T inhi Etter Wiiicte it inte intr Bate 7: cite tt ie Ht if Heat ian its ee 5, a nia fy it Arey an Trl fir tpt a rhea tt aaa as ririrte! tik ths aii ttf ae fly Nae trata init fy ? Totet, in Mr patel, Hgtttit een ba a sit ttt ae Ty ir, re erie rat Tit aii i Ht He Mishttss ye _ ii att mnt Tate er ite aay uae Toit ty int if a Tet i atta Ae he aint tf int TH eat ce iat ririets ite ce ni Hae Lo ghee ni He att ae ae it Hitt i a iste a ie tt Tate ara aie rf eR art Heart tinigt rit yt rf a My ty ait a t ae ae ie te tr a Tpit hetatt ir ettt sat tH i ft of if a an its : ae z Z ay 7 i LC : eit 3 i ae erste th tetretaat artes Te cent at 2 Tit ae tay tH i fit eietgtir eels feat erty pet ial ie Hid ty oe piyt Teipststs try i? ie ao piel wh nt Oh te aot aerit af Hatt rH nat Tet, i aise Arann ti ae iris! | itt rr Hi it ine a 4 iit Hata ae iit See Hi ait ciated ttre ttatet oe 1 Bt . a ae 1 He Th Tet, cae tH rit bs stat id Tithe Myatt i i ua a T ee iF i int apirtsh i inte tarhrs tt i se Sit) ah Hi ie rf at Teeth setae tl aire fetta ttt at ote f rt; set oeageaes % 8 ae i ie tet irate stirs ttt a tent hse ae ait He Bit th tt ee sr i i Haan sehehs rent a teh se RET ay nt f Hit soe oatat 7 rate irae at te i; i hit ty ath - 7 00 | 3,60€ 8,100 asa | Hela in Ballroom of the Plaza. _ For the first time in thirty-four years ‘the American. Art Association has had to| ‘desert’ Chickering and Mendelssohn halls ‘to conduct one of its famous picture ‘sales, for ever since 1878 Thomas E. Kirby | has been holding the association’s sales Of paintings in first one and then the ‘other of these auditoriums, whose memo- ries are chiefly musical. In common with all the former tenants’ of Mendelssohn |} ‘Hall, the auctioneer had to find other| ea and ‘selected the ballroom of ‘the Hotel Plaza as the place of the sea- | ‘s0n’s sales of paintings, the opening one | ‘of which took place last night. This. was) ‘the first session of the sale of the pic-. ‘tures belonging to. Herman Schaus and ided seventy-tour water colors and awings. by modern European artists t realized a total of $11,232.50. Fee y = So jon haa of Sty ene @s8 marking the beginning of an epoch in) the history of art in New York. rather han for either the quality of the pictures | sold or the prices they brought. The ac- leustomed cream and pale green aud{to-— rium of the Fortieth street hall, with its: mural paintings by Blum, were replaced. by the white-and-gold decorations of the) Plaza ballroom, with gilded chairs and high-hung dusky boxes. Even the auc- Ationeer had changed his place from the lefty and) is, a ot the stage to the Ni) a , and his dull brown desk, with its hic sounding board, struck an archaic ‘note in the luxurious surroundings, te ' The first pictures offered were five small! pencil drawings by Rosa ‘Bonheur that only brought from $10 to $32.50 each, the! highest priced one being a study of a “Meadow with Horses.’ Three drawings, ‘by Jules Dupre were placed on the easel, and in spite of their prime quality brought only $65, $45 and $70 each. The bids kept downto $5, with not many, humber in the catalogue was put up. It) Went to $625 before it was knocked down! to A. B. Johhson, A’ small but charac- ‘teristic Isreals,. ‘‘Mother and Baby,’’) Caused the first lively bidding of the evening, and it»was run up quickly to $925, Peter W. Rouss. getting it at that figure. The second Israels, ‘‘Washing ‘Day,’? went to the same buyer for $700 M, Knoedler & Co. gave $1,150 for Jako | Maris’s ‘A View of Delft.’”’ this bein the highest price of the night. The sam firm. bought Willem Maris’s ‘“‘Ducks an Ducklings” for’ $710; Arthur Tooth & Song ‘gave $800 for Blommers’s '‘Minding Baby” Fred A. Ames. paid $600 for ‘‘Degel-Nor, {:' way,” by .Thaulow, and Captain J. R. D Lamar paid $120 and $270 for two wate eolors by Signorini,.. The sale Se oh to-night and to-morrow night in the sam iplace, when the more important oil paint; ings will be offered. : : sa } of them at that, until the thirty-fifth | Was Clays'’s ‘‘Calme sur L’Escaut,” and] | ‘Thomas E. Kirby of the American Art Association upon the order of the executors of the estate of the late Hermann Schaus| ‘These comprised the collection of water. ‘colors included in the Schaus galleries, with a few pencil drawings and pastels. Spee = Wi 4 ‘of the ye netnan ve ‘TPwenty-t paid $1, 8, Paul Jean Clays; Josef Israéls; $925, __ 116—“Washine Day,” sa ' FUE THU pele fhues saris gn sy "View of Delft," J ris: “Knoedler & Go. yekob Maris; ‘$1,150, by, 120—“Amsterdam,” Paul n Olays; § George B. Horst. By Heer Wave: $098). by 133—"Minding Baby,” | Bernardu nae | $800, by Tooth & Sons. 8. Blommers; |. 135—"Ducks .and Ducklings,” is | $710, by Knoedler & Co. x sue pnb Francols Ter Meulen; het ncn Sere cerenaaes Oey Sete eee x ie sats . sar haere ing de I phastian . sa i ae eee "same ae nye : Capt. De Lamar. : : ahd ee | | | | i i ‘te ( f | H | | | | a+ . Dikdersal-ot a ae Works of Modern Mas- | i hs _ ‘ters Takes Place in Plaza Hotel, lay New York, ‘HIGHEST PRICE PAID, $18,900. ‘Domestic Troubles,’? by Josef Isra- els, Goes to Messrs. Wallace and Sons, London. Se [BY COMMERCIAL CABLE TO THE HERALD.] New Yorx, Thursday.—The second _day’s sale of the Hermann Schaus collec- \ tion of oil paintings. by modern masters took place in the ballroom of the Plaza Hotel yestetday. Following are some | of the notable pictures sold, with oat { ) names oftheir purchasers and the prices | }j paid c=" | - Von Lenbach, portrait of Bismarck, | . | Ziem, $3,600, to Mr. Theodore Heinemann. of Place St. “Tnundation | Mare,” $3,500, to M. Georges Petit { | | } ! \ t Ziem, ‘‘Sunset over Cadore,”’ $1,125, | to Mr. P. W. Roass. Von Uhde, ‘‘The Flight,’ $1,800, to Mr. Heinemann. Flameng, ‘‘With Bonaparte in Italy,” $1,650, to M. Bernet. Josef Israels, ‘‘Domestic Troubles,” $13,900, to Messrs. Wallace and Sons, of London (the highest price paid at the sale). William Maris, ‘‘Geese and Goslings,”’ $2,900, to Mr. V. W. Seaman. Jacob Maris, ‘‘On the Shore at Sche- veningen,” $3,400, to Messrs. Knoedler | and Co. Ziem, ‘Public Gardens of Venice by | Moonlight,” $1,650, to Mr. A. B. Johnson. . Fromentin, ‘“Hunting with Falcons,” $5,300, to Messrs. Stollberg and Little. Dupré: “The Pond,’’ $1,050, to M. Boussod-Valadon. Corot: ‘“Morning,’’ $6,500, to M. | Georges Petit. Dupré: ‘Morning,’ $6,500, to Messrs. Knoedler and Co. Cazin: “The Thaw,’ $1,450 to Messrs. Knoedler and Co. “The. Shepherd,’’ $8,100, to Shreyer: “Arab Riders,’’ $5,800, to Mr: Hénry Schultzeis. Ziem, ©“View..of | Constantinople,”’ $8,000, to M. Georges Petit. Harpignies: “The Brook,’”’ $3,850, to Messrs. :Knoedler and Co. Lhermitte: ‘The Reapers at. Lun-| cheon,’’ $11,500, to Mr. A. R. Murray. | The total proceeds of the sale to date | are $154,08 ; 5 | NEW YORK, Jan. 15—Fair prices were brought by the water colors col- lected’ by the late Hermann Schaus at! he first evening sale held in the grand! ball room of the Hotel Plaza under the | auspices of the American Art Associa- tion tonight, Seventy-five pictures were sold for a total of $11,232.50. Consid- erable rivalry was displayed o the’ possession of “A vie ef Delat,” be: _ Jacob Marris. This work finally went to Knoedler & Company, dealers. for $1150, the highest price paid during’ the evening, Sat Several pictures were sold for $10, in- cluding the first one offered, “Cheval! Atelle,” by Mlle. Rosa Marie Bonheur, which was bought by J. H. Kline. Cap-. é Moonlight on a) Ce, aa Beaman, $1000. ‘ am Maris: Goose and Goslin W. : Seaman, $2900. bc us i JacobMaris~: A’ Pink on Shore at Schey- eningen, Knoedler & Coa.; G Jacob Van Ruisdael:: Landscape with Fig-| ures, A. B. Johuson, 600, Felix Ziem: Public Garden, Venice, Moon- light, A. B. Johnson, $1650, Emile Van Marcke: Sheep in Pasture, d. Johnson, $850. Constant Troyan: Sheep in Uasture, J. Blend- jning, $825, Féeding Time, Bos- | sod VaHadon & 6 Charles Emile Jacque: O., y Hugene Be bahay Pn Maid with Falcons, | Stollberg & Little, $6 | Geoges Petit Gallerie | Petit. Galleries, | ther HWorrest, | ‘Antoine Vollon: The Fisherman’s Return, s, $500. Pond, ‘Bossod, Valladon. ; Co., $1050. Téan Batiste Camille Carot: Morning, Georges Knoedler & Oo., River Land- Jules Dupres: The | & 6 Jules Dupre: Morning, 3600. Charles Francois Dea | scape, Harvest Moon, R. C.. Vorse. $2000 Nareisse Virgile Diaz de la Pena: Bdge et a . W. Seaman, $12,000. Jules Dupre: The Old Oak, Holland Art Gal-; leries. $11 Henri Harpignies: The Brook, Knunoedler & Cool Schreyer: Arab Riders, Henry Sehulth- eis, $5800. a] Leon Augusting Hermitte: The Reaper’s | u Basie ; rry. $11,500, Tenis de Bock: Milking Time nea¢ pm | z, P. W._Youff, 2500. COA a ahiek = aregatt Weissenbruch: On the f 5 oedler an 10, r4 : pA er Webeele: Domestic ‘Trouble, Wallace {and Sons, $13 Pelix Ziem: View of Constantinople, Georges atit Galleries, $3 >, Feiaile Dieterle: La Reine du Troupean, Geo. ser he sale tonight completed that part) to be held in the Grand Ball Room of | the Plaza. A few water colors will be ‘sold at the American Art Galleries to- morrow. aftternoon. / "An Important Showing of Modern Pictu "py the Barbizon Men, the Dutchmen and " Others—Remarkable Still-Life Piece by. Vollon Among the Masterpieces of the Exhibition Ya Pe ee | ‘The Hermann Schaus collection of paint- | ings and watercolors is the most important to be shown so far this seagon in the Amer- ican Art Galleries, New York. With a few exceptions it is a collection of modern work, comprising representative examples of some of the so-called Barbizon paint- ers, as well as a considerable number of canvases by such tontemporary Dutchmen, as Israels, Blommers, Jacob and William Maris, Mastenbroek and Weissenbruch, to- gether with a liberal sprinkling of miscel- laneous work by American, French, Eng- \ lish and German painters. Wee Pil Chae | One is immediately struck by the extraor ‘dinary diversity of this.collection, reflecting |mo particular predilection other than the ‘dealer's desire to please all kinds or condi- | tions of men. In the midst of much medi- “oere work one comes upon canvases of in- | dubitable merit, and here: and there a mas~’ | terpiece of supreme’ value. Such is the re- 'markably fine still-life by Vollon facing the ‘entrance in the large gallery. This mag- “nificently painted fruit piece is executed in his most brilliant manner. It is a tour de | force of virtuosity in a field that this man /has made his own. But he was no less | brilliant as a figure and landscape painter, . |/and to those acquainted with this side of | his art the landscape ‘The Fisherman’s Re- Pturn” will.come as a distinct shock. Its | erude blue sky and crude green grass and inept technique place it in an inferior class by itself. ‘The several pictures by Jules Dupré will no doubt attract the collector of this man’s work. Of the six examples shown, three are pencil and crayon drawings, studies of the character and anatomy of trees. ‘Of these the study of a group of four ‘‘Willows Refiected’’ in'a pool is the most interesting. The three paintings, while quite character- istic specimens of his art, are not particu- larly fine in quality. Théy are dark .and heavy, éxcellent illustrations of the oid studio landscape, with its brown sauce shadows and. artificial arrangement that were the classic and accepted thing before the advent of Monet. A variation of the same recipe appears in the “Edge of the Forest,” by Diaz, which, however, is a much better example of this painter's art than are the three canvases by Dupré. A “River Landscape” in the soft light of the harvest moon, by Daubigny, strikes a more modern note. It is one of his characteristic lowland scenes, with a grove of poplar trees skirting the gently sloping bank of the shallow, rushy inlet, vigorously brushed:in with his accus- tomed simplicity and directness. Even more modern than this in treat- ment is Cagni’s ‘‘The Thaw,’’ in which the atmospheric qualities of the rosy drab sky | has been rendered with great subtlety, in- tensifying the effect of the rapidly disap- pearing snow on the undulating dunes. | Two. Harpignies, a small watercolor and a large oil, are of considerable interest. The oll painting is a comparatively recent work, being dated 1900. It is one of his fayorite | “Brook” scenes with his beloved moss- covered trees against a very light sky. The | water color is. less important, though no. less interesting. A good Fritz Thaulow Norway, showing the village street in the lambent evening light. Jt has more real quality and less mere cleverness than. many of this later pot-boilers. Several pencil and common fidelity of observation. iN | esting manner. The “Quai de la Douane, | Vénise,”” painted in 1898, the year of his | death, shows no falling-off in quality. It | of ‘Moonlight on’a Canal,’’ with its tan- pastel depicts a nocturnal winter scene in | ‘ticulars. The pain of “A Mountain Donkey’? is not a particularly distinguished piece; although it is characterized by un- Theetwo paintings by Boudin, though. quite small, are in his ‘best and most inter- has the same pleasing color, vigor of han- ‘dling and masterful treatment of ships and. shipping that one is accustomed to look for in ‘his best work. The ‘Trouville’ is even finer in its rendering of the white masses of. clouds floating above the pale, dove- gray horizon. In the painting by Jongkind gled rigging against the gray -blue night | sky, we have.a very different treatment of | | a similar subject. Painted boldly with a ‘somewhat too obvious robustness, it lacks something “of the refinement of color and - treatment of Boudin. esi In comparison with the subdued gray tonalities of these two painters of harbor ‘scenes, the four canvases by Félix Ziem are like flaming torches that illumine the whole ‘wall on which they hang. The large “View of Constantinople,’? with its golden build- © ings and white minarets of Saint Sophia | seén across the transparent water of the pay, is a flare of gorgeous color. Some- - thing of this Same love of Oriental splendor | of color enters into the work of Adolf Schreyer, who is represented by an excel- lent painting of “Arab Riders’’ stopping - at a drinking fountain to water their. | ‘horses. It abounds in rich reds and greens | the vernacular c | and yellows; the fiorses are splendid ani- is very real an reverence such as “The Reaper’s Lunch,’ by Lhermitte, iS | presented ibiblical sul /’ > In addition to the f with a nice regard for the characterization characteristic examples of the figures as seen in the noonday light Rilictte, Kaulbach, Lero of the fields. Two sheep pictures, one by | Neuville, Raffaelli, CE ) _Essen, as well as a number of mals, splendidly painted. a typical: French peasant ‘scene, painted Constant 'Troyon and the other by Emile Van Marcke, illustrate the methods of two eminent animal painters; while the three canvases by Marie Dieterle are of great interest, Showing this artist In all her vigor. The canvas called “La Reine du Troupeai’”’ is especially imposing. : The small’ panel entitled “Lady and | Horse,” by Adelbert Cuyp, is one of the few old masters in the eollection, and as such commands especial attention. Thé- ophile de Bock igs represented by. a large | painting of “Milking Time Near Voorburg,”’ which is not especially interesting. The modern Dutchmen are quite plentifully rep- resented. Of the three Israels, the ‘Domes-~ tic Trouble’ is the most important. Tt | shows a young wife seated disconsolately | before a fireless hearth while her husband ‘4s\ @rinking and playing cards with two cronies in the rear of the kitchen. Some- what sombre in color, it has a dramatic duality that no doubt gives it a wide, pop- ular appeal. The two other pictures by the ‘\Bame artist are small watercolors of his , favorite subjects. The single example of Blommers’s art is, -a large and finely executed watercolor showing a young peasant woman “Minding | Baby,” wholly delightful in color and con- ception. Jacob and William Maris are rep- resented by good examples of their art. | The ‘View of Delft’? from the Sir J. Cc. Day | Collection of London is in many respects | | the finest watercolor in the exhibition, be- | ing painted with all of Jacob Maris’s: con- | summate rendering of atmospheric effects. | Wis brother. William is represented by | three pictures of his oft-treated subjects, | a “Goose and Goslings’’ and the “Ducks | and Ducklings’ are quite familiar, unpre- | tentious Httle essays in. watercolor, bright | and snappy. water color studies and a small painting | by Rosa Bonheur are of especial Interest, | treated, showing tion that must t ' tled, Z Sa 5 > “ American painters. A * mis tines et ines, HRs ESS ceed de Sas ee OT ‘A ON FREE PUBLIC VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK BEGINNING WEDNESDAY, JANUARY 10ru, 1912 MODERN WATER COLORS BELONGING TO THE ESTATE OF THE LATE HERMANN SCHAUS OF NEW YORK UNRESTRICTED PUBLIC SALE BY ORDER OF THE EXECUTORS On THuRSDAY EVENING, JANUARY 18TH, AT 8 O’CLOCK Racer OINEN AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH CATALOGUE OF WATER COLORS BY MODERN ARTISTS TO BE SOLD AT UNRESTRICTED PUBLIC SALE By OrprerR oF Mrs. Sopuiz J. ScHAuUS, EXECUTRIX, AND ADOLPHE SCHAUS, EXECUTOR, OF THE LATE HERMANN SCHAUS ON THURSDAY EVENING, JANUARY 18rH AT 8 O’CLOCK AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY, OF THE AMERICAN ART ASSOCIATION, MAnaceErs NEW YORK 1912 SS. Press of Toe Lent & Grarr CoMPANY 137-1389 East 25th Street, New York. 55 mt CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arises between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 8. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re- sold, 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, unless otherwise specified by the Auctioneer or Managers previous to or at the time of Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authenticity of, or any fault or defect in, any Lot, and make no Warranty whatever, they will, upon re- ceiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; failing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settle- ment of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money de- posited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The Undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for employing careful carriers and packers, they will not hold themselves responsible for the acts and charges of the parties engaged for such services. Tut AMERICAN ART ASSOCIATION, Manacers. THOMAS E. KIRBY, Auctioneer. FOURTH AND LAST EVENING’S SALE THURSDAY, JANUARY 18rx, 1912 AT THE AMERICAN ART GALLERIES BEGINNING AT 8 O'CLOCK THOMAS WORTH No. 1— AN ARGUMENT PEN AND INK A) /) . . : [/ Peele, ress Height, 74, inches ; length, 91%, ro re: PML AD tr tote ; A HORSESHOE hangs over the entrance to an open shed, in which a re stands. JBeside it is a man in an overcoat with upturned collar, who is Wwatch- ing the energetic action of another man at his left. The latter, extending his arms, urges some matter with a man who nonchalantly leans against the left of the entrance. ‘Two other figures, one with a cape over his head, complete the group. Signed at the lower left, “Tos. Wort.” FELIX SATURNIN BRISSOT DE WARVILLE FRENCH No. 2— SHEEP AND SHEPHERD _ PEN AND INK DRAWING ON BLUE-GRAY PAPER £ \sotn si) va} y en Height, 81, i . Mee \ ep i. ght, 8% inches; length, 1144 inches \. * ; ; /] ( Owen Hi CU ee His dog at his heels, a shepherd stands at the right of the foreground, with his back toward us, but his head turned to the left. He seems to be watching his sheep as they approach from that direction and fall in behind him. Some of them appear at the foot of a clump of small oaks which occupy the right of the middle distance, and spread their almost leafless branches against a lower- ing sky. Signed at the lower right, “F. Brissov.” BAREND CORNELIS KOEK-KOEK HOLLAND (1803-1862) No. 3— GIRL POURING MILK DRAWING IN SANGUINE T Ce Height, 1¥/, inches; width, 31% inghes_ Bi 7 F Fre Lane bs ALE A Durcu peasant girl stands facing the spectator, her head in d over the> > @ left shoulder, as she leans forward to empty the contents of a/bucket into a large pitcher. She is dressed in a bodice, loosely laced over a chemise, and a skirt which leaves her legs bare from the knees. Signed at the lower left, “B. C. Korx-Korx.” ALEXANDER HUGO BAKKER-KORFF HOLLAND (1824-1882) No. 4— STUDIES IN PEN AND INK ob Height, 111% inches; length, 161% inches aa, @ Tue artist, whose typical costume-pieces are highly esteemed in Holland, has here recorded six separate studies of the period of the early *40’s, arranged aa in two rows, each containing three drawings. In the upper, from the left, ; appears a lady, playing a piano; three old ladies seated round a tea-table, one . of them reading aloud; and a gardener watering a plant. At the left of the lower row, a lady in a poke bonnet, with a reticule hanging from her arm, stands leaning over another lady, who sits with folded hands. In the center, beside a table with a bird-cage on it, a lady is seated with clasped hands; while at the right a lady in the depths of a well-chair is reading a book. Signed and dated at the lower right, “A. H. Baxxen-Korrr, 73.” W. BREITSCHWERT GERMAN No. 5— AN ALLEGORY OF 1870 WATERCOLOR Height, 1814, inches; length, 2234, inches See 5 In a stalactite cavern, a number of gnomes are swarming round a German and a French soldier. ‘They have tied behind his back the arms of the latter who writhes in their clutches. But the German, wreathed with a garland of flow- ers, they are presenting to a maiden who, seated in a balcony at the left, is welcoming him with waving handkerchief. At the right of the foreground, an aged gnome with a child on his knee is seated before the entrance to a cave, where an old witch stands brandishing a ladle. Signed and dated at the lower left, “W. Breirscuwert, 1871.” EUGEN KLIMSCH GERMAN No. 6— A HAPPY HOME WATERCOLOR 4 aris tees Height, 6% inches; width, 41, inches (> - fn A youne mother, seated with her back to a green-tiled Germar. stove, holds her / baby on her lap, while the father, from his chair at the left, leans forward with f his head against his wife’s, watching the fun. For the mother holds a thread of red wool, which passes through the little one’s hands and between its toes and descends to the floor, where a kitten is playing with the ball. The couple are dressed in German costume of the sixteenth century. Signed at the lower right, “Kuc. Kiimscu.” GEORGE PERKINS BRITISH No. 7— A QUIET RESTING PLACE WATERCOLOR A oc Height, 51% inches; beige Al/inche. Tue foreground is occupied by the corner (of a yillage graveyard,/s the back by trees. An urn upon a pedestal shows against the foliage. At the right is a glimpse of level country, where a stream winds back to the horizon, over which floats a crescent moon. ~~ Signed at the lower left, “G. P.” J. H. LANGRAND No. 8— EVENING WATERCOLOR > Bo Ne Height, 41% inches; length inches” V; alte LOT ee A wantne moon hangs toward the left of a grayish-blue sky, streaked with slaty-blue over the horizon. Along the right of the latter extends a sloping promontory, under which lies a smooth sheet of greenish-gray water. It is seen beyond the edge of a knoll of olive-green grass, intersected by a path which occupies the left of the foreground. Signed at the lower right, “J. H. Lancranp.” EUGEN KLIMSCH No. 9— THE BABY’S TOILETTE WATERCOLOR 2 a2 vo Height, 41% inches; length, 61, ii (pS OU PaInTED with the minute precision of a miniathethe scene shéws a young , mother, seated with her naked baby on her lap, while a little girl, as she tries to attract the baby’s attention, rests her hand on her mother’s. The latter is daintily attired in a white cap, lined with pink, and an apple-green gown, around the neck of which is wrapped a sapphire-blue handkerchief. 1 PASTEL Ca ye Ger Tue saffron sickle, tinged with orange, of a crescent moon hangs above a horizon suffused with reddish-yellow glow. Silhouetted against it, at the left, is an eminence, fringed with trees and crowned with a church that rears its small spire into the greening upper sky, where float faint skeins of rosy lay- ender. Upon a knoll at the right stand two trees, whose stems lean together, while their foliage unites in a soft gray-green mass. Signed and dated at the lower left, “F Cacnovun, 1906.” EK. IMER No. 29— FETE SUR LE GRAND CANAL WATERCOLOR Height, 131% inches; width, 91/, i RAPE oo x ce eug VY, inches; wi Y, inches Pe, ee ee 1 rofl 4 Tuk water of the canal is bounded at the left by a palace Gi thie ucre oF balconies, protected by awnings. From the center balustrade project two flag- staffs, draped with the green, white and red ensign of Italy. To the light-blue mooring posts in front of the entrance are fastened two black gondolas, one of which has a rose-colored canopy, the other a crimson and yellow. In the middle distance a third gondola, which lies across the canal, is distinguished by a decorated lantern, mounted on a pole. Signed at the lower right, “E. Imer.” GEORGE PERKINS BRITISH No. 380— AN ALLEGORY (Three subjects) WATERCOLOR A ge Height, 51%, inches; width, ee to A if) ee Ae, pratt In the left-hand subject two figures are standixg featie a tall hee in the angle of a building from which a buttress projects. The central composition shows precipitous rocks, on a ledge of which appears a pilgrim, who has flung down his staff and cloak and is hurrying toward a vision of Christ in glory. The third scene represents the high altar of a Cathedral, the columns of which are richly decorated with sculptured figures. In front of the altar are dis- posed the celebrant and attendant priests, vested in chasubles, and two thurifers, while a group of laity kneels at one side. Signed at the lower right, “S. P.” OCTAVE SAUNIER FRENCH No. 31— RIVER SEINE—FISHING WATERCOLOR A OE Height, 121% inches; width, 9% inches From a triangle of bank at the left of the foregro a man, dr¢ssed in white, leans forward as he holds his rod. A little beyond him stand two ladies, the nearer wearing a blue and white striped gown and carrying a parasol of old rose hue. Her companion is stooping toward the water. Beyond the group appears a clump of bluish-green trees. Across the gray-green water, dyed with purplish-blue reflections, lies the horizontal line of the opposite bank, fringed with trees. Signed at the lower right, “Oct. Saunter.” ~ ROBERT DE CUVILLON FRENCH (1848- ) No. 32— CHAPEAU DIRECTOIRE WATERCOLOR m9 = Height, 12%, inches; width, 93// inches Nn { ie, soe YL. y (ee Tue head and bust of a young lady are shown facing three-quarters to the left. The golden ringlets which cluster over her forehead and down the sides of the cheeks are surmounted by a Directoire hat. It is of straw; the brim, which curves up in front, being lighter in hue than the tall cylindrical crown. The latter is tipped with pink and gray ostrich plumes and bound at the sides with a blue ribbon, the ends of which are tied in a bow under the chin. A butter- colored fichu, dotted with white, lies over the shoulders of a greenish-white gown, frilled round the circular opening of the bosom and flounced at the sleeves. Signed at the lower right, “R. pe Cuviti0n.” G. SHEFFIELD No. 33— TURNIP FIELD WATERCOLOR ¥S oe Height, 1014, inches; owed ™ esr) A FIELD, intersected longitudinally by narrow (renc es, ae the grace? Its surface is bumpy with the white roots of turnips and shaggy with their leafage, while at the right of the center a large basket stands beside an over- turned one. The field is bounded at the back by an irregular fence, interrupted in the center by an opening, which is flanked by two trees. One of them has a bunch of growth, apparently mistletoe, around the crown of its trunk. The picture is painted in sepia. Signed at the lower left, “G. SHEFFieL.” GUISEPPE SIGNORINI ITALIAN (1857- ) No. 34— CARDINAL A ST. PIERRE WATERCOLOR are Height, 131% inches; width, 914 jmohes Pe) oo 5 Bie etn A Caroprnat stands facing us with the forefinger of ise right hand held to his lips and the remaining fingers under his chin, as, inclining his head over his right shoulder, he reads a book. Behind him is a plum-red marble basin, which, resting on a pedestal that occupies a circular depression in the floor, is sur- mounted by gilded sculptural work. On the wall, at the back, hangs a marine, with the following inscription, contained in a cartouche, below it: ‘Dictus XIII. Pon. Max. Humana Regeneratio Fontem.” Signed at the lower right, “Guisrr. Stanortn1, Paris.” oe! OT IN Ty ee tee Nn ma ln a i ee a a at ee ee = “ ae : : 5 Ss a ee ee pte. on (Sete Se PCE RENE Dir (oe GUISEPPE SIGNORINI ITALIAN (1857- ) No. 35— AVANT LA MESSE WATERCOLOR poe 4 oe Height, 1314, inches; width, 9, inches Seatep in a buff leather chair, fue oe gray hair showing below his rose skullcap, is conning the page/of a very large service book. The lower edge rests on his knees, while the weight is supported on the back of a crimson chair in front of him. He is vested in a puce-colored cassock with rose cuffs, and wears a gold cross on his breast. Signed at the lower right, “Guiser. SicNortn1, Paris, No. 170.” C. ROUSSE No. 36— YPRES WATERCOLOR e if ST gee Height, 15 inches; width, 81/4 ey Ww Tue scene embraces a short vista of street, terminating in the coxspicuous fea- tures of the two cathedral towers. The nearer one is crowned by a central spire and four small ones, surmounting turrets which project at the angles; the other has a low spire and belfry windows. In the middle distance is a covered cart, while nearer to the front two women are approaching, and at the left of the foreground a woman with white cap, sleeves and apron, stands on the sidewalk, talking to another woman, who sits on the curb beside a basket. Signed over a shop front at the left, “C. Rovssz.” G. SHEFFIELD No. 37— SHEPHERD WATERCOLOR 4% Height, 1014 inches; length, 151% inches kK i, 4 fs VV ql EXECUTED in sepia, the scene shows a bit of country Cond tat the eat. of whic as it seems about to descend, appears a shepherd carrying a stick. The road is bordered by coarse vegetation, out of which, at the left, grow three trees, separated by a fence from a fourth, which is in the immediate foreground. In the middle distance, at the right, a small tree stands between a bush and a fence and inclines over the latter. Signed at the lower right, “G. SHEFFIELD.” C. ROUSSE No. 38— MAYENCE WATERCOLOR if cy : lee Height, 1534 inches; width, 9 rp Bes oF the cathedral lifts ite four diminislins Whe’ Id we ohadon? Le into a blue sky hung with white clouds. Below appears the upper part of a gabled transept, whose base is hidden by the booths of the market place which cluster close around it. The right of the scene is bounded by a three-gabled dwelling house, adjoining which is the front view of a facade that terminates at the top in a pedimented gable. A purple-colored awning overhangs a stall near the foreground at the right, while upon the left, farther back, a white one shows conspicuously. The intervening space is filled with groups of figures gathered around baskets of produce. Signed at the right of the lower center, “C. Rovssr.” ROBERT DE CUVILLON FRENCH (1848- ) No. 39— ODALISQUE WATERCOLOR ‘a ae Cee, Height, 18 inches; width, - inches Ve. An Oriental beauty stands on a white bearskin rug against a wall decorated with pale-green arabesques. Her hair is adorned with three pink lotus flowers and a gold jewel, while chains and discs dangle at each side of her face. She holds her right hand above the shoulder, grasping a gauze veil; while the left, hanging down, clips a fold of the black and gold shawl which is draped over a rosy skirt. The lines of her bust are emphasized by a white sleeveless bodice, encircled at the waist with a gold band. Signed at the right, “Ropert DE Cuvition.” MADEMOISELLE K. E. DE GROLIER AMERICAN No. 40— SPRING FLOWERS WATERCOLOR bo Height, 1444 inches; wi ith, 12 inches Ristne out of a mass of soft feathery moss and interspersed with fronds of filix-mas and parsley ferns, are arranged some blue violets, yellow heartsease and small white violets. The composition is encircled in an oval. Signed and dated at the lower right, “K. EK. pe Grorirr, 71.” EK. IMER No. 41— CHATEAU DE BLOIS WATERCOLOR ee ] <= Height, 1634 inches; width, 111, inches om AeA pee Tue view is through an opening, framed on the right by a column, the/ shaft of which is decorated with zig-zag ornament and surmounted by a capital from which projects a snake’s head gargoyle. Beyond extends a brownish-yellow courtyard, bounded by a fagade, the conspicuous feature of which is a semi- octagonal turret staircase. Constructed, open to the air, of vertical piers, intersected by three tiers of diagonal balustrades, it terminates at the top in a story containing four windows. The lower part of the turret is embellished with statues in niches. Signed at the lower left, “E. Imrr.” C. ROUSSE No. 42— WEST BOW, SCOTLAND WATERCOLOR A warrow street winds back with houses whose upper storie¥ project ovef the sidewalks, the vista terminating in a square battlemented tower, surmounttd by a flagstaff. The scene is busy with a throng of pedestrians, in the front of which a woman, wearing a white waist and red-striped apron, is chaffering with two bare-legged fishermen, one of them distinguished by a white and pink jersey, who stand beside their baskets of fish. On the curb at the left a woman is seated, with a child on her lap. 4a Height, 1834 inches; width, 934 inches \. A Signed at the lower right, “C. Rovssr.” ED. HAMMON No. 43— WAITING WATERCOLOR j Ae es Height, 17%, inches; sue Ss = 3 2 VO Wiru her hands clasped below her waist, a a4 stands facing the spectator, leaning against a tall pedestal surmounted by the lower half of a statue of Cupid. Her chestnut hair is fastened with a blue bow. A gauzy fichu is drawn down with a bow of rose and gray striped ribbon onto the plain straight body of the gown, which is of watered silk, showing tones of blue and rose. Signed near the lower left, “Ep. Hammon.” GUISEPPE SIGNORINI ITALIAN (1857- ) No. 44— RACLEUR DE VIOLON WATERCOLOR o / G ai Height, 19 inches; width, 1314 inches ‘3 ( oe unit 18 Aw old man, with rosy and wrinkled face, sits Handling his bow in a constrained attitude, as with rumpled white wig and mouth helplessly ajar he scrapes his violin. He is gaily attired in a mossy-green velvet coat embroidered with silver, a vest covered with a diaper of light-blue cross lines, pale-pink breeches and mustard-yellow stockings. An iron music-rest stands at his right in front of a — sort of Gothic oak reredos, the design of which includes a low-relief panel and a statue in a niche. Signed at the lower right, “Guiser. Sicnorint, Paris, 278.” GUISEPPE SIGNORINI ITALIAN (185'7- ) No. 45— PARFUMS ORIENTAUX WATERCOLOR 2 gee: Height, 19 inches; width, 131/, inches 2 Aa oe a Plo Pe eo NAY, ie A FAIR-HAIRED girl is seated on a divan holding a cigarette in her left hand, while she turns to watch the threads of smoke issuing from a perforated sphere in the center of a brass dish, which occupies the left of the foreground. Over the gauzy fabric that covers her bosom lies a series of vertical chains, suspended from metal balls strung upon a hoop. A deep blue jacket embroid- ered with gold hangs over her right arm, her costume being completed by a skirt of a paler blue, sprinkled with gold devices. Signed at the lower right, “Guiser. Sicnorin1, Paris, 260.” GUISEPPE SIGNORINI ITALIAN (185'7- ) No. 46— RESTAURATEUR DE CURIOSITES . WATERCOLOR Ct oe Height, 1714 inches; width, 1314 inches px 1) ee. 4/~/ 0 -—- EA at Wuite a man, leaning back in his chair with a palette in his left hand, paints the statue of a child that stands on an ebony pedestal, an old beau, with his lips apart and drawn back, studies the effect through an eyeglass. The painter is dressed in salmon-colored velvet breeches, and a creamy, flower-bordered vest over a white shirt. In the rear of the studio, at the left, an assistant, whose sapphire-blue breeches are protected by a slaty-blue apron, is dusting another colored statue. Signed at the lower right, “Guiser. Sicnortnt, Paris, 125.” Ne eS SL —F Sal vane yi MRS. E. MURRAY No. 47— A LAY SISTER WATERCOLOR = G0. Height, 171 inches; a yoglies La 2 UY. Ve A cirv’s figure, represented as far as the aces is shown facing three-quarters to the left. Her eyes are uplifted and her hands clasped below her waist. She is dressed in a white lawn cap, blue tippet crossed over a plum-colored bodice, a chemisette with full white sleeves and a blue apron. A cross is suspended round her throat by a black ribbon. ROBERT DE CUVILLON FRENCH (1848- ) No. 48— ORIENTALE WATERCOLOR [ oe Height, 18%/, inches; width, (Sy 8 Vre A GRACEFUL girl stands in front of a wall that ts decorated with yellow arabes- ques; her figure three-quarters full to the left; the head facing us, inclined to the right. Rings are suspended from her ears, while her brown curling hair is surmounted by a salmon-pink turban and adorned with a jewel and tiara, com- posed of blue stones in a gold setting. Her left hand is poised lightly on her hip, while the other is lifted to the right shoulder, fingering the gray veil which hangs from the back of the tiara. A drapery of white gauze, dotted with gold spots, wraps her bosom and descends over her pink skirt. Signed at the lower right, “O. bE CuviLion.” C. ROUSSE No. 49— MALINES (MECHLIN) WATERCOLOR x, he ie Height, 1814 inches; width, 10 BO Uh 4 Fyelt Wazrme_p by the rosy glow of the sky, the dove-gray tower 3) the cath mounts high above the transept and the choir, which are surmounted at their juncture by a lantern. They show over the two red-tiled gables and two pedimented top stories of some houses, which terminate the vista of the market- place. The latter is animated with figures, moving amid baskets of produce. Near the front, at the left, a woman’s head shows above her stall, beside which stand two other women in white aprons, one of whom carries a basket. Signed at the lower left, “C. Rovssr.” PAULINE GIRARDIN No. 50— A FLORAL EMBLEM WATERCOLOR Arte. Height, 18%, inches; width, 12%, inches /) 2 la Ton is , t a bunch of grasses and ss Tue composition represents a white cross set agai lue pansies cluster on its ee twined about the base with ivy sprays. Lavender- right arm. Signed at the lower right, “Pavutine GiRARDIN.” Yat ey ed at, ee R zi ian ee ‘ A - ls oe, ne sae 7 ‘AE a el a ‘oe GUISEPPE SIGNORINI ITALIAN (18577- ) No. 51— ATELIER DE PEINTURE WATERCOLOR M b eves Height 1714 inches; width 4 ine a An easel, at the left, holds a painting a la Bo op of/a scantily draped nymph : with doves and a cupid. An old, sharp-featured, spectacled man is working b> upon it as he sits in a Louis Quinze chair. Behind the latter stands a gentle- man in a lavender-plum, gold-embroidered coat, holding his cane behind his back and his head to one side, with a critical air. The painter wears a crimson velvet bonnet-cap and a pale-green quilted silk dressing-gown. A majolica jar, filled with brushes, stands beside him. Signed at the lower right, “Guiser. Stcnortni, Paris, 142.” - GUISEPPE SIGNORINI » ITALIAN (1857- ) No. 52— LA PREMIERE LECON DE MUSIQUE WATERCOLOR : ss Height, 1714, inches; width, 1134 inch yy ye ; ye U fen. 4 } i) () «aah 7 Szatep, facing the spectator, on a gray velvetSettee embroidered with gold, is a gray-haired man dressed in a flowing gown of rosy silk, damasked with creamy arabesques. He is playing a lute, while a boy, as he stands at the left, is accompanying him on a flageolet. His long face, surmounted by curls, is bordered round the neck with a full collar; a black velvet tunic and dove- gray tights completing his attire. Signed at the lower right, “Gutsrr. StcnNortn1, Paris, 272,” GUISEPPE SIGNORINI ITALIAN (1857- ) No. 53— LECON DE GEOGRAPHIE WATERCOLOR Height, 17% inches; width, 114% inch&\ 7 /_ ) Nef ie weey hn gee heh Oe Aw old gentleman, supporting a large book on his knees, sits beside a terrestrial globe. A youth rests his hands on the latter, as he stands behind it, watching the reader. He is dressed in a pale greenish-blue coat and a creamy-olive vest, bordered with blue and rose. The pedagogue’s costume includes brownish-red breeches and coat. A tapestry at the back displays three figures beside the base and shaft of a column. Signed at the lower left, “Guiser. SicNortn1, Paris, 115.” GUISEPPE SIGNORINI ITALIAN (1857- ) No. 54— LE MESSAGE WATERCOLOR ? /) ; oper () . ae, sue Height, 18 inches; width, 12 inches ion tthe ee ttle 2 a ) CALT HILE a gentleman sits reading a missive, a page stands by his side holdi another on a salver. The former is sumptuously attired in an apple-green Gnd silvery-drab damask robe, with sleeves of mossy-green and yellow brocade, while a crimson and pearly stole hangs from his shoulders. A crimson velvet cap sits on the chestnut curls of the boy, who is dressed in a doublet and mantle of crimson brocade and dove-gray tights. An old-rose curtain is draped in the background. Signed at the lower right, “GuisErpre SiGNoRINI.” L. SEITZ No. 55— THE WIDOW’S MITE WATERCOLOR Height, 181, inches; width, 14 wa ced. THE scene is a portico supported on Ionic columns, beyond which a dome and spire are visible. At the left of the foreground Christ, attended by the young St. John, turns His head to address another disciple, while pointing with His left hand toward the incident which is being enacted at the right of the composition. Here a woman, who carries a child on her arm, is dropping a coin into a receptacle mounted on a pedestal. Meanwhile, a stout and prosperous- looking man, as he watches the act, thrusts one hand into the bag at his belt and displays in the other a number of coins. Signed and dated on the pedestal of the receptacle with the monogram, “L. S. 1868.” GUISEPPE SIGNORINI ITALIAN (1857- ) No. 56— THE REHEARSAL WATERCOLOR / th (te Height, 1714, inches; width, ainte irs Ah. ra : ee A wavy and gentleman lean toward each other Ag they sit on a sofa, playing, respectively, a lute and a violin. At the end of the sofa stands a bass-player, reading from a rococo music-desk which is placed at the left of the group. He wears a greenish coat embroidered with lavender, while the other gentleman is attired in blue satin coat and breeches and a gold diapered satin vest. The lady’s costume comprises a pinkish-rose pompadour train over a pearly-white skirt embroidered with gold. Signed at the lower right, “Guiser. SicNorin1, Paris, 113.” GUISEPPE SIGNORINI ITALIAN (1857- ) No. 57— MUSIQUE EGYPTIENNE WATERCOLOR 0 eae Height, 1814, inches; width, 121, inches LTA i) Aw attractive girl is seated on a tabouret, passing a bow across the small drum of a two-stringed instrument with a very long neck. Scarlet poppies and leaves adorn her dark hair, while her sinuous form is closely draped with a rosy- crimson, gold-embroidered satin scarf. Across her bosom extends a decoration composed of discs set in filigree. The figure appears beneath a swinging lamp in advance of a column and a horseshoe arch, the latter admitting to a second arch, which is fluted. Signed at the lower right, “Guisrr. SicNortnt, Paris, 261.” HENDRIK VEDER HOLLAND No. 58— A STEAMER ASHORE WATERCOLOR ve ee Width, 131% inches; length, 20 eats / a aa wi d see VAM Ann re Tue center of the composition is occupied by Misvenier, with the dull-red coloring below her water-line exposed. She carries two masts, the fore being rigged with three square yards to which the sails are reefed. Alongside her lie two sailboats which appear to be taking off her cargo, while near her bow is a two-masted lugger, with a touch of bright green on her deck-house. Signed at the lower right, “Henpx. VEDER.” CHARLES EDMOND YON FRENCH (1836-1910) No. 59— LA LAVEUSE WATERCOLOR af ne 6° Height, 1434 inches; length, 21% an. ae Miler ; ) ] Ar the foot of an apple tree which leans over the left end of a pool a woman kneels, scouring linen. The water reflects the pale blue of her waist and the green of the apple and other trees which grow along the bank, being also over- spread with patches of weedy scum. Along the summit of the bank are indica- tions of a road, beyond which meadows extend to a screen of trees. A fresh- ness as of late spring pervades the scene. Signed at the lower right, “EpmMonp Yon, AM GREICHET.” GUISEPPE SIGNORINI ITALIAN (1857- ) No. 60— CHEZ L’ANTIQUAIRE WATERCOLOR ) iS Yer Gas Height, 17 inches; length, 23%, inches / f