and beyond it a burst of white in a blue sky, 
 across which lean two tree-stems. 
 
 Height, 51 inches; width, 40 inches. 
 
AMBROSINI JEROME 
 
 Exhibited 1840-1871 
 
 Sige Oe 
 
 141—CHILDREN OF Or Vel, 
 
 The three children are grouped in ‘tront of a grove of beech 
 
 trees, to the left of them being a statue of Cupid and Psyche, 
 beyond which a garden landscape extends to a sheet of blue 
 water. The little Princess Royal, who later became the mother 
 of the present Emperor of Germany, a fresh-faced child with 
 yellow-brown ringlets, is seated on a stone, lifting her white 
 dress so as to make a hollow for some roses. One has just been 
 dropped in by her brother, the Prince of Wales, who in a ruby 
 velvet suit kneels by her side with his left hand on a hoop. The 
 Princess Alice, little more than a baby, sits on the grass to the 
 boy’s right, dressed in a blue dress and rose-colored sash and 
 holding a bunch of roses. 
 
 This picture was hypothecated by the artist to a lawyer 
 at Windsor, who advanced him money upon it. The loan not 
 having been repaid, it remained in the possession of the lawyer 
 
 for nearly forty years, and after his death was sold among his | 
 effects. 
 
 : 
 Signed on the pedestal of the statue, A. Jerome, 1851. , 
 
 Height, 45 inches; length, 56 inches. 
 
NICOLAS BERCHEM 
 
 1620-1683 4) 2 
 oa. ai Bars pa (0. Gh “to Pvte vee 
 1442—ITALIAN LANDSCAPE WITH BATHERS 
 
 In this elaborately and handsomely composed landscape 
 the conspicuous feature is a two-arched bridge that crosses the 
 middle distance, uniting the steep banks of a river which flows 
 to the front. Here a bather is walking in the shallow water 
 towards two figures, who are seated under the bank which rises 
 on the left of the foreground. ‘Two more figures appear at the 
 top of it, and behind them stands a ruin, pierced by an arched 
 entrance. This side of the foreground is in shadow, strongly 
 contrasting with and giving extra delicacy to the pale gray 
 water and the warm buff of the bridge. Beyond the latter is a 
 background of mountain with bold rocky formation in faint gray 
 hues and with a lace-like fringe of trees, showing against warm, 
 vaporous sky. The latter clears above to a greenish blue, in 
 which a loose shredded cloud is poised. Several tall trees crown 
 the bank at the right end of the bridge. 
 
 The picture notably exhibits this artist’s special qualities: 
 
 originality of composition, warm tone of color and_ brightly 
 lighted atmosphere. 
 
 Signed above the left, N. Bercuem. 
 
 Height, 50 inches; width, 40 inches. 
 
WILLIAM HILTON, R.A. 
 
 ee ae ets 
 ree Yb. CLeelantede 
 1483—PORTRAIT OF LORD ALTHORP, AFTERWARDS 
 THIRD EARL SPENCER 
 
 Lord Althorp, who succeeded to the earldom in 1834, was 
 born in 1782. After being educated at Harrow and Trinity 
 College, Cambridge, he entered Parliament in 1804 as a sup- 
 porter of Fox. From 1806 until the passage of the Reform Bill 
 in 1832 he represented the county of Northampton, and was one 
 of the leaders of the opposition. During Earl Grey’s adminis- 
 tration, 1830 to 1834, he served as Chancellor of the Exchequer. 
 On his father’s death he retired from political life and devoted 
 himself to agricultural science, being the first President of the 
 Royal Agricultural Society, 1888. He was an active member 
 of the Roxburgh Club for reprinting rare books. 
 
 The face is of peculiar sweetness and noble gravity. The 
 golden brown hair waves softly over the top of the head, and at 
 the side is brushed to the front. The eyes are deeply set, the 
 nose delicately curved at the nostril, and the mouth short, with 
 a full underlip, while the broad jaw narrows sharply at the chin. 
 The young man is seated with his left arm resting on a table, 
 the hand holding a quill pen. The figure faces three-quarters 
 to the left, clad in a brown cloth coat with high roll-over collar, 
 
a fawn-colored waistcoat and tight drab trousers. Two seals 
 hang from the fob. A roll of paper and books are disposed 
 about the table, and beside an open window, through which sea 
 and shipping are visible, stands a volume, entitled ‘‘Sir W. 
 Jones.’’ The latter, celebrated as an Oriental scholar, had been 
 the tutor of Lord Althorp’s father and remained the friend of 
 the family. 
 
 Height, 50 inches; width, 40 inches. 
 
 From THE CoLLEcTION oF Mrs. GuTHRIE. 
 
OS 
 
 SIR PETER LELY 
 
 1618-1680 
 
 Fired : 
 
 1U44—THE COUNTESS OF PETERBOROUGA 
 
 This lady, wife of Henry Mordaunt, second Earl of Peter- 
 borough, was before her marriage Lady Penelope O’Brien, 
 daughter of Barnabas, sixth Earl of Thomond. She was a lady 
 of the bedchamber to the second wife of James II., Mary d’Este 
 of Modena, mother of the elder Pretender. 
 
 The lady is represented standing in a walled recess on the 
 right of which a fountain is built out. The design of it is a boy 
 struggling with a dolphin, the water spouting from its nostrils 
 and gushing from its mouth into a shell-like basin. On this the 
 lady rests her left hand, while the right is held across the body 
 pointing towards the water. Her head leans slightly towards 
 the left, and the fair hair, brushed negligently off her beautiful 
 forehead and hanging behind in curls, is veiled with blue silk 
 drapery that droops down her right side and is looped over the 
 arm. The robe, of citron-colored silk, fits loosely over the fine 
 bust and shows in its V-shaped opening the white frill of the 
 chemise. The composition, while very decorative, is simple 
 and unaffected; the painting broad and spirited, and unusually 
 fine in tone. 
 
 Height, 58 inches; width, 45% inches. 
 
CHARLES FRANCOIS DAUBIGNY 
 
 1817-1878 
 
 (cos fa pe ey See 
 
 145—RIVER SCENE WITH CATTLE—MOONRISE 
 
 A primrose moon hangs high upon the left of a vaporous 
 gray sky, over which are filaments of cloud, wine-colored, and 
 to the right fluffs of rosy white. The river fills the centre of 
 the landscape, gray and slumberous, with lines and tufts of reeds 
 in the front, and the reflection of one bush that breaks the low 
 line of the opposite shore. To the left of the foreground three 
 cows have entered the water, one stooping to drink, and close 
 by on the bank under a slender poplar stands a woman in slaty 
 blue dress and white cap. Behind her begins a row of willow 
 trees that follow the line of the left bank. The picture is a 
 harmony of gray tones, tenderly atmospheric, notwithstanding 
 the bold and sketchy manner of the painting. 
 
 Stamped C. D. on right corner. 
 Height, 34 inches ; length, 58 inches. 
 
 From THE Couiection or W. J. Latwwiay, Drumore House, CAMPBELLTOWN, Scort- 
 LAND. 
 
SIR ANTHONY VAN DYCK 
 
 ety Tatas 1599-1641 , ps 
 “ one : to. CO Li 
 
 146—HENRIETTA MARIA, WIFE OF CHARLES I 
 
 In this splendid example of Van Dyck’s courtly grace of 
 portraiture the Queen is represented on a sofa, her figure, seen 
 to the knees, facing three-quarters to the left. The right arm 
 is laid upon a table and the beautiful hand suspended from 
 its edge, while the other hand rests upon her lap, and on its 
 upturned palm lie two roses. The head is held with graceful 
 erectness against the golden brown background; the hair being 
 of a golden red, disposed in little ringlets over the forehead and 
 falling behind in a mass of smaller ones, held in place by a pearl 
 comb. Her earrings and necklace are also composed of pearls. 
 The robe is of pale blue satin; the bodice cut low and softly 
 curving to the bosom, while the flowing sleeves hang low down 
 in a point, the upper part being drawn above the elbow in 
 voluminous folds, and slashed so as to show the white under- 
 sleeve. The costume is painted with consummate skill, and its 
 masses of light and shade make a composition of delicate 
 sumptuousness. A large cluster of dark stones decorate the 
 breast, and from it hangs a string of gold fruit alternating with 
 birds. The brown liquid eyes gaze out of the picture; the nose 
 is long and slender, and the mouth very sweetly pursed. <A 
 
mingling of nobility and exquisiteness characterizes the whole 
 portrait. 
 
 The picture is from Ashtead Park, Surrey, which in the 
 reign of Charles I. was in the possession of Thomas, Duke of 
 Norfolk. This nobleman was a cultivated patron of the arts, 
 and held office at court until Parliamentary troubles reached a 
 critical stage in 1642, when he was intrusted with the duty of 
 escorting Queen Henrietta Maria and the Princess Mary to 
 Holland. He remained abroad until 1646, when he set out 
 to return to England but died on the journey. 
 
 Height, 48 inches; width, 37 inches. 
 
SIR GODFREY KNELLER 
 LS LVS 1646-17238 
 
 147—PORTRAIT OF LORD CLIFFORD AND LADY 
 JANE, HIS SISTER Y- yo. 
 
 A curious mingling of natural grace and allegorical affecta- 
 tion appears in this handsome picture. The children are grouped 
 under the spreading foliage of a chestnut tree in a garden, 
 beyond which is the suggestion of a rampart wall, their little 
 bodies tricked out in splendid raiment, designed according to 
 prevailing notions of classical garb, and in the case of the boy 
 grotesquely so. Yet, with all this bravery of artifice, the faces 
 have the charming naturalness of childhood. 
 
 The little girl is seated on a stone, her trim figure erect in 
 profile and the face turned towards us with an expression of 
 serious sweetness. Over a white chemise with loosely flowing 
 sleeves, a drapery of peach-bloom satin is draped from the 
 shoulders, descending to the ground, where it is bunched in 
 sumptuous folds. From her right shoulder a reddish plum-col- 
 ored mantle falls over her arm. The boy, whose long ringlets 
 resemble a Restoration wig in miniature, stands to the left of 
 his sister, holding a bow and arrows. His costume consists of a 
 deep blue tunic, trimmed down the front with gold lace, gray- 
 ish blue tights and a cothurnus, the straps of which, with gems at 
 their intersections, extend half way up the calf. A drapery of 
 crimson silk, fastened at his back, lies across the right thigh and 
 covers the left leg. The various fabrics are painted with con- 
 summate skill. 
 
 Another picture of the same children by Kneller was mez- 
 
 zotinted by I. Smith. 
 Height, 60 inches; width, 48 inches. 
 
* 
 
 ! 
 *y 
 
PETER PAUL RUBENS 
 
 1577-1640 
 
 TS ar a 
 
 148—PLUTO AND “aa hi A ? re “i - 
 AKMeL ! gear 
 : ( 
 
 (A study for the larger picture in the Madrid Museum) 
 
 Pluto has caught the maiden in his arms and is mounting 
 his chariot; the three brown horses plunging forward, as a Cupid, 
 running alongside, lashes them with a whip, and another, float- 
 ing in the air, holds the reins. To the left of the group Minerva, 
 in a golden brown drapery, with corselet and white-plumed 
 helmet, leans forward with outstretched hand laid upon Pluto’s 
 arm. The movement of her figure is repeated by two other 
 maidens, one nude to the waist with olive green drapery around 
 her legs, and the other garbed in a rosy veil that leaves her left 
 arm and breast exposed. Beyond them is visible the water of 
 Lake Enna under a warm sunset horizon, that changes above to 
 blue sky, dappled with pink clouds, and gradually darkening 
 towards the right, where it lowers angry and lurid. 
 
 Height, 30 inches; length, 62 inches. 
 
 PURCHASED FROM THE EXECUTORS OF Mr. REUBEN Moss. 
 
ee, 
 
 GEORGE ROMNEY 
 
 1734-1802 
 Be oe | 
 149—CHILD FLYING A KITE ? oh 
 
 A little barefoot’ girl, in plain white frock) whemtealanaae 
 
 says, was the daughter of the artist, stands, flying a kite. Her 
 face, surrounded by light curly hair, is raised as she looks up, 
 while her right hand, lifted above her head, regulates the string, 
 which passes through the left hand to the reel on the ground. 
 The sweet little figure is silhouetted against large masses of 
 white cloud. 
 
 Height, 50 inches; width, 40 inches. 
 
 From THE CoLLECTION OF JOHN ROHDE. 
 
A . 
 
 ui ie 
 2 PUNY oer 
 
 A as aa econ 
 Vere ha . 
 
 RNa PS: 
 
 aS 
 
 XY 
 * 
 
 — 
 
JOHN SINGLETON COPLEY, R.A. 
 
 1787-1815 
 
 cB aes fe 
 
 150—DAVID GAR ) 
 on Y J eget 
 
 The actor stands with his weight on the left leg, advancing 
 the other and resting his drab gloved hand upon a cane. He is 
 clad in a leather jerkin, warm buff in color, with a fringe of 
 leather upon the shoulder and tags of the same running down 
 the front. The collar and cuff are of lace, and a drab bandolier 
 crosses his breast, holding a small sword which shows at the 
 back between his legs. These are encased in breeches and 
 stockings. From his left shoulder hangs a mantle of yellowish 
 brown material, covering the left arm, which rests upon the hip. 
 The fine head is bald, with light hair falling loose around the 
 ears and neck; and the eyes, as Fanny Burney noted in her 
 diary, are brilliant and piercing. Behind this strikingly alert 
 figure are two columns and a beech trunk, with a distant view 
 of pale greensward under a whitish sky that grows to dark slate 
 above. 
 
 The picture is mounted in the original frame. 
 Height, 84 inches; width, 50 inches. 
 
 From THe Cotiection or Mr. G. Hunt-HeicHam. 
 
JOSEPH MALLORD WILLIAM 
 TURNER, B.A. 
 
 Ly Oe 1775-1851 
 
 Pranf Uh 
 
 151I—-HKHRENBREITSTEIN 
 
 The grand rock, crowned with its once impregnable for- 
 tress, for it now needs the protection of advance earthworks, 
 is seen from the river; a paddle-wheel steamer, bright with 
 passengers, and a boat, alongside of it, occupying the left of the 
 foreground. Another boat, with figures in it, is moving in 
 mid-stream, and a third lies under the opposite bank. Follow- 
 ing the course of this is a wall, with square towers at intervals, 
 beyond which is a row of steeply roofed houses, some of them 
 with double tiers of dormer windows. Behind them mounts 
 the rock, shrouded in soft transparent shadow at the base, lu- 
 minous atop with rosy yellow light, under a pale-greenish sky, 
 dappled and skeined with vapor. To the right, connected by 
 a high viaduct, is a darker mass of rock and ruin, golden brown 
 in the shadow. ‘The picture is an exceedingly beautiful exam- 
 ple, with a noble simplicity of composition, exquisiteness of 
 color and lovely effects of atmosphere. 
 
 Height, 23% inches; length, 29 inches. 
 
 From THE CoLtecTIon oF Mr. Doucras Murray. 
 
GERARD VAN HONTHORST 
 
 ee 1590-1656 
 sg.” 
 
 152—-ST. MATTHEW CALLED FROM meee tone Ee 
 
 OF CUSTOM Jil Deiee CD Fer 
 
 Figures, realistically represented in the costumes of the 
 seventeenth century, are congregated round a table, to the left 
 of which is the Christ in blue and red drapery, with a nimbus 
 above His head, who leans back with outstretched hand beckon- 
 ing St. Matthew. The latter sits upon the right of the table 
 with his arm upon it, leaning forward; his strong face, sur- 
 mounted by a black biretta, earnestly fixed upon the Christ. 
 Prominently catching the light in the centre of the group is a 
 young man who turns from making entries in a book to note the 
 cause of the interruption. A white feather dangles from his 
 cap, and his figure is clad in a buff doublet with slashed sleeves 
 and white loose breeches. To the right of him an old man’s 
 head is bowed over the table as he poises a pair of scales. . Be- 
 hind him appear two other figures, one in partial shadow; and 
 two faces are also visible above the Christ’s shoulder. 
 
 The figures are strongly drawn, with pronounced skill in the 
 foreshortening; the heads are finely modelled and full of charac- 
 ter, and the fabrics painted with truth and feeling. The canvas 
 is a museum picture of notable interest. 
 
 Height, 57 inches; length, 88 inches. 
 
 From THE Cotiection or Lorp James Burier, Drumconpra CastTie, IRELAND. 
 EXHIBITED AT THE Dustin Fine Arts Exursition. 
 
TINTORETTO (JJACOPO ROBUSTI) 
 
 Van re as a ys 
 
 158—A PROCURATOR OF ST. MARK’S 
 
 This dignitary, a member of the Pesaro family, stands 
 against a dark olive background, his figure seen to the knees, 
 facing three-quarters to the left. The face is ruddy, with short 
 black hair and a dark brown mustache and pointed beard, re- 
 lieved against the white of a lace collar. He is clad in a black 
 velvet doublet, edged with brown fur, the sleeve hanging full 
 and short over the black velvet sleeve of the under-tunic. 
 Upon the breast, by a brown cord, hangs a pendant with an 
 amber-colored gem in the centre and a gold star suspended from 
 the bottom. He rests his right hand on a table covered with a 
 crimson and black cloth, on which shows the edge of a gold 
 casket, while his right hand, hanging down, holds a white hand- 
 kerchief. Rings encircle the first finger of the right hand and 
 the little one of the left. 
 
 Height, 43 inches; width, 36 inches. 
 
 From THE CoitecTion oF Lorp METHUEN. 
 
6 ets SE 
 
 tn apa pla ih gn tg 
 
PAUL POTTER 
 
 1625-1654 
 
 a ar al 3 
 154-—LANDSCAPE AND CATTLE eee ‘pre Ly A jae pi Art. ten 
 
 This magnificent example of the Dutch cattle ‘aes who 
 reached such an early maturity and died so young has been 
 reckoned as one of the most important after the famous ‘‘ Bull ”’ 
 at The Hague. On the left of the picture the roof and chimney 
 of a cottage and two trees with scanty foliage appear above a 
 rude wall of earth, which separates them from the foreground. 
 Here on the mossy turf, which shows in places the brown 
 undersoil, five cows are grouped. In the centre, facing the 
 cottage, stands a brown one, under whose belly shows the white 
 face of a dark dun that lies beyond her. In front of her lies 
 another of similar color, and at this one’s back a black and white 
 cow is extended ahead of the standing one. To the right of this 
 group a white and dun is feeding, facing towards the water, 
 which follows the irregular curvings of the shore upon the right 
 as far as the middle distance. At this point a road ascends to 
 the right, up which a man and his dog are following a cow and 
 some sheep. In the background rise wooded hills under a 
 grayish white sky, the right side of which is filled with creamy 
 cloud. 
 
 The natural character of the cows, their impressive bulk of 
 form and richness of color, are splendidly realized, and in the 
 farther portion of the picture there is a charming contrast of 
 delicate tones. It is in every respect a most notable example. 
 
 Signed at the right, Pavius Porrer, 1646. 
 Height, 39 inches; length, 51% inches. 
 
 From tue Corzircrion or Mr. G. FeatHerston GIFFEN. 
 
SIR JOSHUA REYNOLDS, P.R.A. 
 
 If. ad ile ne : 
 [ eres Sea 
 
 155—RICHARD GRENVILLE, FIRST EARL TEMPLE 
 
 The subject of this superb portrait, a brother of George 
 Grenville, the author of the notorious Stamp Act, allied himself 
 in politics with William Pitt, his brother-in-law, by whom he 
 was promoted to the offices of Lord of the Admiralty and Lord 
 Privy Seal. His correspondence and that of his brother George 
 with Pitt was edited as ‘‘The Grenville Papers’’ in 1852 by 
 W.J. Smith. He was born in 1711 and died at Stowe in 1779. 
 
 He is represented in the robes of a peer and decorated with 
 the ribbon and regalia of the garter, his left hand resting on his 
 breast and the other extending downwards, holding his coronet. 
 He wears a powdered wig, bunched over the ears and tied 
 behind, and stands almost in profile facing to the right, with the 
 weight of the body on the left leg and the other slightly bent 
 back from the knee. An ermine tippet reaches to his elbows, 
 and below it the scarlet cloak descends and masses itself in 
 ample folds on the floor. His coat is of brown silk embroidered 
 with gold; the breeches are crimson, the stockings and shoes 
 white. The regalia that hangs round his neck is a chain of gold 
 tie-knots, alternating with jewels of blue enamel, and from it 
 suspends a mounted Saint George in conflict with the dragon. 
 
 inhadieeaite eta = 
 
60/0 
 
 The Garter, with the legend ‘‘Honi soit qui mal y pense,”’ 
 encircles his leg. 
 
 Behind him on the left is a column with a curtain of crimson 
 drapery, and to the right a balustrade, beyond which appear a 
 round tower and bushes. The picture is splendid in color, 
 painted throughout with magisterial decision. 
 
 It is mounted in the original frame. 
 
 Height, 93 inches; width, 57 inches. 
 
 From THE COLLECTION OF THE DUKE oF BUCKINGHAM AND CHANDOS. 
 
 AMERICAN ART ASSOCIATION, 
 MANAGERS 
 
 THOMAS E. KIRBY, 
 
 AUCTIONEER 
 ae 
 
 pe C aerecneg! GA 
 
 i : aya 2 Se 
 
@ 
 re, 
 Bs 
 
 Pe 
 
 cm 
 
 ead a 
 
 - 
 
 Pak 
 
 > 
 
ALKEN, HENRY 
 
 English painter and engraver of subjects of field sports. In 1816 
 published “ ‘The Beauties and Defects of the Figure of the Horse”; in 
 1869, “ Jorrock’s Jaunts and Jollities.”’ 
 
 20—Cotherstone, Winner of the Derby, 1843 
 
 ANDREWS, THOMAS 
 
 A pupil and follower of Morland. 
 
 10— The Seaman’s Resort 
 
 BACKHUYSEN, LUDOLF 
 
 Born at Emden, 1631; a pupil of Aldert van Everdingen; worked much 
 at Amsterdam. Celebrated in his own day for sea-pieces, and especially 
 for rendering of storms. In latter part of life etched a few plates and 
 practised engraving. Died at Amsterdam, 1708. 
 
 43—Shipping 
 
 BAKER, WILLIAM BLISS 
 
 Born in New York, 1859. Pupil of Bierstadt, M. F. H. de Haas and 
 of the National Academy. First exhibited in 1879. By 1889 had secured 
 a solid recognition. Died from a chill the same year, at Ballston, New York. 
 
 90—Hiding in the Haycocks 
 
BARRET, GEORGE, R.A. 
 
 Born in Dublin, 1728. Enjoyed the favor of Burke, who introduced 
 him to wealthy patrons. Was successful in Dublin, and more so in London. 
 One of the original members of the Royal Academy. Appointed Master 
 Painter to Chelsea Hospital. Etched a few plates. Died, 1784. 
 
 54—Landscape 
 
 BEECHEY, SIR WILLIAM, R.A. 
 
 Born at Burford, Oxfordshire, 1753. Originally a house painter, then 
 studied law, and finally entered the Royal Academy school. Painted for 
 some years, in Norwich, “conversation pieces”’ after the manner of Hogarth, 
 and portraits. Returned to London; painted Queen Charlotte, George III. 
 and all the royal family, and enjoyed the favor of society. Died at 
 Hampstead, 1839. 
 
 65—James, Earl of Cardigan 
 
 BERCHEM, NICOLAS 
 
 Born at Haarlem, 1620. Son and pupil of Pieter Claasz; studied also 
 with Van Goyen, J. B. Weenix and Jan Wils, whose daughter he married. 
 In 1642 he entered the Guild of Haarlem. Probably visited Italy, 1648- 
 1655, and finally settled in Amsterdam. At first inflt@enced by Weenix, 
 he gradually found his own style and shared with Jan Both the high regard 
 of his contemporaries. A clever and fairly prolific etcher. Died at Amster- 
 dam, 1683. 
 
 80—Man Cleaning a White Horse 
 
 142—Itahan Landscape with Bathers 
 
BEYEREN, ABRAHAM VAN 
 
 Born at The Hague about 1620. Still-life painter; favorite subject, 
 fish. Flourished at The Hague from about 1650 to 1670. Member of the 
 Guilds of The Hague and Alkmaar. Represented in the galleries of Berlin, 
 Dresden, Rotterdam, Amsterdam and The Hague. Died after 1674. 
 
 125—Still Life—Fish 
 
 BLAKELOCK, RALPH ALBERT 
 
 Contemporary. Born in New York, 1847. Son of a physician. A 
 medical career was intended, but love of music and painting and a tour 
 through the West, with study of Indians, decided him to become a painter. 
 Self-taught. His works are distinguished by rich and subtle harmonies of 
 color, and poignant, poetic sentiment. | 
 
 75—Small Landscape 
 
 78—Autumn Landscape 
 
 BRANGWYN, FRANK 
 
 _ Contemporary. Born in Lincolnshire, England. Associate of the 
 Champ-de-Mars, Paris. Represented in the Luxembourg; Tate Gallery, 
 London; and in the Carnegie Institute, Pittsburg. 
 
 135—Spanish Fishermen 
 
 BRUEGHEL, PETER 
 
 One of the numerous painters of the Brueghel family. 
 8—Village Scene 
 
 4—Landscape and Figures 
 
BUNCE, WILLIAM GEDNEY 
 
 Contemporary. Born at Hartford, Connecticut, 1842. Pupil of 
 William Hart; later, of Achenbach in Diisseldorf and P. J. Clays in Ant- 
 werp. Lives chiefly in Venice. 
 
 %6—Entrance to the Grand Canal—Sunset. Water Color 
 
 CALLCOTT, SIR AUGUSTUS W., R.A. 
 
 Born at Kensington, London, in 1779. Brother of Dr. Callcott the 
 musician, and himself began life as a chorister in Westminster Abbey. 
 Studied at the Academy under Hoppner; first exhibited portraits; after 
 1803, landscapes, chiefly river and coast scenes. Later visited Italy, and 
 painted “ Italian ” landscapes; also executed two subject-pictures, “‘ Raphael 
 and the Fornarina ” and “ Milton Dictating to his Daughters.” Appointed 
 Surveyor of the Royal Pictures. Died in Kensington in 1844. 
 
 41—Sea Piece and Shipping 
 
 CANALETTO (ANTONIO CANALE) 
 
 Born in Venice in 1697. Pupil of his father, Bernardo Canale, a deco- 
 rator and scene painter. In 1719 went to Rome; drew and copied the antiqui- 
 ties. Returning to Venice, occupied himself exclusively with views of that 
 city. In 1764 visited London, remaining there two years. Etched thirty- 
 one plates of ‘ Views of Venice.” Died there in 1768. 
 
 102— View on the Grand Canal, Venice 
 
 CARPENTIERS, ADRIEN 
 A native of Switzerland. Settled in London, about 1'760, as a portrait 
 
 painter. Frequent exhibitor at the Society of Artists, in Spring Gardens. 
 Died in London about 1778, at an advanced age. 
 
 96—Portrait of a Lady 
 
COLLINS, WILLIAM, R.A. 
 
 Born in Great Tichfield Street, London, in 1788; his father being a 
 picture cleaner and dealer, and a friend of Morland’s. Entered Royal 
 Academy schools; exhibited for the first time in 1809. Painted rustic 
 groups, landscapes and coast scenes. Father of Wilkie Collins, the popular 
 novelist. Died in London, 1847. 
 
 382—Fishermen’s Children 
 
 73—Harvest Showers 
 
 CONSTABLE, JOHN, R.A. 
 
 Born at East Bergholt, Suffolk, in 1776; the son of a miller. Attended 
 school in Dedham, spending his leisure in sketching. Admitted a stu- 
 dent of the Royal Academy in 1799. Commenced as a portrait painter, 
 but exhibited a landscape in 1802, and henceforth devoted himself to this 
 branch. In 1819 exhibited “A View on the Stour,” and was elected an 
 Associate; but full membership was delayed until 1829, when he was in his 
 fifty-third year. Resided at Hampstead, near London. His house was full 
 of unsold pictures. The French, however, had recognized his greatness ; and 
 his pictures, exhibited in Paris, undoubtedly influenced French landscape. 
 Died suddenly, April 1, 1837. 
 
 12—Watering the Horse 
 
 COPLEY, JOHN SINGLETON, R.A. 
 
 Born at Boston in 1737. Mostly self-taught, though helped by his step- 
 father, Peter Pelham, the painter and engraver, who died in 1751, about 
 which time Copley began to paint portraits. In 1774 he visited Rome, and 
 the following year settled in London. Patronized by royalty and society, 
 he painted portraits and historical subjects, among the latter, ‘“‘ Death of 
 Chatham ” and “ Death of Major Pierson.” His best works were collected 
 by his son, Lord Chancellor Lyndhurst, and many have been engraved. Died 
 in London, 1815. 
 
 72—Portrait of the Pelham Children 
 
 150—David Garrick 
 
COURBET, GUSTAVE 
 
 Born at Ornans, France, 1819. Commenced to study law in Paris, but 
 drifted round the studios and studied the old masters in the Louvre. In- 
 dependent, he would have nothing of the academical or romantic schools, 
 and struck out for realism; first attracting attention by his “ Dinner at 
 Ornans,” in 1849. At the Expositions of 1855 and 1867 he made an ex- 
 hibition of his works in a separate building, outside the grounds. Two 
 years later Munich honored him with a separate room and the Bavarian 
 Order of St. Michael. He accepted it, but refused the Legion of Honor. 
 During the Commune he was elected Minister of Fine Arts, and to save 
 the Louvre was forced to consent to the destruction of the Vendédme Column. 
 For this he was imprisoned and fined; after which he retired to Vevay in 
 Switzerland, and died there, 1878. 
 
 27%7—Coast with White Chffs 
 91—Coast Scene 
 
 CRESWICK, THOMAS, R.A. 
 
 Born at Sheffield, England, in 1811. Studied at Birmingham, and in 
 1828 settled in London, and began exhibiting at the British Institute and 
 Royal Academy. His first works were Welsh and Irish scenes ; later his land- 
 scapes were drawn from the north of England. Contributed to the Etching 
 Club. Lived in Bayswater, and died there, 1869. 
 
 13—Road to Ballahulish 
 
 CROME, JOHN (OLD CROME) 
 
 Born in Norwich in 1769. Founder of the Norwich school of land- 
 scape, to which Cotman, Stark and Vincent belonged. Son of a poor weaver, 
 he began life as a doctor’s boy, and later worked with a house and sign 
 painter. He sketched from nature, and a local collection of pictures enabled 
 him to study some good examples of Dutch landscape. He also visited 
 the collections in London. But he worked in the neighborhood of Norwich, 
 forming with a few local painters and his own pupils the little “ Society of 
 Artists,” founded in 1805. He rarely exhibited in London, but visited 
 Paris in 1814. He died in his native city in 1821. 
 
 44—Coast Scene—Moonlight 
 79—View near North Elmham 
 97— Landscape with Ruined Church 
 
 ee ge me Tanne aan a fe A oy 
 
CROME, JOHN BERNAY 
 
 Born in 1793, eldest son of “ Old Crome.”? Educated in Norwich and 
 studied art with his father. In 1811 appeared as an exhibitor at the Royal 
 Academy. He frequently painted moonlight scenes. Resided for several 
 years at Great Yarmouth, and died there in 1842. 
 
 58—River Scene—Moonlight 
 
 CUYP, AELBERT 
 
 Born at Dordrecht in 1620. Studied under his father, Jacob Gerritsz. 
 Married in 1658, and lived chiefly on his estate, Dordwijk, near Dordrecht, 
 where, as vassal of the Countship of Holland, he had the right to sit in the 
 Supreme Court of Justice. In 1672 his name was presented to the Stadt- 
 holder William III. as nominee for membership in the regency of Dor- 
 drecht. Im fact, he was a person of much consequence, and, as his name 
 does not appear in the Guild, some have thought he practised art as an 
 amateur. In his early years he painted still-life, birds, stables and some- 
 times portraits, signed A. C.; later, figures, cattle, landscapes and water 
 scenes, signed with his whole name. Died in Dordrecht, 1691. 
 
 §3—Portrait of a Gentleman 
 
 CUYP, JACOB GERRITSZ 
 
 Born in Dordrecht in 1575. Father of Aelbert Cuyp. Portrait and ani- 
 mal painter, pupil of Abraham Bloemart. Founded in 1642 a Guild of 
 St. Luke in his native city. ‘“ He belongs to that prominent group of 
 masters, like Ravesteyn, Hals, Bramer, who, as true interpreters of nature, 
 led Dutch art to the high development culminating in the genius of Rem- 
 brandt.” His death occurred after 1649. 
 
 1388—Girl with Orange 
 
 DANBY, JAMES F., A.R.A. 
 
 Born at Bristol, 1816. Son of Francis Danby, A.R.A. Landscape 
 painter; member of the Society of British Artists, and a constant exhibitor 
 at the Academy. Died in London, 1875. 
 
 8—On the Medway 
 
DAUBIGNY, CHARLES FRANCOIS 
 
 Born in Paris, 1817. Under the tuition of his father, Edme Frangois, 
 he painted boxes, clock-cases and other articles of commerce. Visited Italy 
 at the age of eighteen, and upon his return studied with Paul Delaroche. 
 First exhibited at the Salon of 1838, and continued to be a regular contrib- 
 utor. Especially fond of river scenes, which he painted from a floating 
 studio. Left many etchings. Died in Paris, 1878. 
 
 145—River Scene with Cattle—Moonrise 
 
 DEELEN, DIRCK VAN 
 
 Born at Heusden, 1607. Said to have been a pupil of Frans Hals, which 
 is very doubtful. Visited Italy about 1831, and lived temporarily at 
 Haarlem, Delft and Antwerp; finally settled at Arnemuyden, where he 
 became burgomaster. His architectural subjects, in which Van Herp, 
 Palamedes, Stevens and Wouverman supplied the figures, are distinguished 
 for their fine lineal and aérial perspective. Died in 1673. 
 
 126—Italian Street Scene 
 
 DELACROIX, AUGUSTE 
 
 Born at Boulogne, 1809. Genre and marine painter. Medal of the first 
 class, 1846. Died at Boulogne in 1868. 
 
 117—Coast Scene 
 
 DENON, BARON DOMINIQUE VIVANT 
 
 Born at Chalons on the Saéne, in 1747. He accompanied Napoleon to 
 Egypt. His book on the expedition, “ Voyage de la Haute et Basse Egypte,” 
 was illustrated with drawings by himself. He was made Director-General of 
 Museums, and consulted by Napoleon on all matters connected with the Fine 
 Arts. He designed and etched many portraits of ladies who had attracted 
 him on his diplomatic travels; also the collection of painters’ portraits in the 
 Uffizi Gallery at Florence, and reproductions of some of Rembrandt’s etch- 
 ings. He resembled Voltaire in features and in his wit. Died in Paris, 1825. 
 
 23—View near Cairo 
 
 : 
 } 
 a 
 
 a ee a eee 
 
DORE, GUSTAVE PAUL 
 
 Born at Strasburg in 1833. Real name Dorer, which he modified into 
 the French equivalent. When fifteen years old he was invited to contribute 
 to the “ Journal pour rire.” His first oil-painting admitted to the Salon 
 was the “ Battle of Alma” (1855), but he did not attract attention until 
 1863. He executed a number of ambitious historical subjects of immense 
 size, such as “ Christ Leaving the Pretorium ”; but they did not add to his 
 permanent reputation, which rests most firmly on his wonderful versatility 
 as an illustrator of books. He possessed considerable ability as a sculptor. 
 Died in Paris, 1883. 
 
 98—Rocky Glen 
 
 DROUAIS, FRANCOIS HUBERT 
 
 Born in Paris, 1727. Studied first under his father, Hubert Drouais, 
 a portrait painter, and then with Nonotte, Carle Vanloo, Natoire and 
 Boucher. His portraits of the sculptors Couston and Bouchardon, in 1758, 
 secured him admission to the Academy, and led to his introduction at Court. 
 He painted the royal family and many famous men of the day. Died in 
 Paris, 1775. 
 
 59—Portrait of Buffon 
 
 DUSART, CORNELIS 
 
 Born at Haarlem in 1660. An excellent pupil and imitator of Adriaan 
 van Ostade. Entered the Guild in 1679. He also executed some spirited 
 etchings and a few plates in mezzotint. Died in Haarlem, 1704. 
 
 2—The Toper 
 
DYCK, SIR ANTHONY VAN 
 
 Born of a good family at Antwerp, 1599, the seventh child of twelve. 
 His father was a silk merchant, his mother skilful as a flower painter and 
 embroiderer. When ten years old he was apprenticed to Hendrik van Balen, 
 and in 1615 entered the Academy of Rubens, remaining five years as pupil 
 and assistant. The master procured him an introduction to James I., whose 
 portrait he painted at Windsor, and assisted him to visit Italy. Here he 
 painted the portrait of Cardinal Bentivoglio, now in the Pitti Gallery. After 
 five years’ stay he returned to Antwerp, and again Rubens helped him to 
 favor. He paid an unsuccessful visit to England in 1627, and for three 
 years lived in Antwerp and Brussels, painting religious pictures and por- 
 traits and etching the portraits of painters. In 1632 he accepted the 
 invitation of Charles I., painted portraits of the king, queen and royal family 
 now at Windsor, was knighted and appointed Court painter. He lived in 
 sumptuous style at Eltham, and in the winter at Blackfriars. Here he 
 died in 1641, and was buried in the old Cathedral of St. Paul, near the 
 tomb of John of Gaunt. 
 
 50—Portrait of Inigo Jones x 
 
 146—Henrietta Maria, Wife of Charles I 
 
 FORTUNY, MARIANO 
 
 Born at Reus in Catalonia, 1838. Pupil of Palau, of Claudio Lorenzales 
 and of the Barcelona Academy, where he won the Prix de Rome in 1856. 
 After his three years’ stay in Rome, during which he studied Raphael and 
 made sketches of Roman life, he was sent to Morocco by the government to 
 paint the incidents of General Prim’s campaign. In 1866 he went to Paris 
 and was introduced by Zamacois to Goupil, and the following year visited 
 Madrid and married the daughter of Madrazo, director of the Madrid 
 Museum. With the exception of a year in Paris (1869-1870) and three 
 years in Spain, he spent the rest of his life in Rome. He died there in 1874. 
 
 118—Original Sketch for ‘* The Spanish Marriage’”’ 
 
GAINSBOROUGH, THOMAS, R.A. 
 
 Born in 1727 at Sudbury, Suffolk, fourteen miles from Constable’s birth- 
 place. Apprenticed to a goldsmith in London, who introduced him to 
 Gravelot, an engraver. The latter instructed him in drawing, and procured 
 him admission to the St. Martin’s Lane Academy. After an ineffectual 
 attempt to practise portrait-painting, he returned home and married Mary 
 Burr, a young lady of moderate means. Fifteen years he resided in Ipswich, 
 painting portraits and landscapes, and then moved to the fashionable water- 
 ing-place, Bath. His success was pronounced. In 1784 he moved to London, 
 and was received as the rival of Reynolds. He died in 1788. 
 
 49—Portrait of Lord Dundonald 
 104—The Carrier’s Cart 
 
 106—Portrait of Lady Buller 
 
 GRIEFF, ANTON 
 
 Born at Antwerp in 1670. He lived at Brussels, and died there in 1715, 
 but no particulars of his life are recorded, though from his style it is conjec- 
 tured that he was a pupil of Frans Snyders. He painted small wooded 
 landscapes, with dead game, dogs and accessories of the hunt. 
 
 22—Still Life 
 
 GUARDI, FRANCESCO 
 
 Born in Venice, 1712. A pupil and imitator of Canaletto. Painted 
 views of Venice which, though less precise in perspective and architectural 
 detail than his master’s, are charming in style and execution. Died in Venice, 
 
 1793. 
 
 46—Venetian Scene 
 
HAVELL, WILLIAM 
 
 Born at Reading in 1782. In 1804 he became one of the original mem- 
 bers of the Water-color Society. He accompanied Lord Amherst’s mission 
 to China in 1816, and subsequently stayed for some years in India. Re- 
 turned to England in 1825, and, after a visit to Italy, devoted himself to 
 oil-painting. He died at Kensington in 1857. 
 
 92—The Garden of the Hesperides 
 
 HERP, GUILLIAM VAN 
 
 Born at Antwerp in 1614. At twelve years old he was apprenticed to 
 Darman Wortelmans at Antwerp, and two years later to Hans Birmans. In 
 1637-1638 he became a master in the Guild, and was afterwards much in- 
 fluenced by Rubens. His pictures are not numerous; they usually rep- 
 resent interiors with figures. Sometimes he put figures into Van Deelen’s 
 architectural pictures, as in the case of the one in this collection. He died at 
 Antwerp in 1677. 
 
 126—Italian Street Scene 
 
 HERRING, SENIOR, J. F. 
 
 Born in Surrey in 1795. At the age of eighteen he found employment 
 at Dorchester in coach-painting. Then he worked as stage-coachman, and 
 for a few years drove the “ York and London Highflyer.” He devoted him- 
 self to painting, and was known as the artist-coachman. With the assistance 
 of friends he was able to give himself up to painting and took some lessons 
 from Abraham Cooper. His earlier works were confined to race-horses, and 
 for thirty-three years he painted the winners of the St. Leger. In 1830 
 he moved to Newmarket and thence to London, from which time the scope 
 of his subjects widened. He received commissions from William IV. and 
 Queen Victoria, and enjoyed great popularity. Died at Tunbridge Wells, 
 1865. 
 
 133—Waiting for the Ferry 
 
HILDER, RICHARD 
 
 Exhibited at the Royal Academy between 1830 and 1851. 
 
 1I—Small Landscape 
 
 HILTON, WILLIAM, R.A. 
 
 Born at Lincoln in 1786. He received lessons from John Raphael 
 Smith, the crayon draughtsman and mezzotint engraver. First exhibited 
 in 1803, and from 1806 attended the Academy schools. In 1827 he suc- 
 ceeded Thompson as keeper of the Academy, endearing himself to the 
 students by his singularly amiable disposition. He married the sister of 
 Peter de Wint. Her death after seven years of marriage crushed his energy 
 and hope. He died in 1839. 
 
 148—Portrait of Lord Althorp, afterwards Third Earl Spencer 
 
 HOGARTH, WILLIAM 
 
 Born in London, in the Ship Court, Old Bailey, 1697. Apprenticed, 
 about 1712, to Elias Gamble, a silversmith, after which he turned to engrav- 
 ing. Then he passed to prints for books; and, after 1728, to oil-painting, 
 producing small “‘ conversation pieces.” In 1729 he made a runaway mar- 
 riage with Sir James Thornhill’s only daughter. Four years later he 
 settled in Liecester Fields and established his reputation as a painter by the 
 series of “ A Harlot’s Progress,” followed quickly by “‘ The Rake’s Prog- 
 ress.” In 1745 his art culminated in the six pictures of “ The Marriage 
 & la Mode.” In 1757 he was appointed sergeant-painter to the king. He 
 died at his later home in Lincoln’s Inn Fields, 1764, and was buried in Chis- 
 wick Churchyard. 
 
 108— The Green Room 
 
HONTHORST, GERARD VAN 
 
 Born at Utrecht in 1590. Studied under Abraham Bloemaert, but when 
 he was about twenty went to Italy and settled in Rome. Here he studied 
 and acquired the style of Caravaggio, his pictures meeting with great 
 favor at Rome. On his return to Utrecht he was elected dean of the Guild, 
 and opened a school. Invited to England by Charles I., he spent the year 
 1668 in decorating the Palace of Whitehall with allegorical subjects. He 
 also decorated the palace at The Hague, the House in the Wood, and Rys- 
 wick, and for the King of Denmark painted a series of pictures illustrating 
 Danish history. His later years were devoted to portraits. He died in 
 Utrecht in 1656. 
 
 152—St. Matthew Called from the Receipt of Custom 
 
 HOOGHE, PIETER DE 
 
 Born at Rotterdam, probably in 1632. His style was formed from a 
 study of Karel Fabritius and of Rembrandt. He worked at Delft and 
 Haarlem, painting interiors and portraits which are distinguished for 
 qualities of tone and lighting. Out of Holland his works are extremely 
 scarce, and even in that country are accounted rarities. He died in 1681. 
 
 101—Interior 
 
 HOPPNER, JOHN, R.A. 
 
 Born in Whitechapel, of German parentage, in 1759. After being a 
 choir-boy in one of the royal chapels, he entered the Academy schools. His 
 style was founded on a study of the works of Reynolds, though he was not 
 a copyist. Through the patronage of the Prince of Wales he became the 
 rival of Lawrence in fashionable popularity. Died in London in 1810. 
 
 51—Child with Basket of Flowers 
 
 a 
 
HUDSON, THOMAS 
 
 Born in Devonshire in 1701. He was the pupil of Jonathan Richard- 
 son, and became his son-in-law. After the death of his teacher, he became 
 the most fashionable portrait painter of his time, until his popularity was 
 eclipsed by that of his pupil Reynolds. He acquired considerable wealth, 
 and formed a fine collection of drawings of the old masters. He died at 
 Twickenham in 1779. 
 
 139—Portrat of William Pitt, afterwards Earl of Chatham 
 
 JANSSENS VAN CEULEN, CORNELIS 
 
 Born, probably at Amsterdam, but possibly in London, in 1590. He 
 had already attained celebrity in Holland when he visited England in 1618, 
 and was taken into the service of James I. The arrival of Van Dyck in 1632 
 interfered with his position, but he continued in England until 1648. 
 Then he settled in The Hague. His death occurred probably at Amsterdam 
 between 1662 and 1664. 
 
 94—Portrait of the Queen of Bohemia 
 
 JEROME, AMBROSINI 
 A pupil of Lawrence. 
 141—Children of Queen Victoria 
 
 KAUFFMANN, ANGELICA, R.A. 
 
 Born at Coire in the Grisons, in 1741, the daughter of an Austrian 
 painter, Johann Joseph Kauffmann. At an early age she attained great 
 proficiency in music and languages and showed ability in painting. Her 
 father gave her instruction, and, that she might study the old masters, re- 
 sided by turns in Milan, Florence and Rome. In 1765 she was received 
 in England with great distinction and nominated one of the original thirty- 
 
six members of the Royal Academy. She was entrapped into a clandestine 
 marriage with the valet of the Swedish Count de Horn, of whom she finally 
 rid herself by the payment of £300. In 1781 she married Antonio 
 Zucchi, a Venetian painter, with whom she retired to Rome. She died there 
 in 1807, and was buried in Sant? Andrea della Frate. 
 
 47—Portrait of the Artist 
 113—Lady in a White Dress 
 
 KEITH, WILLIAM 
 
 Contemporary. A native of California, where he resides. 
 
 77—Landscape with Pool and Cattle 
 
 KNELLER, SIR GODFREY 
 
 Born at Lubeck in 1646. Destined for a military career, he was sent 
 to Leyden to study fortifications and mathematics; but, displaying a taste 
 for art, was allowed by his father to proceed to Amsterdam. ‘There he 
 entered the school of Rembrandt, and afterwards studied under Ferdinand 
 Bol. In 1672 he went to Rome and became the pupil of Carlo Maratti and 
 Bernini. After working for some time in Hamburg, he proceeded to London 
 in 1674. He painted the portrait of Charles II., and his reputation was 
 established. He painted Louis XIV., James II., William III., Peter the Great, 
 Queen Anne, Charles IV. of Spain and George I. After residing for twenty- 
 four years in Covent Garden, he settled near Twickenham, at Kneller Hall, 
 which in his lifetime was called Whitton House. He died there in 1723, and 
 was buried in the churchyard of the village, while a monument, with an 
 epitaph to his memory by Pope, was erected in Westminster Abbey. 
 
 68—Lady Catherine Wyndham 
 
 71—Portrait of Queen Anne 
 
 112—Portrait of Joseph Addison 
 
 147—Portrait of Lord Clifford and Lady Jane, His Sister 
 
LANDSEER, SIR EDWIN, R.A. 
 
 Born in London, 1802. The youngest son of John Landseer, A.R.A. He 
 early showed a talent for drawing, and was instructed by his father, and 
 sent out into the field to draw the cattle and sheep. He first exhibited at 
 the Royal Academy at the age of thirteen, and the following year entered the 
 Academy schools. He exhibited yearly until 1822, when he paid his first 
 visit to Scotland. In 1826 he was made Associate, at the earliest age per- 
 missible. In 1850 he was knighted, and five years later received the large 
 gold medal at the Paris Exposition. His reputation as an animal painter 
 was extraordinary, and more than three hundred engravings have been made 
 
 after his works. Died in London, 1873. 
 25—Odin 
 26-—Hafed 
 
 LARGILLIERE, NICOLAS 
 
 Born in Paris in 1656. His father, a merchant, settled in Antwerp, and 
 Nicolas became a pupil of Anton Goubau. About 1675 he visited England, 
 and found work in the royal palaces under Lely. This brought him to the 
 notice of Charles II., whose portrait he painted, as well as several of the 
 nobility. After four years’ stay he settled in Paris and became the intimate 
 of Van der Meulen and Le Brun. He paid another short visit to England 
 and painted the portraits of James II. and his wife, Mary of Modena, and 
 the infant Prince of Wales. After the death of Le Brun and of Mignard, 
 he occupied the foremost position in the French school of portraiture and 
 historical painting. Died in Paris, 1746. 
 
 45—Princesse Clementina Sobieski 
 61—Princesse de Condé 
 
 LAWRENCE, SIR THOMAS, P.RB.A. 
 
 Born at Bristol, 1769. The family moved to the White Hart Inn,-De- 
 vizes, where the boy displayed such skill in making crayon drawings of the 
 customers, that his father took him to Oxford, and thence to Bath, obtain- 
 ing numerous sitters. In 1787 he went to London and entered the Academy 
 schools; next year exhibiting the portrait of Miss Farren, which secured 
 him the notice of the king, who, on Sir Joshua’s death in 1792, appointed 
 him painter in ordinary. His studio in Old Bond Street was the resort of 
 
fashion, and he painted all the notables of his time, visiting Aix-la-Chapelle 
 in 1814 to paint the portraits of the allied sovereigns, their statesmen and 
 generals, which formed the commencement of the Waterloo Gallery at 
 Windsor. Thence he went to Rome and painted the Pope, and on his return 
 to England found himself elected President of the Academy (1820). 
 Between 1825 and his death in 1830 he painted some of his finest works. 
 He was buried in St. Paul’s. 
 
 29—Portrait of Miss Cuthbert 
 66—Portrait of Miss Maria Siddons 
 108—Portrait of Richard Evans 
 
 LEDOUX, MLLE. PHILIBERTE 
 
 Pupil and friend of Greuze. Born, 1760; died, 1815. 
 60—Lady in a White Dress 
 
 LELY, SIR PETER 
 
 Born in 1618, at Soest in Westphalia, where his father, a captain of 
 infantry, was garrisoned. Pupil of Pieter de Grebber at Haarlem. In- 
 fluenced by Van Dyck, for in 1641, the year after that artist’s death, he 
 visited London in the train of William of Orange, on the occasion of his 
 marriage with Mary, daughter of Charles I. He painted portraits of these 
 three, and another of the king in his captivity. During the Commonwealth 
 Cromwell sat to him, desiring that the painter would “ not flatter me at all; 
 but remark all the roughnesses, pimples, warts, and everything as you see 
 me, otherwise I will never pay a farthing for it.” At the Restoration he was 
 appointed Court painter to Charles II., and made a baronet. From 1662 
 to his death in 1680 he lived in the Piazza, Covent Garden. He was buried 
 by torchlight in St. Paul’s, Covent Garden, where a bust by Grinling Gibbons 
 was erected. It was destroyed by fire in 1795. 
 
 84—Portrait of Algernon Sidney 
 85— Henry Sidney (Lord Romney) 
 56—Child and Dog 
 
 144—The Countess of Peterborough 
 
LESLIE, CHARLES ROBERT, R.A. 
 
 Born in London, 1794, of American parents, who soon after returned 
 to Philadelphia. He was apprenticed to a bookseller, but desiring to be a 
 painter, sailed for England and entered the Academy schools. Among his 
 instructors were Benjamin West and Washington Allston. After a visit 
 to the Continent in 1807 he settled down to genre subjects, mostly of 
 humorous character. With the exception of the year 1833, which he spent 
 in West Point as a teacher of drawing, the rest of his life was confined to 
 England. He published, in 1845, “‘ Memoirs of Constable,” and his ma- 
 terials for a life of Reynolds were posthumously brought out by Tom 
 Taylor, who also edited his autobiography. He died in London, 1859. 
 
 11—The Duke and Duchess Reading 
 
 LOO, CHARLES ANDRE VAN 
 
 Usually known as Carle Vanloo, painter and sculptor, was born at 
 Nice in 1705. Son of Louis Van Loo. Instructed by his brother Jean 
 Baptiste, with whom he went to Rome, studying painting under Benedetto 
 Luti and sculpture under Le Gros. After eight years in Paris he again 
 visited Rome, and was knighted by the Pope. In 1735 he was admitted 
 to the French Academy, in which, by successive steps, he attained to the 
 position of director. He died in Paris, 1765. 
 
 52—Lady Mary Wortley Montagu 
 
 LOUTHERBOURG, PHILIPPE J. DE, R.A. 
 
 Born at Strasburg in 1740. He was the son and pupil of a miniature 
 painter, who settled in Paris that the youth might gain instruction from 
 Tischbein and Francisco Casanova. A very popular painter of battles, 
 hunts, sea-pieces and landscapes with figures and cattle, in which last he 
 seems to have been influenced by Berchem. In 1771 he quitted France, 
 and spent the rest of his life in England. He died at Chiswick in 1812. 
 
 37—Landscape and Gypsies 
 
 93—Landscape with Cattle and Ruins 
 
MIGNARD, PIERRE 
 
 Born at Troyes in 1612. When twelve years old he was instructed by a 
 local painter, and then spent two years studying the treasures of art at 
 Fontainebleau. Returning to Troyes he executed some decorative work for 
 the Maréchal de Vitry, who sent him to Paris to complete his art education 
 at the studio of Vouet. In 1635 he set out for Rome, and spent twenty- 
 two years in Italy, whence his nickname “ Le Roman.” In 1657 he received 
 a royal command to return to France, and settled in Paris, patronized by 
 royalty, and specially regarded as the painter of Court beauties. He also 
 executed decorative works, among them frescoes representing paradise, in 
 the dome of Val de Grace, for Anne of Austria. He was the rival of Le 
 Brun, and it was not till after the latter’s death that he was received into 
 the Academy. He died in Paris in 1695. 
 
 184—Portrait of Anne of Austria 
 
 MORLAND, GEORGE 
 
 Born in London, 1763, son of Henry Robert and grandson of George 
 Henry Morland, both of whom were painters. He was a pupil of his father, 
 who bound him to an apprenticeship and kept him closely applied copying 
 Dutch pictures for the dealers. When he gained his independence he set up 
 for himself, but fell a prey to an unscrupulous dealer. Escaping from him 
 he painted miniatures and thrice visited France. Returning to England he 
 married the sister of William Ward, who shortly after married Morland’s 
 sister. As long as they all lived together Morland steadied down to regular 
 work; but when the two families separated he once more found himself 
 in trouble, and the rest of his life was a medley of hard work, debauches and 
 debt. The popularity of his work was extraordinary and led to wholesale 
 fraudulence on the part of dealers. He died in a sponging-house, 1804. 
 
 5— Shepherds and Sheep 
 6—Gypsies 
 
 14—Winter Scene—Skating 
 110—The Dragon Inn 
 120— The Smugglers 
 123—Sow and Pigs 
 
NAVLET, VICTOR 
 
 Born at Chalons-sur-Marne about 1827. Painter of landscapes and in- 
 teriors. Pupil of his father. Medalled, 1867. Died in Paris, 1886. 
 
 107—Galerie d’ Apollon in the Louvre 
 
 NEEFS, PEETER, THE ELDER 
 
 Born at Antwerp between 1578 and 1582. Best pupil of Hendrik van 
 Steenwyck, the elder; entered the Antwerp Guild in 1609. He was famous 
 in the Flemish school for his painting of church interiors, in which the 
 figures were inserted by Frans Francken III., Teniers, Brueghel and van 
 
 Thulden. Died about 1656. 
 
 38—Interior of Cathedral 
 
 NETSCHER, CASPAR 
 
 Born at Heidelberg, 1639; the son of a sculptor and engineer in the 
 Polish service, who died in Prague. War obliged the widow to seek asylum 
 in Holland for herself and three children, of whom Caspar was the youngest 
 He was educated by a wealthy physician, and placed in the studio of Gerard 
 Terburg. Hestarted to visit Italy by sea, but got no farther than Bordeaux, 
 where he fell in love with and married Marie Godin, his landlord’s niece. 
 The trip to Italy was abandoned, and he returned to Holland, where his small 
 portraits were soon in great demand. According to Walpole he paid a short 
 visit to England at the invitation of Sir William Temple. He was a member 
 of the Guild at The Hague, where he died in 1684, 
 
 24—Lady of Fashion as St. Catherine 
 
OPIE, JOHN, R.A. 
 
 Born at St. Agnes, near Truro, Cornwall, in 1761. Began to paint at 
 the age of ten and sold portraits at sixteen. In 1780 he was introduced to 
 Sir Joshua Reynolds by Peter Pindar, as the Cornish genius. He painted 
 some historical subjects, but excelled in portraits, which are distinguished by 
 fidelity and directness. In 1805 he was chosen professor of painting in the 
 Royal Academy. Died in London, 1807, and was buried in St. Paul’s 
 Cathedral. 
 
 57—Portrait of Mrs. Pope 
 87—Head of a Girl 
 116—Head of an Oriental 
 
 OSTADE, ADRIAAN VAN 
 
 Born at Haarlem, 1610. The favorite pupil of Frans Hals, and after 
 1640 developed under the influence of Rembrandt. He had many pupils, 
 among them Jan Steen and Cornelis Dusart. He left many etchings, of 
 which Bartsch has enumerated fifty. Died in Haarlem, 1685. 
 
 19—Man beside a Cottage 
 
 OWEN, WILLIAM, R.A. 
 
 Born in 1769. Son of a bookseller in Ludlow, Shropshire. Was admitted 
 to the Academy schools in 1791, and at the same time studied under Catton. 
 He painted rustic subjects and portraits, in the latter especially securing a 
 large clientéle. Died in London, 1825. 
 
 140—Mother and Child 
 
 PEPPERCORN, A. D. 
 
 Contemporary. 
 
 21—Landscape—A Gray Day 
 
PICKERSGILL, HENRY WILLIAM, R.A. 
 
 Born in London, 1782. Pupil of George Arnald and of the Academy. 
 He succeeded Phillips as the fashionable portrait painter of the day, and 
 had among his sitters many famous people. He died at Barnes in 1875. 
 
 114—Portrait of Wilham Wordsworth 
 
 POTTER, PAUL 
 
 Born at Enkhuizen, 1625. Son of Pieter Potter, painter of landscapes, 
 soldiers, animals and still-life, who moved to Amsterdam in 1631. He prob- 
 ably instructed his son, who is supposed to have studied also at Haarlem 
 with Jacob de Wet the elder. Paul’s first signed picture, ‘‘ The Herdsman,” 
 appeared in 1643. In 1646 he went to Delft, was admitted to the Guild 
 and produced “ The Young Bull.” In 1649 he moved to The Hague, where 
 his pictures were in extraordinary demand. He married in 1650, but two 
 years later, having cause, it is said, to mistrust his wife’s fidelity, he suddenly 
 left The Hague and returned to Amsterdam. Here two years of unremitting 
 labor exhausted a constitution naturally weak, and he died in 1654, in the 
 twenty-ninth year of hisage. He also executed a few spirited etchings. 
 
 164—Landscape and Cattle 
 
 POUSSIN, GASPARD 
 
 (Real name, GASPARD DUGHET) 
 
 Born in 1613, of French parents, who had settled in Rome. In 1629 
 his family received Nicolas Poussin, then a lonely and friendless student in 
 Rome, into their house and nursed him through an illness. He married one 
 of the daughters, and for three years instructed Gaspard in art. The latter 
 set up for himself at the age of twenty. He spent a year at Perugia and 
 Castiglione with the Duke della Cornia, and also visited Milan, Florence and 
 Naples. Returning to Rome he came under the influence of Claude Lorrain, 
 then at the zenith of his fame. He remained a bachelor, fond of out-door 
 sports as well as painting, and for better study of nature maintained four 
 houses ; two on elevated situations in Rome itself, one at Tivoli, and another 
 at Frascati. He died in Rome, 1675. 
 
 129—Classical Landscape with Figures 
 
PYNE, JAMES BAKER 
 
 Born at Bristol, England, 1800. Originally intended for the legal 
 profession, he abandoned it and, self-taught and under many difficulties, 
 struggled to make himself an artist. In 1835 he went to London, and for 
 the next four years was an exhibitor at the Academy and the Society of 
 Bristish Artists. In 1846 he visited Switzerland, Germany and Italy, pay- 
 ing a second visit to the last in 1851. He became identified with picturesque 
 scenes of lakes, rivers and mountains. Died in London, 1870. 
 
 81— View near Tivol 
 
 105—Cader Idris 
 
 RAEBURN, SIR HENRY, R.A. 
 
 Born at Stockbridge, near Edinburgh, 1756. Apprenticed to a gold- 
 smith, he taught himself to paint miniatures. David Martin, the portrait 
 painter, encouraged him to learn oil-painting, and lent him his own pictures 
 to copy. In his twenty-second year a comfortable marriage enabled him to 
 visit London, where Reynolds recommended him to proceed to Italy. There 
 he spent two years in study. On his return to Edinburgh he soon occupied 
 a prominent position as a portrait painter. In 1802 he was elected president 
 of the Scottish Academy, and in 1813 an associate of the Royal Academy, 
 to which he had been a constant contributor. On the occasion of George IV. 
 visiting Edinburgh in 1822 he was knighted. He died the following year, 
 1823. 
 
 99—James Innes-Ker, afterwards Fifth Earl of Roxburgh 
 
 100—Portrait of Mrs. Innes 
 
 RAPHAEL (RAFFAELLO SANZIO) 
 
 Born at Urbino, 1483. Probably taught by Timoteo Vite or Luca 
 Signorelli, until his uncle, Simon Carla, apprenticed him to Perugino, who 
 was decorating the Sala del Cambio at Perugia. He visited Florence in 1504 
 
and again in 1506, consorting there with Michelangelo, Leonardo and Fra 
 Bartolommeo, and executing among other works “* The Entombment ” in the 
 Borghese Palace. Called to Rome in 1508 by Pope Julius II., he secured 
 through Bramante the decoration of the Stanze of the Vatican. During the 
 twelve years of his life in Rome, in the service of Julius II. and Leo X., he 
 accomplished a prodigious amount of work as painter, sculptor, architect 
 and archeologist, leaving behind also an immense number of exquisite studies 
 in pen and ink, silver point, pencil and chalk. He died in 1520. 
 
 84—Original Study for Raphael’s Famous Painting, ‘‘ The 
 Entombment”’ 
 
 REMBRANDT VAN RYN 
 
 Born at Leyden, 1607. Son of Harmen Gerritsz, a miller. Studied with 
 Isaac van Schwanenburch, and then with Pieter Lastman. His earliest 
 signed works date from 1627. In 1630 moved to Amsterdam. Married 
 in 1634 Saskia, who died in 1642. In 1656 his house in the Breedstraat 
 and all its treasures were sold. The rest of his life was embarrassed with 
 financial troubles. His son Titus died at the age of twenty-six, thirteen 
 months before the death of Rembrandt himself, which occurred in October, 
 1669. 
 
 28—Portrait of the Artist’s Son Titus 
 
 RENI, GUIDO 
 
 Born at Calvenzano, near Bologna, in 1575. His father, a music-master, 
 placed him with Denis Calvaert, and then in the studio of the Carracci. He 
 also studied decoration under Ferrantini. His first works betray the influence 
 of Caravaggio. In 1596 he went to Rome, and under the influence of 
 Raphael produced the “ Aurora.” His heads were often modelled from the 
 antique. He maintained ateliers for pupils both in Rome and Bologna. He 
 died in the latter city, 1642. 
 
 109—Infant Christ Sleeping on a Cross 
 
REYNOLDS, SIR JOSHUA, P.R.A. 
 
 Born at Plympton, near Plymouth, 1723. Studied under Hudson. 
 Accompanied Captain, afterwards Admiral, Keppel to the Mediterranean 
 in 1749. Spent two years in Rome, and four months in visiting Florence, 
 Venice and other cities of Italy. Settled in London, when his portraits of 
 the beautiful Miss Gunnings and of Admiral Keppel secured his position 
 from the first. Assisted in forming “ The Club.” First president of the 
 Royal Academy. Died in 1792, and was buried in St. Paul’s Cathedral. 
 
 89—Portrait of Mrs. Otway 
 155—Richard Grenville, First Earl Temple 
 
 RICCI, SEBASTIANO 
 
 Born at Belluno, in the Venetian State, 1662. Studied under Federigo 
 Cervelli at Venice. When he was twenty years old he visited Bologna, and 
 was then taken under the protection of the Duke of Parma, who sent him 
 to Rome for study. Invited to the Court of Vienna, he decorated the 
 palace of Schoenbrunn. Resided ten years in England, painting altar-pieces 
 and decorating. He was successful in imitating the styles of other masters, 
 especially Paolo Veronese. Some of his best works are at Hampton Court. 
 He died at Belluno, 1734. 
 
 86—Study for ‘* The Magdalen Washing the Feet of Christ’”’ 
 
 RIX, JULIAN 
 
 Contemporary. Native of California, where he resides. Self-taught. 
 Has travelled in France, and painted in Holland and Devonshire, England. 
 Represented in the Corcoran Art Gallery and in many of the best private 
 collections of this country. 
 
 182—Early Autumn 
 
ROMNEY, GEORGE 
 
 Born at Dalton-in-Furness, Lancashire, 1734. A pupil of Steele at 
 Kendal. Supported himself by painting portraits. Married Mary Abbot. 
 After six years he left her with two children and settled in London. In 1773 
 he visited Italy for two years, and returned to London to share public favor 
 with Reynolds and Gainsborough. Infatuated with Emma Hart, who was 
 his model for innumerable works, he bitterly felt her marriage with 
 Sir William Hamilton. He grew enfeebled, and in 1798 went back to his 
 
 ye at Dalton, whom he had forsaken for thirty years. He died in 1802. 
 
 149—Child Flying a Kite 
 
 RUBENS, PETER PAUL 
 
 Born at Siegen, Westphalia, 1577. Studied at Antwerp with various 
 painters, among them Vaenius. At the age of twenty-two was admitted as 
 a master-painter into the Guild. In 1600 visited Italy and attached himself 
 | to the Duke of Mantua, who sent him to Rome and, in 1603, to Madrid. 
 After nearly eight years’ absence returned to Antwerp in 1608. In the 
 following year was made Court painter, and married Elizabeth Brandt. In 
 1620 undertook the Marie de Medicis series now in the Louvre. Was em- 
 ployed in diplomatic visits to Holland, Madrid and London. In 1630 he 
 married Helen Fourment, niece of his former wife. He died at Antwerp in 
 1640. 
 
 148—FPluto and Proserpine 
 
 a 8 RUSKIN, JOHN 
 
 Born in London, 1819. Son of a wine merchant, of Scotch birth, from 
 whom he inherited £200,000. Accompanied his father on professional trips 
 through England and Scotland, and on pleasure tours through France, 
 Switzerland and Northern Italy, studying art and making drawings. At- 
 tracted attention in 1843 by the publication of the first volume of ‘* Modern 
 Painters.” Its success confirmed him in the career of art critic, and many 
 years were spent in Italy in preparation of “ Stones of Venice ” and numer- 
 ous other works. Rede Professor at Cambridge, 1867; Slade Professor at 
 Oxford in 1869 and 1876. He died at Brantwood, Coniston Lake, 1900. 
 
 85—Portrait of Mrs. Keevil Davies. Water Color 
 
SAUVAGE, PIAT JOSEPH 
 
 Born at Tournai, 1744. Studied at the Academy of Antwerp. Essayed 
 several styles of painting, and finally adopted that of bas-relief, in which 
 he became famous. He settled for a time in Paris, where his works were 
 held in high esteem, but in 1808 returned to Tournai. He imitated marbles 
 
 and ancient terra-cottas, and painted porcelain in enamel. Died at Tournai, 
 1818. 
 
 88—Infant Bacchanals 
 89—Infant Bacchanals 
 
 SHEE, SIR MARTIN ARCHER, P.R.A. 
 
 Born in Dublin, 1769, the son of a merchant. After attending a 
 drawing school in Dublin, he entered the Academy school in London. Burke 
 introduced him to Reynolds, but for a time he suffered privations. He 
 gained a footing by portraits of well-known actors. In 1796 he married and 
 took a large house in Golden Square, later moving to Cavendish Square, where 
 the rest of his life was spent. In 1830, on the death of Lawrence, he was 
 elected president of the Academy. Among his portraits are those of William 
 IV., Queen Adelaide, Queen Victoria and Prince Albert. He died in 1850. 
 
 48—Portrait of Miss Peel 
 121—Boy with Bird-cage 
 
 STANLEY, CALEB ROBERT 
 
 Landscape painter. Born about 1790. He practised in London, and 
 visited Italy. Exhibited at the Royal Academy from 1820 to 1863. Died 
 in London, 1868. r 
 
 115—Street Scene in Rouen 
 
 STANNARD, ALFRED 
 
 Norwich School. Exhibited in London between 1826 and 1860 at the 
 Society of British Artists. 
 
 124—Cornfield at Bough Apton 
 
 i ee i te Tes a bt i he, | 
 
STANNARD, JOSEPH 
 
 Born at Norwich, 1797. Was a pupil of Robert Ladbrooke, and visited 
 Holland. He practised in his native city, and was a member of the Norwich 
 Society. His works are chiefly coast and river scenes. He was a good etcher. 
 Died in 1830. 
 
 36—Rough Sea 
 
 STARK, JAMES 
 
 Landscape painter. Born in 1794 at Norwich, son of a well-to-do dyer. 
 In 1811 was articled to John Crome for three years. In 1817 he entered 
 the schools of the Royal Academy. Exhibited with the Water-color Society, 
 and at the British Institution. Illness obliged him to return to Norwich, 
 where he married, and commenced a publication on “ The Scenery of the 
 Rivers of Norfolk” (1827-1834). In 1830 he took up his residence in 
 London for ten years, then moved to Windsor, and finally went back to 
 London, where he died in 1859. 
 
 69—Windsor Park 
 
 STUART, GILBERT 
 
 Born in Narragansett, Rhode Island, 1755. Received some instruction 
 from Cosmo Alexander, a Scotch portrait painter, whom he accompanied to 
 Scotland in 1772. The death of his friend left Stuart to shift for himself, 
 and after struggling a while at the University of Glasgow, he returned home. 
 In 1775 he found his way to London and was received as a pupil, and later as 
 an assistant of Benjamin West. In 1785 he set up a studio of his own with 
 great success. But his ambition was to paint President Washington, and, 
 giving up his splendid prospects, he returned to America in 1793. After 
 working for two years in New York, Philadelphia and Washington, he 
 settled in Boston. He died there in 1828. 
 
 67—Portrait of John Fothergill, M.D. 
 
SYER, JOHN 
 
 Born at Bristol about 1815. An English landscape painter who founded 
 his style on that of William Muller. Exhibited at the Academy and the 
 British Institution between 1832 and 1875. Died in 1885. 
 
 9—Water Mill 
 
 TENIERS, DAVID, THE YOUNGER 
 
 Born at Antwerp in 1610. Son and pupil of Teniers the elder. Developed 
 under the influence of Rubens, and especially of Brouwer. Master of Ant- 
 werp Guild in 1632, its dean in 1644-1645; Court painter to Archduke 
 Leopold Wilhelm, Governor of the Netherlands. Settled in Brussels, 
 where he was received into the Guild in 1675. He occupied a mansion at 
 Perck, outside the city, and took an active part in founding the Antwerp 
 Academy of Fine Arts. He died at Brussels in 1690. 
 
 111—Christ on the Waters 
 
 TINTORETTO 
 (Real name, JACOPO ROBUST!) 
 
 Born in Venice, 1518. Son of a silk dyer. Pupil for a short time of 
 Titian. Over his own atelier he inscribed, “‘ Michelangelo’s Design, the Color 
 of Titian.” Vasari describes the range of his imagination and his facility 
 and energy as “terrible.” Annibale Carracci affirmed that if sometimes 
 the equal of Titian he was often inferior to Tintoretto. His life was spent 
 in Venice, where he died in 1594. 
 
 128—Senator in Crimson Gown 
 153—A_ Procurator of St. Mark’s 
 
 TOL, DOMINICUS VAN 
 
 Born at Bodegrave between 1631 and 1642. Genre painter. Nephew 
 and pupil of Gerard Dow, whose style he imitated so closely that his pictures 
 
 Se ee ee ee eee ee ee 
 
 — ye 
 
 ‘ 
 Se a ee ee ee Te 
 
were frequently attributed to that master. He is, however, generally colder 
 in color. He practised for a time in Amsterdam, but lived chiefly in Leyden. 
 He died there in 1676. 
 
 83—The Pledge 
 
 TURNER, JOSEPH MALLORD WILLIAM, R.A. 
 
 Born in 1775, in Maiden Lane, Covent Garden. The son of a barber. 
 His earliest known drawing is one of Margate Church, made when he was 
 nine. He was early employed in coloring prints for John Raphael Smith, 
 the engraver; in making drawings at Dr. Munro’s, his patron; and in the 
 fields with Girtin, and in washing in backgrounds of architectural drawings. 
 In 1789 he became a student of the Academy, and the next year exhibited 
 for the first time. Between 1790 and 1797 he explored nearly all England 
 and Wales south of the Humber. In 1807 he began the “ Liber Studiorum,” 
 which has been called the most satisfactory monument to his genius. It was 
 to rival Claude’s * Liber Veritatis,” and with the same zeal to beat all com- 
 petitors he set himself to rival Claude’s landscapes, which he was believed 
 to have accomplished in “ Dido Building Carthage” (1815). Then fol- 
 lowed his series of color dreams, culminating in “‘ Ulysses Deriding Poly- 
 phemus ” (1829) ; while the “ Fighting Temeraire,” exhibited in 1839, was 
 the last in which his full power was shown. He died in 1851 in a small house 
 in Chelsea, whither he was accustomed to retreat at intervals. 
 
 7—Street in Dover. Black and White. 
 16—The Straw-yard. No. 7 of the ‘‘ Liber Studiorum’”’ 
 17—The River Wye. No. 48 of the *‘ Liber Studiorum’”’ 
 
 18—St. Catherine’s Hill, near Guildford. No. 33 of the ‘‘ Liber 
 Studiorum ”’ 
 
 82—Lago di Maggiore, Locarno. Water Color 
 83—Lago di Maggiore, Pallanza. Water Color 
 119—View of the Neckar 
 
 131—The Wreck 
 
 161—Ehrenbreitstein 
 
VELASQUEZ, DIEGO RODRIGUEZ DE SILVA Y 
 
 Born at Seville, 1599. Pupil of Herrera el Viejo and of Francisco 
 Pacheco, whose daughter he married in 1618. In 1623 he was summoned to 
 Madrid by the Duke of Olivarés, who presented him to the king. He 
 painted an equestrian portrait of the latter and received the appointment of 
 Court painter. The visit of Rubens in 1628 made him desire to visit Italy. 
 After spending a year in Rome and some time in Naples, he returned to 
 Madrid, to remain there eighteen years. From 1649-1651 he was again in 
 Italy, collecting pictures for the royal galleries. Before his return he was 
 appointed quartermaster-general of the household, and during the last nine 
 years of his life supported the anxieties of his officewhile creating his greatest 
 masterpieces. Finally, the festivities connected with the marriage of Louis 
 XIV. and the Infanta Maria Teresa proved too much for his strength. He 
 died shortly after his return to Madrid, 1660. 
 
 1380— Temple of the Winds 
 
 VELDE, WILLEM VAN DE, THE YOUNGER 
 
 Born at Amsterdam in 1633. Marine painter. Son and pupil of Willem 
 Van de Velde the elder. He accompanied his father on his sea voyages, 
 
 and in 1675 entered with him the service of Charles II. of England. In © 
 
 1686 he returned for a short time to Holland, but was called again to Eng- 
 land by James II. He died at Greenwich, 1707. 
 
 111—Christ on the Waters 
 
 VINCENT, GEORGE 
 
 Born at Norwich in 1796. Pupil of ‘‘ Old Crome,”? and member of the 
 Norwich Society of Landscape Painters. His works first appeared at the 
 Royal Academy in 1814. Going to London in 1819,-he married and settled 
 in Kentish Town. His prospects were good, but blighted by recklessness. 
 He died about 1831. 
 
 95—Landscape with Two Cows 
 
 187—Country Lane 
 
WARD, JAMES, R.A. 
 
 Born in London, 1769. Animal painter and engraver. Studied en- 
 graving under John Raphael Smith, and served an apprenticeship to his 
 elder brother, William James Ward, mezzotint engraver. He himself prac- 
 tised as an engraver for some years and then turned to painting, imitating 
 the style of his brother-in-law, George Morland. In 1794 he was appointed 
 painter and engraver to the Prince of Wales, and devoted himself entirely 
 to the painting of animals. Died at Cheshunt, 1859. 
 
 638—Horses—Morning 
 
 64— Horses— Evening 
 
 WATTS, FREDERICK 
 
 Brother-in-law and pupil of Constable. Exhibited at the Royal Acad- 
 emy between 1821 and 1862. 
 
 62—Landscape and Cottage 
 127—Ventnor Mill, Isle of Wight 
 
 WEST, BENJAMIN, P.R.A. 
 
 Born in Chester County, Pennsylvania, in 1738. Had a natural gift for 
 drawing. In his eighteenth year moved to Philadelphia and thence to New 
 York, executing portraits. Visited Italy in 1760 and remained about three 
 years. ‘Thence he went to London, where his reception was so encouraging 
 that he sent for the lady to whom he was engaged, and settled down to spend 
 nearly sixty years of his life there. In 1768 he was one of the four commis- 
 sioned to draw up the plan for the Royal Academy, and in 1772 was ap- 
 pointed historical painter to the king. On the death of Sir Joshua he was 
 elected president, but declined the honor of knighthood. He died in London, 
 1820, and was buried in St. Paul’s Cathedral. 
 
 81—A grippina 
 
Ys 
 
 WHEATLEY, FRANCIS, R.A. 
 
 Born in London, 1747. His father, a master-tailor, placed him under a 
 good teacher, and later in the Academy schools. He obtained several premi- 
 ums from the Society of Arts, assisted in some decorations at Brocket Hall, 
 Lord Melbourne’s seat, and at Vauxhall, and met with good success in small 
 full-length portraits. Then he eloped to Dublin with the wife of Gresse, a 
 painter, and made a living by painting portraits. Returning to London, he 
 first exhibited at the Academy in 1771, and became identified with rural and 
 domestic subjects. Hedied in 1801. | 
 
 70—Cottage Exterior 
 
 WILLIAMS, EDWARD C. 
 
 Born in Lambeth, London, 1782. Son of Edward Williams, engraver. 
 He was the pupil of his maternal uncle, James Ward, and was afterwards 
 apprenticed to a carver and gilder. But meeting with some success in minia- 
 tures and landscape, he turned to the latter, and gained reputation for moon- 
 light scenes. Later in life he settled at Barnes, and painted the scenery of 
 the Thames. He died at Barnes in 1855. 
 
 136— The Red Lion Inn 
 
 WILSON, RICHARD, R.A. 
 
 Born at Pinegas, in Wales, 1713. Having received a good classical 
 education, he was placed under Thomas Wright, a portrait painter in 
 London. He was employed in 1749 to paint full-length portraits of the 
 Prince of Wales and Duke of York. He visited Italy, where, under the advice 
 of Zuccarelli, the fashionable landscape painter, he devoted himself to land- 
 scapes. After six years he returned to London to find Zuccarelli esteemed, 
 but his own landscapes little regarded. He was an original member of the 
 Academy, and between 1770 and 1780 a regular contributor. But his 
 pictures did not find purchasers, and he lived in great straits until his ap- 
 
 ’ 
 ; 
 
ye il ad oe 
 
 pointment as Librarian to the Academy supplied a small income. On the 
 death of a brother he inherited a small property near Llanberis, whither he 
 retired. He died there in 1782. 
 
 40—Landscape and Ruins 
 55—Girl with Bird’s Nest 
 80— Tivoli Landscape 
 
 122—Lake Scene with Ruins 
 
 WYCK, THOMAS 
 
 Born at Beverwyck about 1616. After studying with his father he 
 visited Italy, and spent some time near Naples. He excelled in painting 
 shipping and seaports, and in odd characters such as quacks, alchemists and 
 misers in interiors or country fair scenes. In 1660 was appointed Dean of 
 the Guild of Haarlem. Visited England after the Restoration, and painted 
 a *“ View of London ” before the fire, and, more than once, ** The Fire of 
 London.” Healso etched. Died at Haarlem in 1677. 
 
 42—The Quack Doctor 
 
 WYNANTS, JAN 
 
 One of the founders of the Dutch school of landscape; was born at 
 Haarlem about 1615. Tradition says he was the master of Wouverman and 
 Adriaan van de Velde. His earliest known pictures are dated 1641 and 1642. 
 It seems that he worked at Haarlem, and from 1665 onwards at Amsterdam. 
 A picture by him in the Hermitage at St. Petersburg is dated as late as 1679. 
 It is assumed that he died at Amsterdam. 
 
 18—Small Dutch Landscape 
 
Barn at Ratishon j in 1738. At first instructed aby searin in hig a 
 then spent twelve years in Italy. “ 
 marriage, which induced him to visit England. ‘At first he had no success, 
 - but a portrait painted for the Earl of Barrymore at length introduced him _ 
 to the king. Then he began to acquire reputation for portraits of actorsin 
 character. George III. gave him letters of introduction to the Grand Duke 
 of Tuscany, and from Florence he went to Vienna to execute a commission — pss 
 for Maria Theresa. He spent from 1779-1783 in ee are and then some — 
 
 years in India. He died near Kew in 1810. x < a 
 74—Portrait of Mozart the Elder ee a. 
 
vl int a fi of 25 I 
 
 First Night’ Sale of Ichenhau- 
 
 “ser Pictures Marked by Low 
 Aeracd — —0e—phib. gas 
 BIDDING WAS. VERY SLOW ‘A TINTORETTO: FOR - $375 
 
 Pictures by American Painters 
 at Ichenhauser Sale Brought | 
 Amount Brought. More Than Turners. 
 
 poe sepals a 
 
 Se 
 Canvases with Famous. Artists” | Pie rage Se sca concluding night’s sale of 
 e Ichenhauser collection. of pictures took 
 ry Names Go at Astonish- | a place at Mendelssohn Hall last evening, Mr. 
 * S| Thomas E. Kirby being the auctioneer. The 
 ‘fs bee | 4 ae ing Figur es. 2 attendance was again small, ‘but the bidding 
 ie ai Sa peauemn ‘was more lively than on Thursday night, 
 - The first night's sale of the pictures otras ‘and better prices were realized, with better 
 by Mr. J.D. 1 hauser took place at Men- | and more important canyases offered than 
 ssohn Hall t evening. The attendance on the preceding evening, A total of $60,105, 
 
 was obtained for 81 pictures. This, added) 
 to Thursday night’s total of: $36,425, makes @ 
 
 185 was tebinca. ee geventy-, ae te ee the two evenings of $96,530 
 
 The highest figures of thé, __A landsgape by an American painter, Julian 
 
 ir, Thomas E. Kirby was) 
 
 only fair. 
 oneer, 
 
 00; paid r. Vi Rix, and one of the best pictures in the col- 
 
 MA Portal Send ee a goatee o's ‘lection, brought the gratifying price ,of 
 
 ; y Yan Dye; $975, and was secured by Mr. Charles Stots- 
 
 vlogu No. 50), and the same sum, paid berg.. This will be very encouraging to the 
 
 by Mr, Eugene M. Paige for a large land-— Pee eee of Mr. Mores ae te as to tBe lovers. 
 ants i) erican art, andscape gures 
 the’ early Hnglish painter William | '“Hiding in the Haycocks,’’ ah the late W. 
 
 ‘whose work is little known here but. 'Bliss» Baker, also an American artist, sold) 
 
 esteemed in Wngland. The Metro-. for $590. ‘These two sales would seem) 
 
 , i ‘to show that American pictures can more 
 
 Museum and a museum in Canada ‘than hold their own among canvases ,with 
 
 re successful bidders for this canvas. | (abe ee of the great masters of the past 
 ‘The bidding was slow and attached. 
 
 Drices obtained for numerous pictures | | aqAROlRCE’ ploture by jan, American. artist 
 
 ; de hames attached best tell the story cured by Mr. Origies, of the merican Art 
 
 | Association, for $2,000, it was whispered for 
 
 Pilowine is a list of the principal pict- | 
 | the Metropolitan Museum. 
 The. purchaser” wa { made’ the buyer, where “The pictures which brought’ the highest 
 obtained: was made known, and the sums, some that sold for remarkably low 
 ‘ae aay figures, with artists’ names, buyers, and sell- 
 
 ‘ing prices, follow:— 
 “Agrippina,’? Benjamin West, P. R. A.; ee 
 
 | 
 “ Artist. Ba 
 
 Sheep,”’ Chotan Morland.. $45 | 
 
 setiat Rehan ate. one | 
 
 urner, R. A 
 
 John, Constable, RCA, 300 | 
 
 Sager - Ee none Morland... 100 
 Turner, K 210 Turner, 
 
 | 
 
 | 
 
 1 
 
 | 
 
 BLA ee Seema ae > eaislee aera ve ahemiate ate + $425 
 
 } “Lago 0 di Maggiore, Locarno,’ J. M. -W. “Pur- I oe 
 | “Tage ne vida lore, Pallanza,’” ‘5. MW. 
 
 ‘up agaion Berolsheimer........-- 500 
 
 up W: Turner, R! 4 ud ee Ra oe ‘The Entomb- 
 eS Mw. eee nie aso ai 1,400 
 WAGs Coctnee)® Latio ce Vek Gul: ‘ortrait o s. Keevil vies, Jo us 
 side ** Xdviaan Van, eck: oo citi seat alee 
 ‘sit haott fame,” Adriaan Rr. % ; : 2 
 WM sigs, eM kes. WGTE fee Praise iS aca es fi 
 it Edwin Landseer, R. re 8. P. ; John Crome 
 REMMI ore Lise ALO rie clas ile Rie Sig wie 4 S. P. Schotter.... BARBS C 820 
 jeter de Hooghe: G.. H. Bich: so 
 rtist’s Son Titus,” Ren “view: on Grand ‘Canal, Venice, Canaletto (An- bid 
 bert.? Sir “Thomas Portrait of ions 3 Evans, ‘Sir Thomas Laws "= » 
 
 rence, 
 t Ray ey od " Buner Thomas Gainsbor- 
 Cee RG Tae eee ova Berolshelmer ene 1,525 
 : wgnee Gueee 7’ William Hogarth; x, 
 a EOI MEE ON ey al ies Ue ; Erecnciner oes coe Mb oper aa srenargerh 1,075 
 | *Infant Christ. Sleeping on-a Cross,’”’ Guido 
 ee ee FNC see 8 Rent; Vpokin LBESA TION tere ay Nea ate 1,000 
 Rae nolds. ; ate a een Inn, George Morland; G.’ H. ee 
 ; | CUMIO TRG hie flenereloietacke iele'h arp *evste: eos e 1btar avalos aia 
 ee } Original sketch for “The anish Marriage,” ra 4 oon 
 riano Fo: ‘ae er Ollier..... . 
 Lay Re eileen ; View, of th Neckar, YM. Wi Tutner,'. A: 
 ‘ : a3 { Be PREP OLSING LIN GT Hie a iersis)e' to pe a o's oa ale'sibinietp ane aie 175 
 e UES ad George Morland: ‘sw. 
 
 ae Ries = SOPs 55% 50 ieee say oie <0 95 58 
 iy x OR ELON E clo! owlelg sielel ahouersnnl oe 0ietp'eln eae eeiai - 410 
 ae cf Digs on if ia ia 500 mre Scene is Ruins, Richard MWidleon, R. 
 ft enetian Scene,’ Hrancesco Guardi.....>.. 625 | y FB, ie ee as bioeban art Gack 675 
 “Portrait of the Artist,” Angelica Kauff- Sow and Pigs,” George Morland; eorge me 
 aad weet, a ieee ajanee: en “Senator in Gringo Gown.” ‘Tintoretio: So 
 oe Ww. BAtleleH oislscic es asta ta stale 
 trait of Lord ‘indinaidy Bhowad Gain ON DF aki re paod with "Figures, "Gaspard cbr 
 Pong fate done Sie’ ‘ath’ "¥en we efomple vot | tho Winds,”* Velasquez: “"B: Ka 
 HD cde esd 7 gag ee MS a Disk 4,100 | “The e Wrecks ¥. Mt. W. ‘ature, med ary i 
 . BATIOLOU GL De soln eco eaiinin’ aibiere < “ 
 eet nies F.. Berolsheimer............+. rl i “Barly aaenion Sulian” Rix; “Charles Stots- ; 
 Van Loo, (Carle Vanloo) oo... ea seatatspsdaviaieccetecsecasvesteens . * 076 
 Portrait of a Megan Adctbert ih 12 808 “Red” Lion Tan, “Edward” G. “Williams”: a 
 Peet bast) Bird's Nest, Richard Wilson, beg ‘gomnery Lane,” George Vincent: 3.’ G. Git. s 
 RR Ge eae ee Spe] 6— | OOEAY ARG, ene Tae ie: + 
 b “Gerrits G r 
 MURR Feed ee iutks. : j0y oe ch ape 400 Girl with “Orange, Jacot By 250 
 Portrait, of Mrs. ase: “John Opie’ BA. aa os 4 aod i tee ee Lapa "Nicolas 55 
 “River eee SARE a rnclic a bi “Countess of Peterborough,” Sir, Peter’ Lely! Re 
 Crome: “G, Hi, Richmond. fe. a. | QUAMIEDY cn orig ens #802 yt neko 
 Wax ” ane with  Gattl ““Moonrise,”? 
 vpringige ae conte, Nichi’ aie | Sut Buubienst Bisnes, Miler 
 ent) of Cara cans | ig ED eerie beh Oe Ghistlom aa) 3,000 
 oat ey Sas: | “Anthony V Dy : G. H. Rich yet aa 2,100 
 as Lawre R, A.; SP. Schotter.. 550. " 
 ea of John B euoiait M.'D.,” Gilbert 28. Ae 
 tuart: G. HH. Richmond... oc. oth sie snes 575 capi a A SN NE. j 
 ul Ms by og 2,250 
 chwartz.. Sie 
 setae coenbae yaa wfarle “Garick. fobs Sidglston “Copley, Se 
 ST beer SN eRe “Bhrenbrejtstein, ” ha a ~ Parner, R.A} alias 
 | Partrait tie Pela sean i“ sii: wale A Procirator ‘of ‘St. Mark's; Tinton eto; cyl 
 \«Hrvest ‘Shows, Witliam C vi ins Fe 4,100 Landscape and Cattle, Pan! Potter: H. Stan- . 
 
 atd’ Grenville. First Bart Temple” sir P00? 
 
j 
 , : 
 « 
 i 
 , 
 = . J = 
 “a 
 *, 
 " + 
 ia w 
 - aa 
 > 
 “sad 2 ‘ 
 
Oa te mp me bP be abba tee he Pb eee ew 
 SSpsgte tress. BE 
 rs = 
 
 + 
 
 ; 
 
 petra e ts 
 
 ptt oh oh et =e ee 
 taphgtstst pigs 
 top ere ers pendatea «=. oa 
 stghesseerety epeetesepeeess 
 pepessbesareteseretes Faesrileroes 
 ppaiesisasestse sipagseisey 
 parasites 
 : 
 
 zy: rs oe z 
 SE sEseueseatess sostanstrrerprsestansaeiee + 
 eereseseesptsrperrsesriapiiiespepeepepapepeerashs < 
 Srtereterstessrsteeslsrshitiestot tabs tgratersettes Satesa 
 
 LLL LOM A ME me Ssists 
 peassesestesststargtstacstsrssessrestststetettseseissretl : 
 pisissteeciststscshes sissasbisshibetieeaeepsye pert shrer sein batshien bene res + 
 Tee dat idl ar li i den4 and antand aber d arabe ahaha .pdtanddedtaedendeet ao ie hay 
 set atebesshitetabe Se tasebststersteresheretrtsters terse tein beses seat Seberotee. 332 
 : 
 
 Fae eae Re eee Re EEE oe eRe EES EEE RSS ew 
 
 Sriiisiiipiiniihikinenriiiigees 
 peststas ta! + . 
 pestatsepes eats tris tetsiressie peste lst te gescsseaeameteiseeied me 
 ape iisseeses Fees e pepreryssepspieeee : 
 pee eeststs ts SStctescseteests eiitassites = 
 Pests pigepesessceteas rs Tasaee = aye, 
 
 esi 
 paras 
 baa 
 
 Reteliie scence wpeceee peer erere verswaes rece sree pee Speers ween es, 
 pestetesssscssstesecsterpeecscetaisserteccsseeessieretatetstecsteteeers 
 Srbecestete Patetesetaresssssces : 
 TSibekeae were Febsdpet aes vere. et 
 = 4 =rses> Sap hehstes 
 erreeeatorssee cetesrersterce cytecetete te 
 Ppbs btn ep bewe wees. ieee z= =? at ess poem eee 
 ities eeacs ates 45 
 ibe Stee issih Sgrersceeteveestey Fi ieeeeeerel 
 te: —a- 
 se. pistrsas <* pacer tsepietpisteh z ; 
 sistas: pitesesateee™ tisestissetetrtes see eteess 
 Satateee te: oe he Se leme banpirss Ser erate ree: 
 i? = 
 
 = Derg eee epee : 
 
 4 Sees ant ioe ary = pen reas oer, prey pnw en wee eae 
 eepepitestipegestiiieiare = pesSgrseriristsesigtetestitsterrtssteseressetststesrasesseiseresessess 
 os Sth tsi isies + epegeeee ba trdedatsbrtebede eet ~ 
 
 ctsbiteibphshpessprsrsrprsepeprerpe sep epepeye titer stapepeeeperes eiewee Ten be veiw : ooh 
 t<ic st i <= peewee es ope Peistetasiepbes, pbb tnt nh art pepthitpe sere ea yaw . 
 Diet eebotecs spbcstslehsoctelngeisisreis ester pesttteeetpepbeversrs. withnnebwhs +p bemeb- Sore ee a eee eee Sete eee ++% 
 Seis pbabes byperrersrsbeterseeprelrecs tay be fhe eee rere es eae eee eee oe rere testers reunes beeei gers esesenwpay aber pee reswse ce ee eserere pe pepes spare presse perience . r= 
 pastries trest tr eres tress cesest resis SS girimistrestriss si tests ed sists resseraphtish tardy heyipipes ipa ie ripisesbis ities het: rts ot; 
 piperesiesrtest sents tseses te betseptstrestseeestgstissssate ripiiiiiieisisfiih ppt Pee ES 
 » cts tesststateegesestss ~~ a : Se Sece. sazptpe ve Wn a ne oe eee WR bah Se PSE ET ES epee ay Aan eRe Aes wk Oe ~~ 
 escet stat eerereseseaeisaeete i a Petatetee: rekeis Sea rre ribet etre SS Sie Esl Sesetsaeeestetesees Sabrent ier petet eer Te en! 
 geetiteticstateeasetisetess etmtecaee eta ng ts Sirate ce tete take etetes siphseprgiphpesspicrsipepesapiety peep eerpueeeksspreet ste tepreeeete peepee 
 fparipipiirt ee scetstecseeeteetscreeees jp mot oe Bes eaesestisehieiselelarrteceanty ere cts test ese ssteetisetelcssteeeesterstoesters 
 SEeketpbebarnecktsae neers piers $= P6382 a6 eborb ng tb Sosthrcstrh t2eteter: pep ipecdy bits i piel eee vyapcecrat rebel tr ectatetesebas ttre evere oy 
 < pep hiipigiss See sists a pesenenee £ cetraw ed sone aes) Se Sisisse : Sresn ete nett eos taser eres 
 . Sipbg re: Se tsrare TS apr aa, SS ists SetE TTS 2 = rere 
 pe aekeereepwemsey asa ire = aat rept ears rapes ei elwtabeSehetad reaeas 
 
 Seige ngenterers! 
 
 f 
 i 
 
 as = re Saphire esha 
 Sips ae ees 
 
 Sapa e es eebnwes ey eee ee wt eer rd 
 St OE eit rt eS tee et ete eee ete 
 
 i 
 
 i 
 i 
 r 
 
 ¢ 
 t 
 + 
 | 
 t 
 i 
 t 
 t 
 t 
 t 
 
 Sieichubrbsbebetilattleler it Caer srabar Prperotrrrerssorey 
 pes trisesetssesteteessseess peeatesitee x ppsrceces Pereteersbetireesers 
 Sreerreeepieetreceeurterseeee Siteescersce rests seabsbelencestote) : 5 pistaletetesetehteleberes 
 Feasiges stesipisipissinssist: Setrerart <S 55 raike tee : seetebrlste ces sae aes 
 pegdeegererererectetresesestitetristseets a Ppotebsd oe Seserexeeeesy 
 Eisseesee re arats: Sci sictgiseststetrtitite eietsre: : pezip ir rtss 
 pigtpeesisasetesestatese: ~s yo ate ne te om ibaberetad 423 . Eorenete rete tetsetiweres! 
 os — $4 ~ saseews . toEre ape pe phn yn eee 
 stoistsbesrbcrsears on Seteteretesersieeshseeh, 
 rte 2 > vee twee een a eee BS 
 rittsietesictiistsereat = rast apisiisereespeptsepeptpey 
 peesaeeetststet esse sstsies pepesesersterey 
 eee yhpesaser tress eres gieecs pea tabs *y 
 mopar es riis terse: o peste es 
 mrenbesatiae patetere ppigtptitstitppepeptekreserest a tee " 
 eorbsietrackgishessspisests tess spat gah cap eyig hp ipistghseresa te pore, . 
 Stsesesesesesesestatetcrcrsteters beer : Sissatsegiatsresetssetitstseetses i 
 Sebeeseees detst iss es 
 Ie pe es ee ee ier y= & Se 
 =i ss = 
 : <. 
 
 grstesetater 
 eetperararstaeeries 
 PaELepETESTTeRESe 
 
 wie bebe haem 
 
 bh at 8 iat ae estat mete aiats oe seers —s Cte pee et oes: 
 peesetnt 3 o> res Breeert ese to erecres 
 
 oes trices ete 
 
 pees; Sees " : 
 loin ees S58 roe er 6b meno ah ahh meh nd eb ed —s 
 = ee teteses Pete betes rele tetes SstpesEsirestsyntecesstes: sez} s32 
 pose tie 7 rake be Gaba: z bt mt everes) 
 ola ree SF tesbee1lshesnbates spirrerecrrstrstasstet (rater ateseeeseReeaeet oreers v4 aS 
 past eaes aa eaasaeet 9 ae ane b> —- ~ Dis bt bpantsee beep rert ye bpbeke epee. sir Se eeeee soe 
 beaver ae bets esaishetes: pie te resis bray listers tracer rs 
 bebe : a4 re. p= ros. abepunpebmariedese betes Pee ees eet. 
 - pernenen ede ie edb rp ees ye Seensela te tiente eeree ees Stes 
 
 reetet cists S joo—s eerisseee: ressers ae 
 
 Sioieeetetsisistste 
 eee ses os. 
 
 eee plain rs 
 
 weoteteresstarebens nee ts tpi gesiieIopipirepl phspisetessy 
 Reetreneer eect eterersts. Sspeetiesses er teteestase eereeresr ers: : 
 Seba bees es cee ‘=: a a ah hd ng ee 6 ph beh eed a 
 Spieieiriphpisieipiery L ppl ya leis ish gletsi ig rp wiser ss Rotelare seb! —é vers: >. 
 Seioketosstarater Lorsietstats Eatabctateres tecratereeerats SSisgtiiiiie: <S; 3 
 pps as pei ei cba s ied seni eetiasetad tate boiusinbesapresiatstees pigegrstristgestsnes pe peiay rs 
 <j =~ Serene ai ep nl hl a ee acter ome oF rs 4 
 peeeersstieriseqiesgsrseesesigss 3 seit pepprreese tas $3 
 =; SS ewarsrsesre werseewery : i Peecttetetrersetieesecetetebsra! ri r 
 DOL eEAESER SESE AEROS TE TT seat at etter spphirer ey Thy Sprtisecscetstieseses tity ¢ 
 bea po oi — 9 4h gorercrsr = =e oe Seeeeeee PSL Se Sy leet oe aS 
 
 - é 4 peebeigeshrisbebrts srt: ; 
 eats Setersect secret Sarvtereear’. pa nak tiiebeencsavipeseatprrterscele ret setere 
 <= 2st ope gat a sees teed e tab eeet eek etesete Premervent eS isa tre eenl 
 
 eete tat siae 
 Spies es wp ighe dns wens reine weer 
 
 : Se Ea rery res 
 
 Sereree sr ciee pire perir eter shs spite tr ezis epepep pss : a ah mae ba se pela tai Seis 
 ~ : settee se Tis 
 
 bab — Bo Bh oh peas pint : oa se 1 eteseipaes et =tt; ceeeabetes rT Sl eh nt ah a en 
 
 pth tire tots balers ms .F- -= 
 
 ee be ee cae Sa be ee ed 
 
 = 
 Tebshehshenebarsenerterehpsss, 
 
 ies : 
 in 205 eeteesbeberetricetinivrs teterrer Senter pets ss 
 vs resi trees : 
 it 20-88 terres af + pieistei= Seth sts rok e iss : ae end ab he Sad 6 ek oh oh 
 Sri e Ss tsb settee ese pesessitsteset bebe tits sbetyhr lite! werewerrere yee ele be i peepee errs ie hehe tes ween epee ewer trea peer peere sas 
 ts + - 
 
 > ebeni bes ste eter ere o=3 
 
 shsbe rs by eercysepeers reer et rerpes ee = a 
 Precis i ehiss rp eseetsrp erat tsrprsrge trp erry rears 
 pepigty Sragi yp pa eeS pay 
 Satelak i bobneewtens, rs 
 apap ws sawp es bs ep enws anny ty ey se 
 SSIs ee ssisase z 
 wiahe as wreep es ry: jotet< S25. 
 Sapte oti . : st: 
 
 Se sebetesebeteaees is : Exes beet e ct ae es oetete: =< 
 
 Re ee ee rere ny = he, 
 iLesesesereeese= x eedsspaih paphicrepr epee reper age a2 28; 
 Spiyirestgistp igi ont tore bean rse. ones bs irs we nS 
 fpresopest pirates tht: is peewee er see pet. >= 
 pestst es a atetetesets pee ware ws ip hy ort: = 
 
 ahi eietgiets 
 piyiiisdptiesispeititigit: 
 Sapebetssetecorere 
 z ces 
 Sprstadststsprterceeiste 
 pees peekaey See 
 aercarsheerereseess 
 is —-8 $6 8 Sot ee rf ape eea 
 Dricvnbcwscsrscses ts Sibecte tere ipecietprsrshs 
 
 Ets aeh pees etait Ppeereses 
 pas ep erases teenie peer tre, fete ees 22 as hot i. r ch bebe es ee 1 
 $sypipipasteap eins brio shee rtet et eters : rean pny 
 
 nin dnt ier hard Di in hee SE inte iat es —e—s eee canieetet ee pace rete webs = Pabgeslpspesraceheee brs 
 
 nt = sats 
 Siberesspretatstin sd gatsi se sareseeneereetesttarinis ite Bee terese sean eatslereesey : Ss =! rephpipiseiipagis i hiiege re, 
 ~ picts eeeaiticreiee —F pipe pes : " Crise ere “eo SS Ge a he oe 
 Sietearsese poetitsteteestsetyeetess oasetitacrsatetipiissrsieetieisreiseeese: Sassstatecseststitetseteses: 
 pb Stoietes re > = at, ag ae att bebedo bees ths eb oe 
 os — $5 — 4 tot chehee fishrerire Ty srery ee =A p=) b= east resice oe re prety seae ee grekebste ten 
 pares typeset es eetitssacees = ba Gord es SC eeetes pe<s pay eyes rotate eeererse) 
 os pas bi be hwy bere nn ieee eae aes epee ST & fas Saar enolase pas Wars ee bee) 
 Leveirrerentay be beasee. pmeot—s Saas tees ae. pape p hp essn ene om: rs anes ee rs en wee Se Seah eee: 
 Fetcbetabeater andere) epee rey peziyish: ea sse-ste prarerte: 2 sosst et bev) SiS pipeeer eres 
 Rett StS eS eete oF ah on bh hte oh oh hed 
 pep SSishioa epi tety beatae bebeded ohetel +b speae 
 ed anand mind 5 f gaye erty eid Speer steerer ds! 3: 
 Ertaechiiseasiers, SE Tepiphyt iets los irs ieee zs 
 Sielerete Steep tpepedecers nyt pet rs 
 Seepeiepipe lisse Pp byiery freee eter s; 
 22) eee ee eRe 0 Oh et th 4 oe tt a + 
 See saneeuee eer Sye vee egos 2 oe 
 Reseee ee eeesesesestse Tiss este ts iT 
 * ‘ 
 Fo be rea peers eee as carers 72 nies 
 
 pete te tot rereer ss 
 p=$-—4 Ape Seep see pire iene 
 
 eiejet 
 
 Briscatstecscstttscrtsecratseetristce 
 
 i+ 
 
 pag Ab nb eb lesedthobebebena 
 
 ar Ri Ss ae een e < 
 Silane rete rarete te we ktwgrcen bests es hts es. iris yarns are. 
 ry a wep thd nl me bo bb eb wb we ee rer a Sead anton 
 Reeeererereneessetemeee Stipipejepipiteeges = 
 Ch ee ho eth ho eh ea eae Shana coe are re, ~ 
 Sitar etetre st etieereestet cect sbiSiL et tele. ~2 Ss : 
 paper hespicipigt rar ape rer Sie retest ree erate ey 5 seisecs : 
 ie > jmie-rh bet een pee Sa Ree e ean ee eee ane pe a 5535 
 ee leee etre cn ner tiee pene hp leg cae Fes. bebsyernwee Seresets. . 
 8 OS 9 ES ees aa > ah et oe tthe Bd mb mt | 
 baee—s ear ed diedh died Ee aleiban a ae - oa hae tes wy tees 
 shubrwswewdesoees. shaterets bit. bu bsiebeer Sertich rece: 
 seceticetytitetecetetisisesstetetaes strestitalieebregetat pSyipiiathete oes peetiesey 
 z sieeettes = pre rrtpwpeerset heey tt S 
 Stighessissstisssttis riesiseeess sertetetasicsistiegssteest rieb peri pip spe pepipre spre pepeese eset bpet ey 
 Cpitemes Petes. : papisii bs ofores ire: a5. Seigeeeeesestbtiee 
 sy TS +; pa nune ono 2 
 . pies 45. 
 ae eee rere +e eee ee Seed 
 behectreatateustehentereetetatiter gts 
 
 Tptperep rrr ee reer ie prea Lets 
 ay tigtptrtrcs srt pe 
 Wipes beep berets trie is is = 
 
 we simtnecetpanenees , 
 pesetessteqissesteseteseesretitete’ : 
 peng npmpng ein p eee eetnte een y eases PRISIIET Stee Shp pee sa se 
 SST Saxe bby eas = pereees Spasas. petri aghe ey ep weer Wed pep err eere es etre irs at eee 
 Disasgrsstereies setsatieers pees tices assy Pesteteerseed 
 peribpyersss eT E ie - ‘s rt =<! 2 
 nit tines sieteise sect Eatrecetesteersspest 
 
 qiseedpissesstitrisssest : 
 Deislcinesheastpeshswstpteses sles tste ispipimeetetetaselasente =F 
 : tigtsists Ses ; z 
 Ay ee es ee 
 rests 
 ees 
 
 Se peda died Sade bad eh etiedentaha ata seth dare are 4 ee Fae 
 
 Sessbebstsersebesetarsnge errs sah set teh ereteeer eevee erste eet ater 
 
 Sbstyt serene serene Ss seeseestet iter Est iecraee sirered 
 Steneestas 
 
 ree 
 
 pre ee anen wey Dre bees boweny ors ap eee ~ 
 pesos Seatetses iis pt be 
 
 Setesgtsletesenieesesetistitiestieee es 
 
 +a 
 
 crest egcteer sir: We hee paws os 
 Rip hshal Masti eats ose > taice 
 eacsepepeteseseeceeseseees sree 
 Spitey Stetecisi piperries eos ; 
 pepeeesiti este treat estes sees Te 
 Sees e, Gsbaegee ep ker, bpmcreer ena re > eee = 
 Wander eprgepepernyry ptencnescantet hs eteqe sks! 
 * - . esis peter te 
 ee ert re tio eb ater ees r ene ee Sew ° 
 AFOOT eRe ee eee ae Taek 6 enh ae. £ dn bad 2535 siststy S253 
 wate pe tet he oe Pikes irate s : tes ad ees io 
 Sbersibsrs sanaepep ee tee rews vee peewers oe ese ss 
 Speseetsg yes eraser a papi est eg erases seis es 
 - 
 
 7. 
 oe ee ere 
 
 Rareetesraretetns testsesterarecet seater stir 
 Eibsenestaretireesee geteseseecbare ee aienterserse 
 epee ee eee o= ren bar G6 a6 
 pssinescasesesnrsesrtesrettvpsteser Gh isatebigeesi ge erst seat yeeee 
 Srbseseseterisqceae si secscrtbyeee sts ste retetratere ase ebeteete teres 
 Sepaect cease sanrectgeasatat ies rie peat tee re : 
 Wachesegiserseret segestsesesegtsteretcsireestieerataeetirerse 
 ppoteesers Tes eres 5 3s = ices erty 
 tests ene Sheba rssteshprers eth y. 
 SP Sree oe cers bad S aedbaehes bebe mee eb bo bm bt 
 
 we raeehs owen Tees Ta pabettesee eee A Sarees ae. 
 TOSI esse tts dee be a es et ee Se 
 Fawakans Phe ksh italy LEgedeteseseaseeTeebaseraslee 
 pas ae wee bees oe we ye ee hp ew en Pe he eee eee 
 deeper sai tee terrasse beep his ieee 
 Serepee epee ners ar rete eererreereeresi re 
 = as 
 
 oes e 
 
 > PePsretil oe ister eaee rs reee es beep wets eee tree 
 Tegeeldegbereleee! per eyesteetere pees sesetsaetes 
 ary Feen tere eros Sctetereeehpanrabats tee: 
 spistsbiapeseseseprekstaprprsnsiaapegtstsiegtsicgst a 
 Se ae bed ed teed ee iodide’. Sod ied ated canall a Saal re > 
 See pe we Oe eh Rae Re ry Sere Caunbaebetond Tet 
 os A indie ie ied ed aedeonedl oa eae ad oe ae 
 Sreherereaetgeserepapertsese teprpipersts i= 
 ROOT ee te er ae ee be 9 ae tee. 2 cisco ane 
 Bat i 6 Go thee ae erent mst wa bs y —s Cy Eo + Sea r? 
 Set peeweae er bortnp ates eaey teeth: Sats. Sebek sels os. 4 
 arprenees ae ford emt at rp eee bey tle Rae eS eee pe jane = 
 
 risky feeb sie deere sh he eee ae ee be ait eee bret > — 
 ba bebe b cre Pel as Sila a ely cd eae hsis es Sia aa tee = 
 
 ceeene Se ene = 
 Sitsesisertripecssareritersspraete tens iaweeaieisesh ies see reetieaeee sees Fue 
 
 = eos 
 
 - ne ee 
 = roe = hs 
 re tS Et 
 vith case Shaws weirs ea ee + $74- sep ors rp ey. ap ithesy 
 per t—4 < +2 ee mam = 
 res So pet eee rene brswranses baad oe year Tetslebetsetes teste stees 
 et psiessseptateeseieseiassiteeteeees ~ eSisceces 
 
 Speers es we bp eee eee ee Spree ee re. 
 Pn ne ek we an tet ee we eee ater. Sie aioe 
 
 TxEA pase p ws belies hs wi eer eta e eee © 
 
 ie bot 
 weeps ce reper eh p hikes 
 
 7 
 25 SS ieshieeeisy 7 
 ef pip te reba eset ir ep bei bs baa 
 
 ete 
 
 beinres> 
 peieiere! 
 
 epee 
 parer ory) 
 
 254) 6) 
 
 Hatcisicl 
 
 Siehebetrhaiel iach a aehetghatees ieee see 653 
 Se er ree tana tater etatesesatetensteta tt eera ReStatseubetaeescprtcetsctess Evestrisbetsipesestsbthsbsbiieninceescesseiese! 
 Ectsbaeieshaste: websasreaanteiasrere be Sreanegrs ee eaesnel = pusaperessr tr sesereetrad Ppeprptpiswers bene any i ee ruer eps 
 stgirepisbewans phe sr rersrereimeserepepetiyes erate ests <5 Siirpiparsiepepepapeetteschstsnsse ts tiers sy Hiesaprehetensryy : 
 Se beee bs et we rer ers 5s reuse awt wn ep ated es a} eee eee ee a rep eyanap hs ek abars § .¥ le thaws es erie thee pet eye 6 eet reas rates == 
 HiBTTHEE: ae Serer ertefete fete tatatats te teteteatetasetsgeists tptscetstora tageseiese setesenpspsesttereteteeseete Tiseeteee titers =: 
 Seserrace ergietsbetsterety 5 brbssesa nes tebgeess > iebrorrteethehesresori 33 
 - - Ssbibeectcs. a5 + er — b> bth te O45 0- eo ot Oe ee 88 : 
 pipisegt r= pe qhp ee eeh testi ley Eee is et sis as eshsapepie apieee spe pepeel bee yebre pera! toate 
 prea sree! =! eye pespir reer aegis ies erase rahi cei teres Esa as - Ps 
 oro e a4 - Sr pees terres rarer er eres epee a ne S Eee 
 poster teh, toe. Bpetiseiggessieaessebe Sete pesacitrabesetersethetsiebsnet eases rs 
 eeebere tee ~ : aaseere z z ess = 
 aees res ere eesrore : $e eesaseee: rier 
 prrsstasateserteare be reett paratetec terete tase tetetetare sete tetess fesriiis ; 
 Socesreeet ater sesh aree teat ierit atti bebe hshe tebe t er eeaee here 
 frost eribatstinehsspecepbebarstin tight sstarshebieieesiaheest ise ier 
 cacsatetitetetartitie tesa tstataesie set sear erates ess, 
 ae ieee ere rew 23 ke re . 3 ween 
 
 ici 
 
 i 
 ; 
 ; 
 * 
 4 
 
 + 
 i 
 i 
 ¢ 
 
 tht 
 dite 
 it 
 nie 
 i 
 _ 
 tye 
 ae 
 i 
 i 
 HH 
 t 
 r? 
 
 j 
 i 
 ies 4s 
 
 Detiieeeties te hreers 
 eutateteteletete titer se atenseereses: 
 SESECESESESE ST ASE SSRST. Sigst 
 
 Sihsiiietstsfaere Sesh ere ere e re: 
 Bit Seeks tite ieee ss te eet psgtatelinisecsieisiat ieee 
 
 ie es iba ees ies > eee en wn wewewt reuse wee wens inte =6~ 
 Pelpectetehi bel ste ep ey open eee pete eee seek ghey ree peer tee ey eeeecrsisie 
 erprpesws ke rrsser eles stp lt eip retort ase ss Fa deep ae eas babe! 
 Erle r ee bats ness ae bs epee eee ee te te Peaes =i xs + 
 cn bee owe ware er awe Pete eee were eS EES we SEE WETS sees te papas s eeieehest 
 Dre le en Sesh ese reeset as + 77 
 Cea Seen re ries rae e ey cele ete E ESO Ew SNE TS TEES EB ae eres reaps bri srere resort te baa 
 Peete tetettes es testiss wprperseesry ee ep ipepr steps ob be 6 eb eb he eo Be bebebebehe ee 
 ciateneeshcsseg es ts. piste tssstatstssstees 6 ir 8 6 i Bn ok res preee ie ee. pane ses be ete sa eee ese 
 Seilsa ee aeees ene ae we step ap eae wee MN A a OS aa aoe 8 i 66 poy deb rbot + oe 8 Oe Ome 
 Soares eee tetesecese Tse er ese: 3 =F = rsayee Sab 
 8 OF 8 8 ie Oe ORO Ore ETE OS ee >> pan estes] :« Sates 
 Aa playa ee we whee eee Pw EOE TSS pepieeriats ese tT tss Bay pon oe Bs is Oe 
 wy pases errata eet Urabe ms Sstctaeeeas Ses. 
 eeeet st eertrect ress sea SS baap seer ens 
 Pepteeeeser ie szerte ater Bre See eseeesetaee eeteseetrestpestsssertstee 
 esesatecisseiteseeseees Peete "7 Sais leonnthe Sees ie bess 5. 
 Terese, pitas tess <as Bre erarat isos 
 Fo SSS sie Sa t rs Eetsashsteage apres ses priecetersee ss! wee) 
 SEsreeeseaectgene See SEIS? srsE re teseaseEsteETes? zs = Sitatetesicstetetetesss 
 Set erer es Wee Resales eean swe estsss sz = Pebeseset Cetera rae e rear 
 See ob nd bal ote wrk ann Rie 0 eh end nt oo 8 oh b= * Late Pret errr reese epee et esate rss 
 ee ee ee ee ee ee a eee et eet need ee * ~~ Se i ated ceed eed and nde dean ie ted ed nl