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have been on exhibition at 
 American Art Galleries 
 
 - ata loss to the owners.. The high figures pai 
 
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 sale yee eet their sacrifice, 
 
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 -attention. Conipetition for the pain ing ae ae 
 
 ing figure the ‘Morning bg 8 of the | 
 
 Home Cities, Represented in th 
 . at Chickering Hall Last Nigh 
 and Besnards Furnished a 
 
 in London and Montreal and Philade 
 ‘and other cities besides New York 0 
 ‘country, were represented in the biddi 
 ‘Chickering Hall last evening on the paint. 
 ‘ings. belonging to Frederic Bonner an 1 
 ‘the American Art Association, if 
 
 for the Mh, 
 “week. The eighty-three pele were 
 at auction by Thomas E. Kirby for $120,22 
 or an average price of more than each, 
 Some of the prices in the earlier 8 les were 
 “very low. The sums paid later kee pers 
 liberal and for auction prices — on. offe spear 
 of the sale managers’ own_ property. wou . 
 be. pronounced fair prices, although unques- 
 tionably some of the expensive paintings: Ssh 
 
 tor some of Mr. Bonner’s French. peintines Te- 
 : flected the potency still attaching to the names 
 of men of that school. 
 A feature of the sale was the bidding = the 
 | prices paid for the Monets and Ey ek 8, a 
 which hardly any two persons found 
 themselves in agreement whe ee 
 cussing the probabilities before _ 
 sale. The real impressionist and Mia 
 student and manipulator of light effects | 
 each had:his’ devoted admirers, but even the 
 elect feared that the offering of the Roman 
 : Cathedrals and the studies of heads at publ “ 
 or 
 
 1,000 was offered as the first bid fo 
 the sir Monet put up, the ‘West Front o 
 the Cathedral, in Fog,’ the audience manent 
 
 from all parts of the house and sent the 
 price to $2,800. from the. same. start- 
 
 EOS 
 Pcie orf Bes ee a reas 
 
 west front went to $3,000, and the “West 
 Front and Tower of Albane” went to $3,100, - 
 The dealer best known for his support of im- 
 qpecsiouiom was a strong bidder od, the 
 fonets and took several of them all told, but 
 gotonly one of the Cathedrals. One of the 
 others went to another dealer, possibly on ore. 
 der,and the other goes tothe gallery of one of the 
 best known but most persistently anonymous 
 of picture buyers. All of the Monet cathedral 
 
 Patines are now dispersed. The bids for 
 
 fonet’s “Old Church at yereoos jumped from 
 $600 to $2,000 at one call. The Besnards sold 
 at from $475 to $650, and to the chagrin jot. 
 sees American admirers of them they go to 
 
 aris. 
 
 A buyer with the courage of his convictions 
 bid up a rather Rome painting of unknown 
 authorship to $275. The attraction of a name 
 veg some historical value brought out bidding 
 
 to the amount of $650 more fora Gainsborough 
 than for a superior painting | by Bol. The pay- 
 
 ment, of the high price of $3,300 for a water 
 ecolor’by Mauve might be: taken to indicate that | 
 
 here, as of late in France, there is heightened | 
 
 appreciation of the aquarelles. 
 
 urious bidding for an old Dutch landscape 
 
 with fantastic effects of light resemblin 
 Diaz’s style, signed Hobbema., but not believe 
 
 to be by him, sent the price to $1,250. There } 
 
 was sharp bidding for Cazin’s “Crépusele,” | 
 
 which sold at $4,000, The fine painting of the + 
 
 same ees homt . went at $4,200. 
 Daubigny’s vening on the Seine” brought 
 $5,100; Troyon’s “Land e and Cattle” 
 $8,100, Inness’s eae Mont-. 
 clair, ”* $1,600. A Ruysdael’ that Had cost a. 
 former, owner $7, 500 sold 1 par $2 400. » The 
 
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 gel *Vollon; Craig & Evans, Phila- 
 
 “Sour ices, Place dela Concorde,” Raffaéii; 
 
 “Portrait of Jacaues d’ Aigremont, *"Bourbus 
 the younger; Eben Wright 
 
 “Portrait of the Wite of Jacques d’Aigre- 
 mont,’’ Pourbus the Uae he W. Patterson 
 
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 € Deserted House,’’ Wyant; F. A. French 
 
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 “West Front of Rouen Cathedral in a Light 
 Fog,’’ Monet; Durand-Ruel & Sons.. 
 Wert Ae of Rouen Cathedral—Effect of 
 ” Monet; Randolph, agent....... 
 my athedral Wea Front an Tower of 
 Pater ne Monet; Cottier & Co... 
 
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 ‘Argenteull, ” Monet: Durand- Ruel & Sons. . 
 “La Pluie,’ Monet: Durand-Ruel & Sons.... 
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DAY EVENING, 
 
 AT EIGHT O’CLOCK 
 
 ‘ 
 
 pERIV ATE COLLECTION 
 
 OF 
 
 Mr. FREDERIC BONNER 
 
 WITH ADDITIONS BY 
 THE AMERICAN ART ASSOCIATION 
 
 ON VIEW DAY AND EVENING 
 AT THE AMERICAN ART GALLERIES 
 
 FROM WEDNESDAY, APRIL 4TH, UNTIL THE MORNING OF THE 
 Day OF SALE, INCLUSIVE 
 
Reig 
 
 co koi 
 
CATALOGUE OF 
 THE PRIVATE COLLECTION 
 
 OF 
 
 “VALUABLE 
 MODERN PAINTINGS 
 
 PRINCIPALLY OF THE 
 
 BARBIZON SCHOOL 
 
 BELONGING TO 
 
 Mr. FREDERIC BONNER 
 
 TO WHICH IS ADDED A NUMBER OF 
 
 IMPORTANT WORKS 
 ’ 4 _ OF THE 
 EARLY ENGLISH, IMPRESSIONIST AND 
 MODERN FRENCH SCHOOLS 
 
 OWNED BY THE UNDERSIGNED 
 
 ALL OF WHICH WILL BE SOLD AT PUBLIC SALE, WITHOUT 
 RESERVE OR RESTRICTION 
 
 ON TUESDAY EVENING, APRIL totu 
 
 AT CHICKERING HALL ~ 
 
 BEGINNING AT 8 O'CLOCK 
 
 ON VIEW DAY AND EVENING 
 AT THE AMERICAN ART GALLERIES 
 
 FrRoM APRIL 4TH UNTIL THE MORNING OF SALE, INCLUSIVE 
 Mr. Tuomas E, Kirsy wiLt CONDUCT THE SALE 
 
 THE AMERICAN ART ASSOCIATION, Manacers 
 MADISON SQUARE SOUTH, NEW YORK 
 1900 ; 
 
 ATER 
 
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 & gee Ey ed ON od trade AO 
 aos Peery el 4 is SOBN ese 
 APE TA CMR EN 12% 
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CONDITIONS OF SALE 
 
 1. The highest Bidder to be the Buyer, and if any dispute 
 arise between two or more Bidders, the Lot so in dispute 
 shall be immediately put up again and re-sold. 
 
 2. The Auctioneer reserves the right to reject any bid 
 which is merely a nominal or fractional advance, and there- 
 fore, in his judgment, likely to affect the Sale injuriously. 
 
 3. The Purchasers to give their names and addresses, and 
 to pay down a cash deposit, or the whole of the Purchase- 
 money, zf required, in default of which the Lot or Lots so 
 purchased to be immediately put up again and re-sold. 
 
 4. The lots to be taken away at the Buyer’s Expense and 
 Risk upon the conclusion of the Sale, and the remainder of 
 the Purchase-money to be absolutely paid, or otherwise 
 settled for to the satisfaction of the Auctioneer, on or before - 
 delivery; in default of which the undersigned will not hold 
 themselves 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 re- 
 sponsible for the correciness of the description, genuineness, 
 or authenticity of, or any fault or defect in, any Lot, and 
 make no Warranty whatever, they will, upon receiving 
 previous to date of Sale trustworthy expert opinion in 
 writing that any Painting or other Work of Art ts not what 
 itis represented to be, use every effort on their part to fur- 
 nish proof to the contrary, failing in whtch, 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 occastoned thereby. 
 
 6. To prevent inaccuracy in delivery, and inconvenience 
 in the settlement of the Purchases, no lot can, on any account, 
 be removed during the Sale. 
 
 7. Upon failure to comply with the above conditions, the 
 money deposited in part payment shall be forfeited; all Lots 
 uncleared within one day from conclusion of Sale shall be 
 re-sold by public or private sale, without further notice, and 
 the deficiency (if any) attending such re-sale shall be made 
 good by the defaulter at this Sale, together with all charges 
 attending the same. This Condition is without prejudice to 
 the right of the Auctioneer to enforce the contract made at 
 this Sale, without such re-sale, if he thinks fit. 
 
 THE AMERICAN ART ASSOCIATION, 
 
 MANAGERS. 
 THOMAS E, KIRBY, 
 
 Auctioneer. 
 
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BIOGRAPHICAL NOTES 
 
 ARBUDA (V.) Contemporary 
 
 The Spanish Academy in Rome has had a marked influence 
 upon the painters of that city. Tt was like warmth enforcing 
 warmth. The brilliant vitality of the Spaniards, revealing itself in 
 color and in fine disdain for conventionalities, gave a new impetus to 
 Roman motives and awoke to activity the long sleeping acquiescence in 
 the glories of the past. Sparkle, vivacity, glow of light and color, 
 became the objects of the school. Among those directly influenced was 
 Barbuda. His work is little known in this country, but he has 
 proved himself no mean exponent of the movement. 
 
 . ESNARD (Paul Albert) 1849- 
 
 That Besnard is one of the best and most admired of 
 modern French painters 1s due to the thoroughness of his technical 
 knowledge, the breadth of his mind, and a saving reasonableness 
 which has enabled him to attack new problems without becoming 
 infatuated with them. For the last quality especially he is indebted 
 to the wisdom of his mother. She was a talented miniaturist, 
 who exhibited with success at the Salon for twenty years. Losing 
 her husband early—himself an amateur painter and intimate with 
 Ingres—she deliberately refrained from stimulating artistic aspira- 
 tions in her child, and saw to it that he received a sound classical 
 education, But hts leisure was spent in the artistic surroundings of 
 her studio, and gradually and naturally his own artistic bias revealed 
 ttself. Then he was set to study with Jean Brémond, later with 
 Cabanel, and finally emerged from the Ecole des Beaux Arts a much 
 noticed winner of the Prix de Rome. For ten years he trod faith- 
 Sully the beaten official track, and then, with fully matured powers, 
 following quite naturally an instinct of investigation, approached the 
 light and color problems of Impressionism. Here it was that his 
 sound academic training and reasonableness of temperament proved to 
 be his artistic salvation. Enthusiastic without loss of poise, holding 
 by the beauty of form while seeking after the mysteries of light and 
 
color, he evolved a method in which the science and admirable quali- 
 
 ties of the contending schools are combined and made to surrender 
 “their respective charms. In addition to his easel pictures, he has 
 
 executed many decorative paintings in the public buildings of Paris. 
 
 OL (Ferdinand) 1611-1680 
 
 A pupil of Rembrandt and one of his most successful imi- 
 tators, Bolin later life yielded to the influence of Rubens, with detri- 
 ment to his style. He painted some historical pieces, but was distin- 
 guished chiefly for his portraits, remarkable for their yellow tone, 
 and excelled as an etcher. Dordrecht was his native city ; Amster- 
 dam the scene of his work, in which he accumulated considerable 
 wealth, 
 
 AZIN (Jean Charles) Contemporary 
 
 A most original and fascinating personality, Cazin has 
 given a new impetus and direction to French landscape art, He was 
 a pupil of Lecog de Boisbaudran, aptly styled a “‘ master of masters,” 
 whose genius lay in analyzing the sentiments and natural inclina- 
 tions of his followers, and sympathetically developing them. Like 
 other students from that famous school, notably Legros, Gabriel Fer- 
 rier, and Lhermitte, Cazin isa realist. Into the landscape art of 
 France, that had grown stagnant with imitative mannerism based on 
 Corot, Rousseau, Dupré, and Diaz, he blew a breath of fresh and 
 healthy life. Yet his realism does not interfere with poetic feeling. 
 It leads to exact analytis of the phenomena of nature ; but in the ar- 
 rangement of the facts Cazin strives for that harmony of whole and 
 simple adjustment to one controlling motive which are the essence of 
 poetic truth, Alsoin his choiceof subject appears an unpretentiousness, 
 a loving appreciation of the humble little things, a faculty, also, of 
 kindling our interestin them. Nor is the larger feeling absent ; tt 
 reveals itself particularly in his skies and the free passage of light 
 thoroughout his pictures. 
 
 Honors came early to him, at a time when historical and genre sub- 
 jects occupied his brush, The landscapes, on which his wider fame 
 ts based, have been the fruit of his maturity, 
 
 (COP (Alonzo Sanchez) 1515-1590 
 
 This distinguished painter of the Spanish school was born 
 at Benyfayré, Valencia, and diedin Madrid. Tradition asserts that 
 he studied in Italy, but the point is doubtful. In 1552 he accompa- 
 nied Antonio Moro to Lisbon, where he remained for some years in the 
 service of John ILl., and acquired the title of the Portuguese Titian. 
 
On the death of this king, his widow, Dota Fudna, recommended 
 Coello to her brother, Philip II. of Spain, who installed him as royal 
 painter, and treated him with unusual intimacy. His brilitant ca- 
 veer as courtier and painter, with its accompaniments of wealth and 
 honors, ended only with his death. He painted many religious sub- 
 jects, notably twelve compositions in the Escorial, But tt ts upon 
 his portraits that his reputation is most firmly established. The most 
 famous examples in Madrid are those of Don Carlos, the Infanta 
 Isabella, and Anna of Austria ; while at the Brussels Museum are 
 portraits of Foannes of Austria, Margaret of Parma, and Mary 
 of Austria, Like the one in this collection, they are marked by 
 a quiet subtlety of characterization and extreme brilliance and purity 
 of color. 
 
 e OROT (Jean Baptiste) 1796-1875 
 
 The hush of nature and ceaseless pulsation of the lambent 
 air ; and, more, the sprightliness of youth perpetually renewed—these 
 are some of the elements of the poetic charm in Corot's landscapes. 
 The faculty of rendering such on canvas is a selj-found art. He 
 owed little to his masters or the teaching of the schools. The futility 
 of his Parisian training he discovered when he reached Rome and 
 tried to sketch the individuals that arrested his interest in the moving 
 throng. They were there; they were gone. He practised the art of 
 seizing the characteristic features of a group in a few strokes made 
 with lightning-like celerity, and with such success that in time he 
 could fix the outlines of a ballet at the opera. Later on, he applied 
 the same accomplishment to his study of nature, No painter has 
 rivalled him in the skill of massing his effects with an appearance of 
 spontaneous truthfulness. He has captured the banners of foliage 
 while stillin movement, and fastened the atmosphere and light upon 
 his canvas, still vibrating. The waxing and the waning of the day 
 were the periods he loved to paint. His realism was idealized. 
 
 ‘* When young he had strolled over the plains ; advanced years 
 found him just as free from care as he had been half a century before. 
 We discovered him bent like a schoolboy over his themes to the last, 
 now erasing with a movement of anger the study which would not 
 come up to the example of nature contemplated by the artistic eye, now 
 drawing back with sudden satisfaction to better calculate the effect of 
 the effort ; when we would hear him from far off, approving himself 
 aloud with the words, ‘ Famous, that bit!’ or criticising himself 
 roundly with the sentence, ‘We will begin it all over again, my lad.’” 
 The passing of Pere Corot was serene and happy, like his life. A 
 little before the end he roused with a smile and said: ‘‘ Last night in 
 my dreams I saw a landscape with a sky all rosy. It was charming, 
 and still stands before me quite distinctly ; it will be marvellous to 
 paint.” He was full of years, but age had not touched his spirit. 
 
AUBIGNY (Charles Francois) 1817-1878 
 
 Simplicity and directness are the secrets of Daubigny’s 
 charm, illustrated as much in his choice of subject as in his method 
 of painting. He had no thoughts in his brain for which he sought 
 interpretation ; just an unalloyed, single-hearted love for the beauty 
 of nature. Nor had he much concern for the majestic or strenuous 
 in nature, still less for her stern and threatening aspects. lt was 
 nature in tranguillity, in relation to the wholesome human country 
 life, where the beauty, by its very simplicity, encourages intimacy of 
 affection, that attracted him. He painted the coast, and even the sea ; 
 but when he had found his true bent, it led him to the guiet windings 
 of the Seineand Marne. He built himself a house-boat and used it 
 asa floating studio in the summer months. Obvious enough, when 
 you come to think of it ; but he thought of it first, and that he did is 
 
 characteristic of his simple directness. In his manner Daubigny 
 
 was closer to Corot than any other of the Barbizon painters. He 
 cared little for form ; there is not much drawing in his landscapes ; 
 it was the color tones of nature that attracted him, and the charm of 
 atmosphere and light. And all so simply and directly chosen and rep- 
 resented. As Edmund About says: ‘‘ No effects of studied light, 
 no artificial and complicated composition, nothing which allures the 
 eyes, surprises the mind and crushes the lttleness of man. Wa, it ts 
 the real, hospitable and familiar country, without display or disguise, 
 in which you find yourself so well off, and are wrong not to live 
 longer when you are there, to which Daubigny transports me without 
 jolting each time that I stop before his pictures.” 
 
 fis artistic tastes were inherited and early cultivated, for his 
 father was a teacher of drawing, and his uncle and aunt were minia- 
 ture painters of sufficient eminence to secure recognition in the Salon. 
 in painting he was a pupil of Paul Delaroche, and also learned the 
 arts of engraving and etching. In company witha fellow student, 
 he tramped on foot to Rome, spent four months in Italy, and when 
 their slender savings were nearly exhausted, tramped home again. 
 Later he visited Holland. The first of his long roll of honors was 
 gained in 1848; and the picture which ‘eleven years later secured 
 him the Cross of the Legion of Honor was ‘‘ Springtime 5” 
 girl riding through a field of tender wheat, between groups of young 
 apple trees laden with blossoms. His early years were passed in the 
 
 a peasant 
 
 country, and to the last he was loyal to his boy's love of nature and to 
 the boy's simple way of loving it. 
 
 e EMONT § (Adtien-Louis) Contemporary 
 
 Ranking high among the best modern French lana- 
 scapists, and excelling particularly in moonlight effects, Demont has 
 won a long list of honors. He was born at Douai and became a 
 
pupil of Emile Breton, As the husband of the well-known painter, 
 Madame Virginie Demont-Breton, he is the son-in-law of Jules 
 Breton. He is represented in the Luxembourg by ‘‘ A Mile,” and is 
 a Chevalier of the Legionof Honor, 
 
 IAZ (Narcise-Virgile) 31808-1876 
 In comparison with the other members of the Fontaine- 
 bleau-Barbizon group, Diaz has been styled the great artist of the 
 fantastical, the virtuoso of the palette. LEpigram apart, he was a su- 
 perb colorist of meagre technical training, forin early life he had 
 been at odds with the world. His parents were Spanish refugees 
 who had settled in Bordeaux ; at ten years old he was left an or- 
 phan; at fifteen apprenticed to the Sevres porcelain works, where 
 Troyon and Dupré were fellow pupils. But he quarrelled with his 
 master and made his way to Paris, suffering at first dire straits of 
 poverty, but finally supporting himself by painting little subjects, 
 drawn partly from books, partly from his teeming imagination. 
 Then came his migration to Fontainebleau, probably with Dupré's in- 
 troduction, and much earnest study under Rousseau, whose aim and 
 method he followed without attaining the master’s science. But his 
 was a genius that might have suffered by severer discipline, Spon- 
 taneous, exuberant, fervid, it caught the splendor of nature, the en- 
 chantment of the landscape flooded with sunshine ; its wierder aspect, 
 also, of deep forest glades plunged in luminous twilight through 
 which the light filters. As accents to the scene, he puts in figures— 
 nudes which catch the sunlight by the side of a stream, or figures in 
 brilliant costume—patches of color to lift the key of the picture. For 
 his study of nature was a secondary thing to his making of pictures. 
 He had conceptions of his own to which the forest was but a setting, 
 and those patches of color were parts of their expression. Like all 
 colorists he relied om patches rather than drawing. But the color 
 saves him. One cannot, or does not wish to, escape the fascination 
 of this rare painter-eloguence. It speaks straight to the emotions and 
 captivates them fully. Andit was all so much apart of the man, 
 ** One can imagine him,” as M. Wolff says, ‘‘ in the solitudes of the 
 forest of Fontainebleau, making his wooden leg resound on the earth, 
 and singing with all his lungs to let off his exuberant nature.” In 
 1876 he found himself attacked by an affection of the chest and went 
 to Mentone, where he revived sufficiently to paint his last picture. 
 But the end was come. ‘‘ From his deathbed, through the open win- 
 dow, he beheld the landscape bathed with sunshine, and the great en- 
 chanter died while looking his last on the day-star which inspired all 
 his work,” 
 
47 UPRE (Léon Victor) . —1816- 
 “Four years younger than his brother Jules, whose pupil he 
 became, Victor Dupré, in his landscapes, reveals a technical skill and 
 strength noteworthy of the older painter, though he has not the latter's 
 originality, He was born in Limoges, and under his brother's in- 
 Jiuence grew into close sympathy with the aims and methods of the men 
 of 1840. 
 
 ROMENTIN (Eugene) 1820-1876 
 One important phase of the Romantic movement in France, 
 both in literature and painting, revealed itself in a love for the life, 
 light, and color of the Orient and the South. Decamps was the first 
 to draw inspiration from Turkey and Asia Minor ; Marilhat from 
 Egypt, and Fromentin from Algiers. Born at La Rochelle, the last 
 named began by studying law, even working for some time in an 
 attorney's office. At length, however, he persuaded his parents to 
 allow him to follow his artistic bent, and, coming up to Paris, studied 
 in the studio of Cabat, a landscape painter. Then came a visit to 
 Algiers, and two discoveries—the artistic resources of the country 
 and his own personal bias in art. The vastness of briliant sky and 
 of burning sand, the clarity and freedom of the air, the stirring life 
 of swiftly moving horses with their gay caparisous and picturesque 
 Arab riders ; all the glow, fervor, and movement of the scene caught 
 his imagination and fixed his purpose as a painter. He stayed there 
 two years, revisiting the scene in 1852 and °53,; but it was not until 
 ten years later that his great picture appeared in the Salon—‘* The 
 Arab Falconer.” Meanwhile he won honors in literature. In 1856 
 was published ‘‘ A Summer in the Sahara,” followed by the romance 
 ‘** Dominique,’ and that remarkable volume of criticism, ‘* Mditre 
 @’Autrefois.” Possessed of depth of mind as well as breadth of sym- 
 pathy, he served art as brilliantly with his pen as with his brush. 
 
 (GAINSBOROUGH (Thomas), R.A. 1727-1788 
 
 ‘* Tf ever this nation,” declared Sir Joshua Reynolds, ‘* shall 
 produce a genius sufficient to acquire the honorable distinction of an 
 English school, the name of Gainsborough will be transmitted to pos- 
 terity in this history of art, among the very first of that rising 
 name.” The prediction has been fulfilled, and the appreciation of 
 Gainsborough is still steadily growing. From earliest childhood his 
 love of nature was indulged. In the woods around his native town 
 of Sudbury, in the county of Suffolk, he studied and sketched with 
 no other teacher than nature, and by twelve years old had painted 
 
several landscapes. At fifleen he went up to London to study por- 
 traiture, the only branch of painting which, at that day, promised a 
 livelihood. Three years later he returned to the country an accom- 
 plished painter, but not an academic one. To the last he disliked all 
 conventionatities and formulas, Hts celebrated ‘* Blue Boy” was a 
 protest against the set rule of Reynolds that the light parts of a 
 composition should be warm in color, But he had a natural taste 
 Sor form and color, and a large decorative sense ; a poetic tempera- 
 ment, tinged with a gracious melancholy, and, withal, wndeviating 
 devotion to nature. And as Ernest Chesneau, the French critic, 
 puts it,“ he regarded nature in the light of his own pure and tender 
 feeling. Sweetness, grace, and a tinge of melancholy shed their charm 
 over his landscapes. Through the clouds one tmagines a soft sky ; 
 no hard or sharp angles are visible ; the too vivid colors tone them- 
 selves down, subject to his unconsciously sympathetic handling ; every 
 smallest detail breathes of the serenity which tssued from Gainsbor- 
 ough’s own peaceful temperament.” TLtisa grim reflection that these 
 landscapes were generally disregarded during his lifetime, and, indeed, 
 for along while afterwards. They were painted entirely for himself. 
 “ They stood in long lines from his hall to his painting-room, and 
 those who came to sit for their portraits rarely deigned to honor them 
 with a look as they passed along.” In these portraits he was equally 
 unconventional and loyal to the qualities of his own temperament. 
 He was wor by beauty, grace, and noble bearing, depicting them with 
 poetry and subtlety, and in fresh, pure colors. As his reputation ex- 
 tended he settled in Bath, transferring his studio in 1774 to London, 
 fle was one of the original members of the Royal Academy, at which 
 he exhibited altogether ninety-six works. The body of ‘‘ this most 
 benevolent and kind-hearted man,” as Constable in an eloquent eulogy 
 called him, rests in Kew churchyard. 
 
 Nea (Charles) 1813-1870 
 
 Hoguet commenced his studies at the Academy of Berlin, 
 his native city; proceeding afterwards to Paris, where he was a 
 pupilof Bertin and Paul Delaroche. He travelled much in England, 
 Germany, and Holland, finally setting down in Berlin and becoming 
 a member of its Academy. 
 
 [NNESS, N. A. (George) 1825-1894 
 
 ** Intense” is, perhaps, the one word which in the case of George 
 Inness sums up the man and the painter. Though fratl of body, he had 
 a vigorous intellect, that, despite the number of subjects in which he 
 was interested and well informed, had a remarkable power of con- 
 
centrating for the monient on one point to the exclusion of all others. 
 At such times his mind was like a burning-glass that focused all the 
 rays of his intellectuality upon one spot. It was the santein the prac- 
 tice of his art, especially in the period of its maturity. He was 
 so thoroughly a master of the technicalities of his craft, that when 
 the mood was on him to paint, his mind was not distracted with the 
 pros and cons of how he should proceed, but centred solely and com- 
 pletely on the effect he aimed at. Hence his finest pictures are marvels 
 of apparent simplicity of manner and of unqualified truth, smitten 
 off in the white heat of strong impulse and untrammelled power. 
 
 He was born at Newburgh-on-Hudson, of Scotch parentage ; his 
 heredity revealing itself later in the tenacity with which he clung to 
 his ideas and the enjoyment he took in abstruse discussions. Butas 
 a boy, his teacher announced that he would not ‘‘ take education ;” 
 so his father opened a store at Newark and set him to learn trade. It 
 was also a failure, the only thing he learned at that time being a lit- 
 tle drawing froma Mr. Barker. Then he entered an engraver’s shop, 
 the only branch of art which to practically minded people of that day 
 offered any sort of vocation. Inness took it as an installment in the 
 realization of his ideals ; meanwhile, though broken down in health, 
 studying with Régis Gignoux, the landscape painter, for the family 
 had moved to New York. 
 
 In those early years of struggle to learn his art, what put it into 
 his mind that there was more in landscape painting than the popular, 
 panoramic, ‘‘view-hunting"” pictures of the Hudson River school? 
 One may call tt the intuition of genius; which leaves the matter just 
 as much amystery. The patronage of Mr. Ogden Haggerty, the 
 famous New York auctioneer, had given him the needed funds, and 
 he went to Europe, remaining there three years, in the course of 
 which he visited Italy, Again, in 1854, he wentabroad ; this time to 
 France, where the reputation of the Fontainebleau-Barbizon group 
 was now firmly established. He analyzed their work and learned the 
 secrets of tone values and synthesis. The days of his apprentice- 
 ship were over. It had taken him many years, much labor and travel, 
 to discover what the student to-day can learn at home—the artist's 
 language of expression. Werth the reopening of his studioin New 
 York commenced the second period in his artistic evolution, with 
 jive years of zealous experimentation and comprehensive study, un- 
 disturbed, as he used to say, by ‘‘ cares of bread.” Then he went to 
 live at the village of Medfield, eighteen miles from Boston ; in his 
 work gradually subordinating everything to unity of impression and 
 becoming a master of tone. About this time he painted ‘* Golden Sun- 
 set,” which attracted the notice of French critics at the Paris Expost- 
 tion of 1867. . | 
 
 The sale of his ‘* Niagara” to Mr. Roswell Smith for $5,000 re- 
 moved forever any pecuniary anxteties, and he settled in Montclair, 
 New Jersey, where the work of his third and matured period was 
 accomplished. With mind fully ripened and skill of hand completely 
 
gained, he strove to gain more variety and truth of color—‘‘ the 
 more objective force,” as he himself called it, without loss of unity. 
 His ** Winter Morning at Montclair” so impressed Benjamin Con- 
 stant that he induced Boussod-Valadon to have some other landscapes 
 consigned to them in Paris on sale. Meanwhile, his pictures were 
 selling steadily at home, though mainly at studio prices. But the 
 artist's relief from worry was secured, and during his later years he 
 could give himself wholly to his art, with a result that has made 
 his name imperishable, Death came upon him during a vistt to Scot 
 land. 
 
 ACQUE (Charles Emile) 1813-1893 
 
 While the young Jacque was engraving maps, had he any 
 dreams of color; or, later on, when he took to soldiering, had he any itch- 
 ings to be a breeder of poultry, or any particular sympathy with sheep ? 
 Atany rate, in both employments he learned that discipline which so well 
 served him in his art; and the map-making led him on to wood-en- 
 graving and etching with much accuracy of observation and precise 
 draughtsmanship, and the etching, especially, to the larger qualities of 
 ample massing of his subject and the faculty of discrimination be- 
 tween essentials and unessesttials in the rendering of details. These 
 etchings brought him his first honors at the Salon, revived an interest 
 in the art, and are now treasured rarities in the portfolios of col- 
 lectors. 
 
 It was not until 1861, when he was forty-eight years old, that he 
 gained official recognition as a painter. By this time he was a mem- 
 ber of the Fontainebleau-Barbizon group, pursued their aims and 
 imbued with not a little of their poetic spirit. His pictures, though 
 homely in subject, are never prosaic ; thedrawing is always good, the 
 rendering of textures superb, and the color, though lacking sometimes 
 in illumination, tends often to fine impressiveness. His popularity was 
 phenomenal, but never tempted him from the path of truly artistic 
 
 purpose. 
 
 | AWRENCE, P.R. A. (Sit Thomas) 1769-1830 
 
 The career of this painter fully realized the precocious prom- 
 ise of his boyhood. Barrington’s ‘* Miscellantes,” published in 1781, 
 when the future president of the Royal Academy was a child of 
 ten years, commenting upon early genius in children, describes the 
 accomplishments of ‘* Master Lawrence, son of an innkeeper at 
 Devizes in Wiltshire.” ‘' At the age of nine, without the most dis- 
 tant instruction from any one, he was capable of copying historical 
 
subjects in a masterly style, and also succeeded amazingly in composi- 
 lions of his own. In about seven minutes he scarcely ever failed of 
 drawing a strong likeness of any person present, which had generally 
 much freedom and grace, if the subject permitted. His father’s con- 
 spicuous role in life was to fail in business, which he had done in 
 Bristol, where the painter was born, and now again in Devizes, so 
 that a move was made to Bath. Here the young Lawrence was put 
 to study with a crayon painter of considerable taste and fancy, named 
 Hoare, whose manner he soon acquired. The shrewd but improvi- 
 dent father exploited the boy's talent, taking him from town to town 
 to execute crayon portraits, which he sold for ten shillings and six- 
 pence each. Among the lad’s patrons was a Derbyshire baronet, who 
 offered to set aside £1,000 that he might pursue his studies in Italy— 
 a proposal declined by the father on the ground that *‘ Thomas's 
 genius stoodin need of no such aid.” He was living upon his son, 
 as he continued to do for many years. 
 
 These circumstances in his early life fully account for the weak 
 points in the style of this accomplished painter, He never knew the 
 discipline of regular training ; such lessons as he had were in a 
 medium that relies on clever dexterity ; his mind was distracted by 
 continual change of scene and little quick-won triumphs, ILtis small 
 wonder that occastonally, in the vivacious handling of his portraits, 
 there should be a strain of meretriciousness ; that his brilliant facility 
 tempted him sometimes to artificiality, He had not the learning of 
 Reynolds, the poetic sensibility of Gainsborough, or the vigorous truth 
 of Romney. Yet among the painters of his own day his ability shone 
 like a star, and the honors paid him were deserved. He was a favor- 
 tte with the court ; elected without opposition to succeed Benjamin 
 West as president of the Royal Academy; was a member of the 
 Academy of St. Luke at Rome; a Chevalier of the Legion of Honor; 
 and his funeral in St. Paul's Cathedral was attended not only with 
 great pomp, but with sincere regret on the part of his colleagues and 
 the public. The sober judgment of posterity still accords him the 
 dignity of a fine picture maker ; facile with the brush, clear in line 
 and color, brilliant to the last degree. 
 
 Me (Willem) Contemporary 
 
 One of the gifted trio of painter-brothers, Willem Maris 
 was born at The Hague in 1839. 11s landscape and animal pictures 
 have given him a fanein Holland and Belgium which has extended 
 to other countries. He has been called the‘ Silvery Maris,” owing 
 to his fondness for depicting subjects in warm sunlight and haze, with 
 a charm of color and tone often suggestive of Corot, 
 
174 Pei (Anton) 1838-1888 
 Fidelity to their own traditions and country has almost 
 invariably characterized the painters of Holland, Mauve is no excep- 
 tion. He chose his subjects along the coast amid the hardy life of the 
 Jisher-folk, but more often in the cattle-pastures and sheep-walks of 
 the interior, Fe was born at Zaandam and became a pupil of P.F. 
 Van Os. His early work betrays the master’s influence, in a pains- 
 taking finish, sleekness of surface and color, pleasant but unsubstan- 
 tial. Then he entered upon his second studentship with nature for his 
 teacher. His manner changed ; revealing accuracy of observation, 
 simplicity of arrangement, and breadth of handling, joined to a tender 
 sentiment and tonality. In water color, as well as oil painting, 
 Mauve enjoyed distinguished eminence. His pictures were freely 
 secured by his countrymen, honored at the Salon, and have found 
 their way into the great collections of Europe and America, 
 
 ICHEL (Georges) 1763-1848 
 
 _ Born thirty years before Corot and forty-nine before 
 Rousseau, Michel was the forerunner of the modern school of French 
 landscapists. Ata time when other painters were building up their 
 landscapes upon approved lines and merely utilzing natural phenom- 
 ena to subserve some end of fancied sublimity, he dared to separate 
 himself from all academic conventionalities and to study nature for 
 its own sake. He found tt particularly to his liking in the plain of 
 Montmartre, with its long sweep of level distance and large expanse 
 of sky. Oneis not surprised that he was unappreciated. Itts the 
 Sate of all men who feel and see ahead of their time. He was so poor 
 that often he had not the means to procure the materials of his craft 
 and not infrequently painted on paper instead of canvas. The trony 
 of his fate was that when the principles for which he had striven 
 were acknowledged, he saw himself passed in popular estimation by 
 younger and more brilliant men. But the sober second judgment of 
 posterity has done him justice, recognizing in his pictures a largeness 
 of feeling, imaginative qualities, and much beauty of color, 
 
 TVESNARD (Pierre) 1610 or 1612-1695 
 
 About the time that the Grand Monarch declared ‘‘ L’ état, 
 cest mot,” he recalled Mignard to Fontainebleau. Following upon 
 his student days under Jean Bourcher of Bourges and later with 
 Vouet in Paris, Mignard had been living for twenty-three years in 
 Rome, painting frescoes in churches and portratts of notable men, in- 
 cluding the popes Urban VIII and Alexander VII. He returned 
 home to become the rival of Lebrun and gradually to succeed to his 
 
honors. He painted the portrait of the king, and at once it became 
 the fashion to sit to Mignard. He executed important decorations ; 
 amongst others, the cupolaof Val-de-Grdce for the queen-mother and 
 the hall of St. Cloud for Philippe d’Orléans. After Lebrun’s death 
 he became first Court Painter and Director of the Gobelins, and 
 enjoyed the distinction of being elected on one day member, rector, 
 chancellor, and director of the Academy. Death came upon him five 
 years later, while he was attempting to execute the design he had 
 made for the dome of the Invalides. He was called ‘*‘ The Roman”; 
 his style being reminiscent, particularly of the Carracci, and Carlo 
 Doli, 
 
 WY ONET (Claude) -4840- 
 
 ‘“* The accursed place" —=thus Monet stigmatized the studio 
 of Gleyre,in which for a week or two he was a pupil. He was 
 drawing from the living model, and the master, in criticising, said : 
 ‘‘ You are keeping too close to the model ; you are cupying its defects.” 
 This was toomuch for Monet. ‘‘Why not abandon the model and 
 draw from the cast?” was his indignant comment to his fellow stu- 
 dents Renoir and Sisley. The three seceded from the studio. Thus 
 began and ended Monet's scholastic experience. Eugene Boudin, the 
 sailor and marine painter, had already urged him to paint in the open 
 air. Hereafter he did so. 
 
 ‘* Although born in Paris and passing my childhood in Havre,” he 
 said one day, ‘‘I have always lived in the country or on the sea-coast, 
 except from 1864-1866, when I had a studio in Paris. Strce 1883 
 I have lived at Giverny on the Seine.” Itis a simple statement, but 
 contains the whole siory of his lifeasanartist. Nearly half acentury 
 spent in the country, loving, studying, and seeking to depict it! His 
 parents did all they could to discourage his adopting art as a profession, 
 even welcoming the fact that he was drawn by the conscription for seven 
 years servicein Algiers. But he was seized with a fever, invalided 
 home, bought out of the army by his father, and at length, now 
 twenty-two years old, permitted to follow his bent. In 1865 a picture 
 was admitted at the Salon, followed two years later by the acceptance 
 of ‘* The Port of Honfleur” and ‘‘ Young Woman in the Garden.” 
 A large interior, ‘‘ Le Dé&jeuner,” was refused in’68, others, in’6g 
 and’7o. The young man had become dangerously independent! He 
 waited ten years, till 1880; then sent *‘ Les Glagons sur la Seine,” 
 afterwards bought by Mr. H. O. Havemeyer. It was declined. 
 ‘* Pretty hard,” was his comment, ‘‘ but what is one todo?” He has 
 never sent another. 
 
 By this time all the Fontainebleau-Barbizon painters were dead. 
 Monet might have carried on the tradition with substantial success ; 
 but he was a born leader, and, it must be added, has suffered by the 
 enthusiastic vagaries of his followers, In the popular imagination, 
 
responsibility for their extravagances is fixed on him, most un- 
 fairly, both as regards the manner of working and the results ob- 
 tained, He isa very careful worker ,; laying in broadly and rapidly, 
 but afterwards elaborating at leisure and with reflection. His con- 
 tribution to artistic knowledge has been unique. Viewing nature 
 with the independent eye of genius, he has discovered that in sunlight 
 there is height of light and shadow never dreamed of by painters 
 before. Itisa discovery which has revolutionized painting and in- 
 Jiuenced a number of men consciously and unconsciously, By tem- 
 perament a realist, he is not concerned with making pictures, but 
 with recording facts as they present themselves, not as he might select 
 them. Yet, unless one is blind to the charm of sunshine and its 
 mystery of play on the colors of nature, it is impossible not to appre- 
 ciate and, at times, to rejoice in his rendering of light and air. These 
 effects are all he strives for, but with a completeness of realization 
 that may make one content to forego, at times, the other charms of 
 subject, detail, and composition. 
 
 ~ 
 
 OREELSE (Paulus) {571-1638 
 
 Critics have detectedin Moreelse’s portraits a certain an- 
 ticipation of the style of Rembrandt. He wasa pupil, in Delft, of 
 Mierevelt, and completed his studies in Rome. Otherwise his life 
 Srom birth to death belonged to Utrecht, which he served in his time 
 as a member of the council and city treasurer. He was also an 
 expert architect and engraver. 
 
 OKITONOW (1.) 
 By birth a Pole, Pokitonow established his studio in Paris, 
 
 devoting himself almost exclusively to landscapes, which he painis 
 witha refined sense for light and values. 
 
 OURBUS (Frans, the Younger) 1570-1622 
 
 Frans or Frangois—either ts correct, for this painter was 
 Flemish by nationality, born in Antwerp, son and pupil of Frans 
 Pourbus, the Elder, but he executed his most brilliant work in 
 France and became gallicized. His early years were spent in 
 Flanders, whence he went to Italy as court painter to the Duke of 
 Mantua, Accompanying Eleanor of Mantua, sister of Marie de 
 Medici, in her wisit to France, he became attached to the court of 
 
Henry IV. as royal painter, and, after that monarch’s assassination, 
 retained his post, executing several portraits of the Queen Regent, 
 Marie de Medici, and enjoying the favor of princes until his death. 
 
 Se C Geapstiia (Sir Henry), R.A. - 4756-1823 
 
 Raeburn may be considered the founder of the Scottish 
 school of painting, for he was the first painter of eminence north of 
 the Tweed who resisted the allurements of the English capital. Born 
 at Stockbridge, a suburb of Edinburgh, the son of a small mill 
 owner, he lost his parents early, and was indebted to his elder brother 
 for his education at Heriot’s school, At fifteen he was apprenticed to 
 a goldsmith, and in his leisure began to practise painting. His master 
 sympathized with his efforts, and in time procured him sitters for 
 miniatures, with such success that the metal-working was abandoned 
 and a share of his earnings rendered to his master in heu of service. 
 Later he borrowed pictures from a portrait painter named Martin 
 for the purposes of study, meanwhile supporting himself with the 
 brush. By the time that he was twenty-three he had saved sufficient 
 to travel, and repaired to London, where he introduced himself and 
 his work to Sir Joshua Reynolds, and upon the latter's advice spent 
 two years of study in Italy. Then he returned to Edinburgh, and 
 for thirty-six years painted portraits of the most eminent people of his 
 country, gratifying incidentally a speculative taste for architecture 
 and a passion for gardening and flower culture. Occasionally he 
 exhibited atthe Royal Academy, of which he was elected member. He 
 was a member also of the Royal Society of Edinburgh, the Academy 
 of Florence, the National Academy of Design in New York, and the 
 Academy of Arts at Charleston, S.C. The year before his death, 
 on the occasion of George IV.’s visit to Scotland, he was knighted. 
 fis portraits are distinguished by vigor and force of characteriza- 
 tion, anda fine feeling for rich, ripe color. 
 
 raiRaese AELLI (Jean Francois) | Contemporary 
 
 That thereis‘‘ an unending hope for all men who have 
 confidence in their own powers” was the lesson Raffaelli learnt by his 
 first visit to America. His own life had been overshadowed by family 
 misfortunes and by the terrible results of the war of 1870-71, which 
 just preceded his entrance into manhood. The effects of both are ap- 
 parent in his early work, Lt is gloomy in color, pessimistic in motive. 
 But his visit to America some six years ago changed the tenor of his 
 mind; with happier mood has come a sunnier feeling in his pictures. 
 fis portraits, especially of young girls, evince the tenderest sympathy 
 
with grace and elegance, while his Parisian street scenes, by which 
 he is most widely known, are no longer dull in tone, with people mov- 
 ing in them as if impelled by some pitiless fate. They are full of 
 light ; not brilliant sunshine, but the soft luminousness very char- 
 _ acteristic of Parisian atmosphere, and corresponding also to the quiet 
 moods of a man who has passed the meridian of life. 
 
 Raffaelli first made his mark in the exhibition of ‘‘ Independents” 
 or ‘* Impressionists” in 1879, and his pictures still retain the qualt- 
 ties suggested by either name. He works independently of precedents, 
 using on the same canvas crayon as well as paint to secure the effects 
 he strives for. As to the latter, they are realistic in the highest de- 
 gree : concerned with the moving actuality of the scene. Toscan 
 them by any other means than impressionistic would be impossible. 
 So, accepting the principle, he has discovered a formula individual 
 to himself. Parisian born and bred, he knows and loves the life of 
 her streets and squares, and depicts it with a vraisemblance as com- 
 plete as itis spontaneous. 
 
 ANGER (Henry W.) 1858- 
 Like almost all good landscape painters, Henry W. 
 
 Ranger owes nothing to the schools. He has discovered his method 
 of expression by study of nature and the works of the masters. His 
 range of sympathy is just as catholic. Fora while the art and life 
 of Holland attracted him, and he painted low-toned canvases, quiet 
 reveries such as one of his examples in this collection. He has yielded 
 to the influence of the Fontainebleau-Barbizon painters—to that of 
 Corot, more often to Rousseau’s, But equally he can be independent, 
 notably in such a picture as ‘* An East River Idyll.” His indepen- 
 dence 1s shown in other ways also. He belongs to none of the art 
 societies either at home or abroad, except the American Water Color 
 Society » wherefore, although his pictures are sought for by collectors, 
 he has no record of prizes won, 
 
 Raggvspan (Jacob van) {625-1682 
 
 “Of all the Dutch painters,” writes Fromentin in 
 “‘ Maitres d’ Autrefois,” ‘‘Ruisdael is he who most nobly resembles his 
 own country. Thereisin his work.a largeness, a sadness, placidity 
 a little gloomy, a charm monotonous and tranquil.” Later on he 
 places him as second only to Rembrandt in the Dutch school. This 
 would rank him as the greatest of Dutch landscape painters—a title 
 which many critics insist on his sharing with Hobbenta. Be this as 
 tt may, the charm of his work is justly appreciated, 
 
He began by painting the scenery around Haarlem, his native city, 
 most prolific in distinguished paintings of the Dutch cities of Amster- 
 dam. Berghem ts said to have been his master ; afterwards he may 
 have studied with Everdingan ; at any rate, he painted the country 
 from which that painter took his name, a wild region abounding in 
 dark forests and rushing torrents—subjects which give rise to the as- 
 sumption, unsupported, that he must have visited Norway. : 
 
 But he was a man of imagination, of a poetic temperament, in- 
 clining to the glowing and romantic ; painting gray skies and sombre 
 rocks and foliage, scenes mournful, wild, and usually unpeopled. 
 When figures were introduced, it is said that they were painted by 
 Ostede, Adrian Van der Velde, or Wouvermans. Notwithstanding his 
 indefatigable labor, he did not grow rich; neither did his title of bur- 
 gess of Haarlem help him much. Out of commiseration for his 
 distress, rather than from regard for his genius, he was placed by his 
 Sriends in the almshouse of the city, where he died a year later. 
 
 [ HAULOW (Fritz) Contemporary 
 
 A native of Christiania, Norway, Fritz Thaulow began his stud- 
 es at the Stockholm Academy, proceeding thence to Munich. Rebel- 
 ling against the conventions of the latter school, he went to Paris, where 
 he has established his studio, becoming, in 1892, one of the members 
 of the newly organized Société Nationale des Beaux-Arts. Like his 
 distinguished countryman, Ibsen, he is a naturalist ; but while the 
 playwright enforces the ugliness of the commonplace, the painter in- 
 Juses it with beauty. Not that he confines himself to this choice of 
 subject ; yet, when he does select a prosaic scene, he is almost without 
 a rival to-day in his power of converting it into a vigorous, handsome 
 picture, with an underlying poetic significance. In addition to his 
 amazing realism, he is a brilliant colorist; one of the most stimulat- 
 ing painters of to-day, 
 
 | ROYON (Constant) 1810-1865 
 
 By the time that he was thirty-nine, Troyon had won every medal 
 of the Salon save one, and received the Cross of the Legion of Honor. 
 So far, his triumphs were gained for landscapes pure and simple. 
 Prominent among the painters of the Fontainebleau-Barbizon 
 school, he shared with them thetr love of light and color. He was a 
 master of tonality, possessing alsoin a remarkable degree the power 
 of synthesis, the genius for discriminating between the vital and the 
 unimportant in the detatls of his subject, and of massing and posing 
 
his selections into a harmonious whole. Hence his landscapes have 
 breadth and largeness anda fundamental quality. They are parts 
 of the deep, firm earth, and the light and air which penetrate them 
 suggest the vault of sky. 
 
 But there have been many greater landscape painters than Troyon. 
 His individual preéminence was to be gained through cattle pictures. 
 fle had been studying farm-yard animals for some years before he 
 returned to introduce them into his landscapes, and when at last he 
 entered upon his final development, he achieved a series of triumphs in 
 which the earlier ones were quite surpassed, and which have estab- 
 lished him in the highest rank of animal painters ; indeed, perhaps, 
 their leader. What proved to be his real life's work was taken up 
 with all the ardor of something new, and, at the same time, with a 
 matured purpose and skill, Though he hada profound sympathy with 
 animals, he did not sentimentalize them, and while he had mastered 
 their character and habits, he did not paint them for their own sake. 
 
 Cattle, particularly, he saw as parts of nature's scheme, which 
 had been the study of his life. Their strength and meek endurance, 
 their obedience, were to him characteristic of the strong earth 
 patiently in labor, with regularly recurring seasons of seed-time and 
 harvest. So he painted them where they belonged—in nature, going 
 to work or resting amid lush grass, by the side of streams, or under 
 the shade of leafage. And with what an ample serenity! As has 
 been well said, he is the Virgil of poet-painters, representing the large 
 simplicity of the country ‘‘ with its tranquil meadows, luminous 
 skies, quiet waters, and that abundance of flocks and herds at once the 
 symbol and source of its prosperity.” 
 
 Y OLLON (Antoine) 1833- 
 
 ‘* The painter's painter” Antoine Vollon has been called by his 
 fellow-artists, for it needs a painter practically acquainted with 
 technical problems to appreciate the audacity with which he attacks 
 the most difficult ones and his amazing dexterity in solving them. 
 Yet this dexterity is only a part of his preéminence. He has lifted 
 the painting of still life above the more skilful representation of 
 diverse textures and of familiar objects, so that his pictures, by reason 
 of superb light effects and rich coloring, kindle the imagination. 
 Mere surprise for cleverness is lost in the higher gratification of 
 aesthetic enjoyment, 
 
 To the discredit of the Salon, he had been seeking recognition for 
 many years before officialdom condescended to admit a picture, in 1865. 
 But it obtained a medal; and other honors, even to the highest, fol- 
 lowed in steady succession, In the Salon of 1876 he astonished every- 
 body with a single life-sized figure, ‘‘A Fisher Girl of Dieppe,” and 
 in the following year repeated the surprise with an impressive land- 
 
scape subject. However, one is content to know him as ‘‘ the greatest 
 painter of still life in the century,” and it might be added without a 
 superior in the past. 
 
 W YANT (A. H.) 1836-1892 
 
 The Adirondacks were the school in which Alexander Wyant 
 found his art. He was a tolerable painter when he started from his 
 home in Ohio for study in Dusseldorf, and there, also, must have 
 added something to his craftsmanship. But it was face to face with 
 nature, as far removed as possible from conventions of the artistic 
 workshop, or of any other kind, that he learned the secret of expres- 
 ston. Nature had much to say to him and he to her, and little by 
 little he found the means to record their communings. So far as the 
 world is concerned, the life of a true landscape artist, like that of a 
 happy nation, has little history. Itis recorded in his works. 
 
 He was a National Academician, a member of the Society of 
 American Artists, one of the founders of the American Water Color 
 Society, and a contributor to all the exhibitions. So were other 
 painters, much less memorable. These facts are merely milestones in 
 
 hts life. For the life ttself—what it meant to him and the use he 
 made of it—one must search his works. In these one finds the qual- 
 ties of poetry ; not of the dramatic, kindling style, but tender, allur- 
 ing, and infinitely delicate in expression. And withal, there is 
 strength, only itis heldin firm reserve. He was fond of gray and 
 sombre effects, but could be sunny and buoyant when the mood was on 
 him ; in most spontaneous, sympathetic manner. 
 
 Vee (Eduardo) 1842-1871 
 Meteoric in its brilliancy, and, alas! too, in its brief ap- 
 pearance, the art of Zamacois captured the imagination of Paris as 
 the artist's personality had captured the hearts of his friends. Seven 
 years only intervened between his first entrance into the Salon, with 
 the ‘‘Enlisting of Cervantes,” and the appearance of his last picture, 
 ‘“*The Education of a Prince,” in 1870. The following year he 
 died in Madrid, at the age of twenty-nine. Bilboa was lis birth- 
 place; his artistic home Paris, Meissonier his master. The succes- 
 stve environment was mirrored in his art. It was audacious, witty, 
 satirical, and masterful in the finish of tts style. 
 
 The young Spaniard outplayed the Parisians in the parts so highly 
 prized by them. In compliment, they coupled his name with that of 
 Molitre. His work had something of the latter's sparkling vivacity, 
 
its extreme precision, and elegance of craftsmanship. It was brilliant 
 rapier play, the more dazzling because not always by the code; his ex- 
 periments in color, for example, amazing and delighting by their dar- 
 ing. He made his points with the precise assurance of a master, and 
 not always playfully. The‘ Education of a Prince” was the most 
 trenchant of satires, yet done so elegantly, that the wound was almost 
 glossed over in the making. There was a young Prince Imperial 
 then in France, destined for a short, sad life and a miserable end. 
 But his was not the only tragedy looming. There was his father's 
 fate, and, worse still, the tragedy of France and the artist’s own im- 
 pending doom. A fatal disease had gripped him, and a few months 
 later he died in the plenitude of popularity and maturity of his ar- 
 tistic powers. Fortuny, under date of January 30, 1871, sends this 
 message to Mr. W. H. Stewart from Granada: ‘‘ I wish to write to 
 you of the death of Zamacois, but I was so full of sorrow that my 
 courage failed. I cannot yet believe that I shall never see him again, 
 and it will be hard to fill his place in my remembrance.” At the 
 Universal Exposition of 1878, his name was in the list of those to 
 whom the Diploma to the Memory of Deceased Artists was awarded, 
 
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CATALOGUE | 
 SALE AT CHICKERING HALL. 
 
 Tuesday Evening, April 10th 
 
 BEGINNING AT EIGHT O’CLOCK 
 
 fad 
 
 RAFFAELLI ; 
 (JEAN FRANCOIS) ! fa 
 
 f iAL 
 yak 
 
 } ; RAY 1, 
 1—Market Day \V Ah. Wh“ 
 A tiny picture this, yet full of interest, One corner of a 
 _ pleasant market-place, soft sunshine on picturesque buildings 
 and the cobble pavement, a tree or two, produce laid out upon 
 the ground, and folks bargaining with much chatter and ges- 
 ture—all so intimately, pleasantly, and unaffectedly realistic. 
 Then the old couple in the foreground—the woman seated, 
 the man standing, with a basket of eggs, a goose, and fowls 
 in front of them, just such a pair as you might see in any 
 country market in France—small peasant farmers,very homely. 
 But, having leisure, you watch them. The woman leans a 
 little forward, the shrewd, kindly face peering rather anxiously, 
 yet the hands laid passively on the iap; the old man standing 
 beside her, pathetically patient. You begin to guess the mute 
 poetry of their lives; their loyalty to each other, the pitiful 
 small showing for their labors, yet the staunch independence. 
 Why does not some one buy of them? Ah! there’s the point. 
 Raffaelli, for all his quickness of observation and realistic 
 record, can feel deeply. 
 
 Signed at the right. 
 
 Owned by the American Art Association. 
 
 Height, 9 inches ; width, 7 inches. 
 
o 
 
 DUPRE 
 
 (VICTOR) | 
 
 a 
 2—Summer Afternoon 
 
 The scene is mellowed by warm amber light. On the 
 right, two oaks, grand in form and coloring, stand at the head 
 of a line of trees: which recede. into shadow, laced with faint 
 sunshine. On the opposite side of the meadow are two 
 smaller trees with scraggy boughs. Sheep and cattle appear 
 beyond, with figures in red; and farther on the grass fades 
 into blue ‘hills on the horizon, over which are white, billowy 
 clouds and a vault of brilliant blue. The sensuous harmony 
 of the whole, the, rich quality of-tone in all the colors, the 
 massing of light and shade, and the severe happiness of the 
 sentiment, unite in a most impressive picture. 
 
 Signed at the right. 
 Owned by the American Art Association. 
 
 ~ Height, 14 inches ; width, rz inches. 
 
 oF ae 
 3— The. Monastery Qe ee 
 
 There is Si RS venets in. the conception of this 
 picture—a pale evening sky;. the building, dignified. and 
 homelike, catching the warm light, and some of the brown- 
 habited brethren shown in quiet shadow. . A gentle luminous- 
 ness fills the whole scenes the. architectural features of the 
 monastery are admirably suggested, the boundary wall having 
 the highest-light. The drawing of the trees is very graceful ; 
 indeed, the prevailing sentiment is charming, and the tender- 
 ness. does not interfere with a fine quality in the color. It is 
 a very distinguished canvas. | 
 
 Signed at the left. N 
 
 Owned by the American Art Association. 
 
 Height, 13 inches; length, 18 inches. 
 
DE BLOOT 
 
 (PIETER) 
 
 4—The Toast 
 
 One of two companion pictures, similar in character and 
 tone. As in the other, there are three figures of peasants. 
 Sitting on the right is a man in pale rose-colored jerkin, white 
 shirt sleeves, and rough green trousers. He samples a tum- 
 bler of wine ; head on one side, nostril appreciatingly lifted, 
 and hand set on hip—an uncouth connoisseur. Opposite, a 
 crony pledges him; while an old man at the back, in half 
 shadow, sucks at his pipe and holds a pottle of fruit on his 
 knee, The types are rude enough, but full of character, and 
 the suave color, is extraordinarily transparent. It is a very 
 perfect example of a highly esteemed painter. 
 
 Signed at the right a little way from the a oo 
 Owned by the American Art Association. ‘h, be", 
 
 One At 
 
 Height, 12 inches; width, 8 inches. 
 
 7 
 DE BLOOT lf 
 
 (PIETER) : 
 ‘ 
 5 
 
 5—A Game of Cards 
 
 j 
 
 One of two companion pictures, similar in character and y 
 tone. The subject isa game of cards. The peasant on the , 
 left is turning to show us a strong hand ; the other player, v4 
 meanwhile, poring over his cards in incertainty as towhichto / Fi 
 play. Behind him stands a looker-on, peering over his shoul- \ 
 der ; his pipe removed from his mouth in the excitement of 4 // 
 the taeaent. and the index finger of the other hand stretched oe 
 
 out, as if in eagerness to point the proper card. This is, per- 4 
 haps, the most remarkable bit of characterization in a group NS 
 where all the types are thoroughly individualized. The color é 
 
 scheme has.all the limpid qualities of the companion picture, 
 and, like it, is a very perfect example of a highly esteemed 
 painter, me Bi 
 
 . e : Dus ne i : : 4s 
 Signed on the leg of the stool at the right. ©” ae 
 
 Prom Maiinth 
 
 ¢ yas 
 
 Owned by the American Art Association. 
 
 Height, 11 inches; wid 3 inches. 
 
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 eer 
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 7 
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 7 
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 ‘CAZIN 
 (JEAN C.) ne 
 ey yh | 
 6—Moon Silvery Light ry GS iy 
 
 The subject is a turbulent sky above a patch of bleak grass- 
 land. A slaty cloud, heavy with rain, hangs above a cot- 
 tage set in the hollow of a ridge which stretches across the rest 
 ofthe horizon. The foreground is‘rough, stringy grass, boldly 
 brushed in with tones of gray, green, and brown. It is a 
 realistic picture of strong virility. 
 
 Signed at the left. 
 
 Owned by the American Art Association. 
 
 Height, 12 inches; length, 16 inches. 
 
 BARBUD& 
 SF) 
 7—Romance and Art 
 
 Fortuny died in Rome at the end of 1874. This picture 
 was painted eleven years later, but it is clearly influenced by 
 
 that brilliant: colorist and technician, who, as M. Charles 
 
 Yriarte said, created the ‘school of the hand.” The subject 
 is the studio of a lady of wealth ; there is a profusion of stuffs 
 and bric-a-brac, secular and ecclesiastical, bizarre in color, 
 selection, and disarray. A stretch of dull brown tapestry 
 forms a quieter spot in the centre of the picture, emphasizing 
 the figure of the lady in white costume, and the suggestion of 
 gallantry in the action of acavalry officer. Offsetting this is 
 the absorption of an old lady in a print and the arrested in- 
 terest of the father, whose newspaper has fallen from his grasp, 
 as he watches the young couple. But the main interest of the 
 picture consists in the bringing of so much bDrilliancy and 
 variety into a reasonable degree of harmony, and in the clear- 
 ness with which the movement of the figures and the various 
 textures are represented, 
 
 Signed at the right, and dated ’85. 
 Owned by the American Art Association. 
 
 Height, 12% inches; length, 25% inches. 
 
RAFFAEFLLI 
 
 2 a Cane Lr fe 
 AA h ¢ ith, A £- 
 , 4 f i % Fi t at j F e ah 
 8—Old Sailor at Home pS PD Re lla ia 
 | ; a iif tt Faia red! OES ila 
 a ay 7 ’ ‘ uk 
 
 On a round table in front of the picture is a tea service. fy 
 The fresh contrast of the slaty-blue and white and the *“* %% 
 homely refinement of these objects may well have been the 
 keynote to the painter’s motive. Orderliness, self-respect, 
 and mutual kindliness are the qualities expressed. The old 
 man and his wife sit side by side; the lady, at any rate, in 
 company dress, a little staid and formal in her demeanor 
 compared with the less conscious rectitude of her husband. 
 Behind them sits a cat at the open window absorbed in its 
 own meditations, and the sill is brightened with flowers. 
 The simple story is tenderly and shrewdly told. 
 
 Signed at the right. 
 
 Owned by the American Art Association. 
 Height, 14 inches ; width, 114 inches. 
 
 HOGUET 
 
 ! | (C.) 
 o—Landscape f 
 On a rough wooden bridge spanning a little stream sits a Xi | 
 man in red waistcoat, fishing ; along the bank is a footpath \ j 
 
 overhung with willows. The sky is grayish blue, with masses 
 of white clouds. The quiet place and the patience of the 
 fisherman, added to richness of colour, take a charming little 
 
 picture. 
 
 Owned by Mr. Bonner. : a 
 ' | Heiphit’83/ inches ; width, 6% inches. 
 
> Soe 
 
 PRR, 
 
 ite Sh, acne rteor 
 
 DUPRE 
 
 (VICTOR) 
 it fa % 
 ise Ke 
 10— The Pool » oo 
 
 Darkness is gathering over the pool. The white of the sky 
 is reflected in a silky patch bordered by the dark velvet 
 masses of grass and sedge. Across the water the light slides 
 softly down a gentle incline of pasture, up which winds a road, 
 with cattle and a figure on horseback passing over the brow 
 towards a flat stretch bounded by low blue hills. On the 
 right of the picture, reaching to the edge of the pool, is a 
 knoll of ground with oaks, between which the light is slipping. 
 Above them the sky holds a promise of rain, but whitens 
 towards the zenith and settles over the horizon in a mellow 
 glow. The character of the picture is strong and restful i in 
 the mingled richness and suavity of its color. 
 
 Signed at the right, and dated 1864. 
 Owned by the American Art Association. 
 Height, 13 inches ; length, 20 inches, 
 
 POKITONOW 
 
 (IVAN) 
 
 t1—An Early Shoot 
 
 There is much suggestion of spaciousness in this little sub- 
 ject. The flat land is broken up into pools of water. A 
 sportsman is in the foreground, and in the middle distance 
 another has just discharged his gun. The rendering of the 
 early morning effect appeals to all who are familiar with the 
 hour and conditions. 
 
 Signed at the right, and dated ’89. 
 
 Owned by Mr. Bonner. 
 Height, 8% inches; length, 17 inches, 
 
 Per 
 
 ated 
 oat a 
 
(J..€.} the? jes. 
 12—The Ruins nt ee (> | gt 
 | 2 “i 
 What intensity! The dark slaty Sar with menace ; 
 
 the ruined house is stark and staring; the rainbow ehilled 
 and the shudder of coming tempest stirs the tangle of lush 
 grass. The controlled choice of a few cold colors, brushed in 
 with breadth and style, and full of meaning in their tones, 
 makes this a most impressive picture. 
 
 Signed at the left. 
 Owned by the American Art Association. 
 Height, 13 inches; length, 16 inches. 
 
 INNESS 
 
 (GEORGE) 
 
 13—Leeds, New York 
 
 A fine example of the master, and a faithful rendering of 
 after-shower effects. The sky still surges with heaped-up 
 clouds, but there is a burst of brilliant blue, and a rainbow is 
 curved softly over white buildings of a distant village. The 
 sunglow glides across the pasture-lands to the foot of the 
 shelving foreground, which is in warm brown _ shadow, 
 except where a stray beam falls on a little plateau where some 
 sheep are feeding. Skirting the sunglow is a vanishing dis- 
 tance of cooler light, with a bright blue patch of river and a 
 low ridge of purple hills. 
 
 Signed at the right, and dated 1866. 
 Owned by Mr. Bonner. Wid At. 
 
 Height, 12 inches ; length, 18 inches, 
 
 wy 
 
 ee 
 
BESNARD 
 
 y § 0 (A), 
 W 14—The Smile Ae 
 
 There is a witchery just a little tantalizing in this canvas. 
 It cannot fail to attract; its very fantasticalness insures it, 
 and it varies so much at different distances of sight that one is 
 left conjecturing which to choose. All which is tribute to the 
 painter’s subtlety, for he has converted what might have been > 
 a mere studio study into a riante sphinx, as mysterious in 
 her mirth as the painter’s own methods of suggesting it. The 
 girl’s head is laid back upon a velvet cushion and turned 
 towards us, her red-brown hair a loose mass, penetrated with 
 light from overhead, which finds its focus-point upon her 
 forehead—one spot of shining clearness in a canvas other- 
 wise tremulously indistinct. With lessening intensity, the 
 light catches the curves of the cheeks, the nose, and the full — 
 curves of her chin. Necessarily the eyes are in shade, and it 
 is with the luminous depths of this that lies the secret echoed 
 in the parted lips. The shadows are in various tones of 
 violet, and a silk bodice of warm golden brown completes 
 the color scheme. The explanation of the latter is, probably, 
 that the head is lighted from above by a cool light and from 
 below by fine light ; one of the problems of mixed lights for 
 
 which this painter is famous, <«; 
 d on 
 
 ' e e } ang a, y: 
 Signed at the right. eu 
 
 Owned by the American Art Association. 
 
 Height, 1844 inches; width, 15 inches. 
 
 pu POKITONOW 
 
 (IVAN) 
 
 15—Landscape 
 
 a 
 
 - ; 
 GF acount ia ip RIMM eR ANE aay 
 
 at pac 
 a 
 
 In the vivid sunshine and still, clear atmosphere the fore- 
 ground of hill isbright and crisp. Purple hills appear beyond, 
 and blue sea, a little deeper in tint than the almost cloudless 
 sky. 
 
 Signed at the left. 
 Owned by Mr. Bonner. 
 
 a 
 
 Height, 6 inches ; length, 1334 inches. 
 
RAFFAELLI 
 (J. F.) ‘ a oe 
 Wd ; 
 
 16—Holidays at Grandpa’s 
 
 The old man is seated on a stone bench by the side of his. 
 porch, a little girl on his knee, tugging at his necktie, while 
 another one reaches up to snatch his black skull-cap. Back 
 of the group appears a sloping hill, cut up into fields, with a 
 cottage on the left, peeping out from trees. Corresponding 
 to the painter’s prevailing temperament at the period when 
 this was painted, the picture is plaintive in color almost to 
 sadness ; but the kindliness of his nature is revealed in the 
 little play of the children and the hale sturdiness of the old 
 man. Raffaelli in those years had sympathy, but it was / 
 grayed over by personal trouble. , ? Ba 
 
 { x 
 is : 1, Pocbrags it HY : ad zis i 
 BN otha aa yer: ™ 
 
 Signed at the left. ~ 
 
 i Si gras Mae ld 
 
 iy, 
 € & 
 pees 
 
 Owned by the American Art ALIS 8on. 
 
 Height, 22 inches ; width, rg inches. 
 
 . ~ ZAMACOIS 
 
 (E.) i f shot 
 ji 
 17— The Spanish Troubador 
 This elegant little picture is elaborated into characteristic : f 
 finish, and in color charm forms a scheme as brilliant as it a 
 is well controlled. The scarlet dechetto is the pivot-spot of € 
 
 color ; balanced towards one end of the scale by the rose of 
 the doublet and the plum-colored tights, and in the other 
 direction by the tawny greens and pale pinks on the tapestried 
 walls; while the pale-yellow body of the lute forms a counter- 
 acting note to the prevailing warmth. This is a presentation 
 picture, and was given by the artist to Mlle. Buttura. 
 
 $8 
 4A Mile. Buttura. ; ‘ota AA BA. 
 ( Zamacois, ’66. BP POA tOrve 
 
 HRT 
 
 Height, 9% inches; width, 734 inches. 
 
 Signed at the right 
 
18—Clouds i be Valley. Ane a. 
 
 Stillness and so kde hawt the. outer world hangs a 
 
 curtain of steel-blue sky pierced by star-points; the great, 
 white, luminous cloud hovering upon the top of the hill, the 
 sides. of which, covered with scrubby brushes and a solitary 
 small tree, are weirdly distinct in the diffused moonlight. 
 Nature has been surprised asleep. 
 
 Signed at the left. LB aed 7 
 
 Owned by the American Art Association. 
 Height, 18 inches; length, 22 inches. 
 
 UNKNOWN 
 
 19—I/nterior of a Stable 
 
 The light streams through an open door, gradually losing 
 itself among the timbers of the roof and in the dim recesses 
 of the long stable. Two horses are feeding at a rack on the 
 right and aman attends to them. His trucklebed can be 
 made out farther back, and various objects are seated about 
 the straw-laid floor. Warm browns and dull yellows pre- 
 dominate in the color scheme, except for the vivid bit of 
 lighted road and trees seen through the door, and the com- 
 position is an interesting study of light, direct, reflected, and 
 diffused. 
 
 Signature at the right not decipherable, dated 1837, 
 
 Owned by Mr. Bonner. 
 Height, 10% inches; width, 74 inches. 
 
a 
 DUPRE 
 (WIGTOR | bg 
 he .\ aot 
 20—Summer 10 Sea si ! 
 ‘In front, beside a‘clump of handsome ‘trees growing dense 
 in the fading light, is a little.pool in:which) two cows are 
 drinking. | A little way from the edgesits a woman in blue 
 dress waiting’to drive them home. Back :across the meadow 
 - the farmhouse nestles amid. trees, ‘their’ outlines blurred 
 against the gray horizon. “A large; warm white cloud hovers 
 above, and’ overhead the sky is greenish blue. There-is a 
 very pleasant distribution of: light, soft: and pervading ; the 
 darker portions are broadly treated and pale in color, and the 
 simple quietude of the scene is ne fe ee a ye 
 
 we 
 
 Kesh 
 
 ore 
 
 Signed at the right. Dated 1864. t a 
 Owned by the American Art Association. 
 
 Height, 22 inches ; width, 328 inches. 
 
 RANGER 
 
 (H. W.) 
 
 21—Landscape 
 
 The tranquillity of gathering twilight is charmingly ex- 
 pressed. A curtain of white is slipping down over the paling 
 blue of the sky. Against it the feathery sprays of a group of 
 trees, the solid bulk of a windmill, and a‘light mass of foliage 
 show sooty green. In the foreground a patch of water shines 
 - by the roadside, and a figure appears in blue blouse. There is 
 a silky’quality in the lighter parts of the picture, a velvety one 
 in the darks, and a prevailing sincerity of feeling. 
 
 ’ Signed at the left. 
 
 Owned by Mr. Bonner. 
 Height, 18 inches; length, 26 inches. 
 
= 
 
 TE ot: To aap Re Bey 
 Ae 
 
 Tare 
 
 pemenigstehe Nnneaeans 
 
 Se SS eae 
 
 - 
 
 a ane 
 
 Pe - i. 
 fe i$ a 4 
 el 
 
 THAULOW 
 
 (FRITZ) 
 
 22—The Lane at Night 
 
 How tenderly suggestive of tranquillity! The lane is 
 dappled with sooty shadows from a tree massed on the right. 
 Opposite, the moonlight laps softly over the brickwork, white 
 plaster, and thatch of two cottages. Beyond them, the foliage 
 of a tree, sprinkled against the luminous solemnity of the sky, 
 pales into dreamy unreality. At the end of the lane, indis- 
 tinct in the misty light, are other cottages, and from an open 
 door a glimmer of orange firelight. The luminosity, both of 
 the light and dark passages; the delicate discrimination in 
 values; the fusing of pale and warm glow; the expressional 
 quality of the colors and their sensitive harmony, combine to 
 produce a feeling of indescribable repose. It is an emotional 
 picture of rare sincerity and refinement, revealing this gifted 
 artist to more than usual advantage. 
 
 Signed at the left, dated 1894. 
 Owned by the American Art Association. 
 
 Height, 26 inches ; width, zoinches, 
 
 MICHEL 
 
 (GEORGES) 
 
 23—Near Montmartre 
 
 An effective rendering of light between showers. Across 
 the centre of the picture is a stretch of flat pasture-land 
 
 _ vanishing towards slate-colored hills: A small river winds 
 
 through it, and on its farther edge are scattered cottages and 
 a windmill, nestling along the foot of wooded slopes. The 
 sky is white and open on the left, rising through dark gray 
 cumulus clouds to a sullen patch high up on the right. Con- 
 trasted with these lighted portions of the scene is a dark 
 woodland, in the front, on which are scattered shrubs, a cot- 
 tage and farm buildings, while to the extreme left, on a plateau, 
 catching the light, are figures and goats. One of the most 
 refined and complete examples of this much imitated artist. 
 
 * A te iad renwal 
 % se ah * a 
 j by 
 
 Owned by Mr. Bonner. pe 
 Height, 20% inckbs : length, 26% inches, 
 
 % 
 
wm 
 
 RAFFAELLI _ — 
 
 —24— Your Very otf Le 
 
 & 
 aPuyer mae ba reg fp 
 
 Pek 
 
 In the Waly coe ofa pee ifn, a laborer sits at a table, 
 raising his aan of wine in salutatién to the landlady, who has 
 just filled it. Beyond the high road is a stretch of grass, a 
 cottage to which a man is carrying a load, and fluttering 
 clothes drying on a line. It is a page out of ‘the simple 
 annals of the poor”; unadorned, for the scene is bleak and 
 cheerless, but with the saving grace of the man’s courtesy and 
 the woman’s sturdy kindliness, - 
 
 Signed at the right. 
 
 Owned by the American Art, Association. 
 Height, 23 inches ; width, goinches, © 
 
 DEMONT 
 
 (ADRIEN) 
 
 25—Coastguard Station. Early Morning— 
 Setting Moon | A 
 
 The poetry of the sea and its atmosphere—how well ex- \ 
 pressed! In front are sand-dunes; the coastguard station 
 catches the kindly light of the rising sun, and the shore loses 
 its outline as it curves into the distance, where the gleam of 
 two lighthouses is seen on the shore. The sea, too, is tran- 
 quil, of a beautiful blue merging into a bank of gray-purple 
 haze through which the moon is setting yellow and red. The 
 subject is full of feeling, strong and tender ; unaffectedly 
 sincere and expressed in a truly pictorial manner, 
 
 Signed at the left. 
 
 Owned by Mr. Bonner. 
 Height, 18 inches; length, 33 inches. 
 
Se a oo 
 
 = af 7—Early Spring 
 
 a ot 
 & Beh, ok 
 Ayan 
 
 oeagere 
 
 * BESNARD 
 
 26—Meditation or a fa 
 
 This fascinating picture seems to be another example of the 
 painter’s fondness for blended lights ; in this case, a cool one 
 from the left top corner, and a soft, warm one from the lower 
 right. The girl is seated with her cheek resting on her hand; 
 her white dress, open at the bosom, and fastened round the 
 waist with yellow ribbon. The pose is easy, and the drawing 
 very charming in its sensitive grace. Her red hair is some- 
 what forced in color, doubtless, to help the tenderness of the 
 glow upon the cheek, bosom, and arms, and the clearness of 
 the flesh in the cooler parts. Meanwhile, some balance for 
 the hair is obtained by the warm shadow in the hollow of the 
 girl’s hand and in the tints of the mahogany chair: Itis a 
 canvas with very interesting union of breadth and refinement. 
 
 Signed in the left top corner, and dated 1893. 
 Owned by the American Art Association. 
 
 Height, 20 inches; length, 24 inches. 
 
 WYANT 
 
 (A. H.) 
 
 A simple little subject, but.treated so interestingly... The 
 foreground, for example, broken and tumbled with gray rocks 
 peeping through the thin grass, whitened with light, is broadly 
 and freely painted, and yet with happy suggestion of detail. 
 The sky, too, is finely managed ; deep blue to one side, grow- 
 ing grayer and reaching a climax of light in the centre of the 
 picture. The feeling throughout is fresh and brisk. 
 
 Signed at the left. 
 
 Owned by Mr. Bonner. 
 Height, 12 inches; length, 16 inches. 
 
28—Low Tide ppv yb wh \ 
 ee yr ad 
 
 Seldom is Ca to hen nerous with color as in the present 
 picture. The shelving point of coast rises up a strong, dark 
 mass against the evening sky; but its tones are rich and varied, 
 in the vegetation, the winding brown road, and the colors of 
 the boats, and of the buildings half-way up the hill. A gray 
 and white house at the top lends a tender note, and then a 
 flash of light, the sun’s late dallying with a group of cottages, 
 gives a passage of brilliance. The sky is pale blue, gray- 
 streaked above, and thick with flocky clouds over the horizon, 
 where a strip of water shines. The rest of the shah eden is 
 sand ; flat, spongy, and lustreless. > ie 
 
 my e. ie & oy ? ‘ 
 Signed at the left. : 1a z fe ph : 
 
 ey 
 ey, 
 
 Owned by the American Art Beihciation: 
 Height, 22 inches; length, 28 inches. 
 
 DAUBIGNY f f o 
 
 (C. F.) 
 
 i 
 
 A row of women on their knees are washing clothes, and on if 
 the high bank above a team of tow-horses are straining at the : 
 rope. There is a turn in the river, and the boat has crossed 
 the stream and is slowly straightening its course for the new 
 reach ; a very truthful detail. The canvas is strong in tonal 
 quality, based upon a gamut of cool grays and browns, en- 
 livened with blue and white notes supplied by the group of 
 
 women. r » rasta? 
 a if ya 
 wn iB, Eg . Pa 
 Stamped at the right, ‘‘ Vente Daubigny.” i ee on 
 Hh \ | eeeeaae 
 Owned by Mr. Bonner. fon <0 ( ( 
 . H cht, ro inches ; Oeagrh? 18 inches, 
 
yt COROT 
 mye epeaee, es 
 
 a 
 e 
 
 f Uo 7 
 je 
 
 . . 4 pom pe 
 30—The Road to the Village ‘}-* 6 
 By what 
 simple means one is made to feel that the road rises to the 
 crown of the bridge and dips again beyond. Again, how 
 
 eae ee 
 — 
 
 There is most skilful painting in this picture. 
 
 a 
 Pa 
 
 Fa 
 
 ERTEN TET at i. 
 Bros TR 
 
 freely the two figures are brushed in! There is no stiffness 
 or permanency in their pose; they have stopped only for a 
 moment and will be moving presently. The picts: too, is 
 
 excellent in aimos Pherae efect. j 
 
 Signed at the left. 
 
 Owned by Mr. Bonner. 
 Height, 1034 inches; length, 14% inches. 
 
 JACQUE 
 
 ae, £ 
 RY oe 
 pes 1 Oe 
 en C.E 
 7 ai e ° 
 
 31—Flower Piece 
 
 Against a background of dark greenish brown is a profu- 
 sion of azaleas. The larger mass consists of two shades of 
 rose color; the smaller bunch is white, miniol arrangement 
 
 very decorative: 
 
 Signed at the left. 
 Owned by Mr. Bonner. a: 
 Height, 17% inches; length, 26% inches. | 
 
f  RAPEABLLI 
 (J. F.) 
 
 32—La Place St. Sulpice 
 
 The sky is sullen; it has rained, and the browns and grays 
 in the foreground shine like a wet pebble. The two sisters 
 of charity, in their slate-gray habits and white scapulars and 
 coifs, supply the top note of the color scale, sharp, clear, and. 
 silvery, to which, in varying degrees of vivacity, back to the 
 dull ochre of the church, all the lights are regulated. The 
 darks, which are freely sprinkled through the picture in the 
 vehicles and pedestrians and in the sooty shadows, find their 
 climax in the black cassock of the curé. The ensemdle, 
 accented here and there by spots of red, presents a mingling 
 of vivaciousness and sobriety quite in harmony with the sad 
 weather and busy scene. In itssuggestive realism the picture 
 well represents this master of impressionism. 
 
 Signed at the left. 
 Owned by the American Art Association. 
 Height, 25 inches; length, 30 inches. 
 
 BOL 
 
 wt 
 -/ @) > 
 . ti Ae Se a i how A} 
 33—Tbe Burgomaster =< * i 
 ’ ii 
 From the collection of the late M. Harbaville de Boulogne-sur-Mer. ; 
 This. portrait is strong in characterization and pictorially ; 
 splendid. The portly figure in its magnificent robe, the florid f 
 
 features none too firm, the conscious affectation in the gesture 
 of the hand, itself almost effeminately white, combine to sug- vi 
 gest the substantial worthiness of the citizen, a little vain in 
 office, a trifle self-indulgent. The quality of the color through- 
 out the picture justifies enthusiasm—full and penetrable in 
 the dark robe, vivacious in the fur, ripe and clear in the flesh 
 tints of the face, and delicately luminous in the hair and beard. 
 Indeed, the luminosity of the whole canvas is remarkable ; 
 which not only renders the subject instinct with vitality, but 
 makes the canvas a generous and noble picture. 
 
 Owned by the American Art Association. 
 Height, 28 inches ; width, 21 inches. 
 
eae 
 
 GAINSBOROUGH 
 
 (THOMAS) 
 
 34—Portrait of David Garrick 
 
 The suggestion of spontaneity is admirable. One fancies 
 that there was little posing and no premeditation. The famous 
 
 actor may have been paying a morning call at the studio, and, 
 
 turning round in his chair to join in the conversation, was | 
 seized by the painter then and there. He leans his elbow — 
 upon the arm of the chair; the lips are slightly parted, and — 
 only the eyes have a trifle of fixity. The color scheme is cool ; 
 and agreeable, made up of strong flesh tints, powdered hair, 
 and slate-blue double-breasted coat, accented by the silver 
 edging to the collar and cuffs, and a touch of red upon 
 the waistcoat. The modelling of the features, perhaps 
 a little dark in the shadows, is thoroughly virile and life-like. 
 As a portrait it is individual, and very suave and dignified 
 as a picture, 
 
 Owned by the American Art Association. 
 Height, 2514 inches; width, 2z inches. 
 
 MARIS 
 
 (WILLEM) 
 
 35—The Duck Pond 
 
 The ‘‘silveriness” for which Maris is noted appears in 
 this picture—in the leafage of the trees, and the water myste- 
 riously white amid the shadows. It is a lovely spot, moist, 
 cool, and sheltered. The ducks and their broods are painted 
 with charming fidelity, the vivacious action of one or two of 
 them forming a happy note of accent in the tranquillity of the 
 picture. 
 
 Signed at the left. 
 
 Owned by Mr. Bonner. 
 Height, 21% inches; length, 38 inches. 
 
BESNARD 
 
 (P. A.) ie 
 pe 
 
 36—Sunshine Ae iN : 
 Jt by thse : 
 The problem that Besnard set himself in this picture is 
 the contrast of warm tones in shadow, with cooler ones in 
 sunlight. The lady seems to be seated in a veranda, her 
 hands resting on the iron balustrade, and, beyond, a mild 
 sunlight plays upon the grass and foliage of the garden. A 
 reflected light, evidently from the wall of the house, catches 
 the frill of her rose-colored bodice and bathes the side of her 
 face, which is turned half round to us, with warm amber - 
 tones, while the hands are exposed to direct light. The pic- 
 ture is an interesting example of this justly esteemed painter. 
 
 Signed on the cuff, and dated 1893. 
 Owned by the American Art Association. 
 
 Height, 22 inches ; width, 17 inches. 
 
 INNESS 
 
 j Fi, “ey 
 , iy 
 (GEORGE) L- ba | 
 
 37—Off Penzance, Cornwall, England / 
 
 Sky and water mingle in a gray-blue haze, penetrable, how- \ ff 
 ever, for distant sails are visible like white phantoms. Con- "4 
 trasted with the spirituality of this are rude realities, a ragged 
 bit of shore, and moored a little from it a cluster of fishing 
 boats, with dark hulls and slate-gray sails hanging limp. The 
 time is daybreak, and the scale of color tone reaches from the 
 dark of the hulls up to the white of a building on the shore. 
 
 Its unity with variety is admirable, and the feeling of the sub- 
 ject mysteriously impressive. 
 
 Signed at the right, and dated 1887. 
 
 Owned by Mr. Bonner. 
 Height, 20 inches; length, 30 inches. 
 
DIAZ 
 
 (N. V.) 
 
 § & : SF 
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 : Sun SES 
 
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 Aaa ta st? 
 
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 ee BS se 
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 the y} ys ee AAT os 
 
 This is a subtle hareroey of cool colors interwoven with 
 warmer ones. A clear sheet of water reflects the blue sky 
 and the white of a stone foundation to a pagoda-like summer- 
 house. <A tree behind the summer-house holds the centre of 
 the picture, and smaller trees, yellow leaved, are grouped on 
 the left beside a flight of steps down which a woman in a red 
 cloak is stepping. Along the farther edge of the lake a lady 
 moves quickly, her fluttering draperies echoing the pale plum 
 color of the pagoda, while upon the bank nearer to us kneels 
 a woman in adress of bright rose. At the back of the picture 
 appears a vista of open country, bounded by a rim of blue 
 hills. It is an example of the artist which Rate We his marvellous 
 
 versatility as a colorist. 
 
 38— Turkish Landsca 
 
 Signed at the left. 
 
 Owned by Mr. Bonner. 
 i ; i 10 inches ; length, 3 inches. 
 Wt 
 
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 DAUBIGNY 
 (ceEy” 
 39— Twilight 
 
 Solemnly and tenderly night is sinking down upon the river. 
 One stands upon the bank fringed with reeds and water-flowers, 
 a mass of greenery rising on the right and slender stems of 
 intertwined willows. The stream reflects on its smooth sur- 
 face the pale sky and the dark masses of the trees which stand 
 close together a little back from the other sloping bank, with 
 here and there a bunch of faint amber foliage. Beyond and 
 above the sky is primrose, softly shot with golden-white flecks 
 of clouds. The unity of feeling in the picture is complete. 
 
 sabe 
 (frome f ¥ 
 
 Owned by Mr. Bonner, > ae sof Ane f 
 “* \ Height, ey. Paved length, 3einches. 
 
 Stamped at the right, ‘‘ Vente Daubieng. 
 AA, 
 
FROMENTIN 
 
 (EUGENE) , f DP tied ra 
 
 ; \ M we é 
 40—In Algiers yf oe a | 
 
 One remarkable characteristic of fis metre is its peeled 
 
 force. Theclarity of air, rich coloring, and heat and brilliance . é 
 of African light are expressed, but without glare. The front f 
 part of the scene is low in tone, with a sonorous depth in its | f 
 colors. Far overhead is a pale blue sky, full of light, which Ww 
 strikes down upon a distant wall of rocks. Doubtless they 
 
 are almost calcined by the heat, but distance softens the in- 
 tensity, and that strip of deep blue water also, while it tells of 
 heat, helps to cool the canvas. The scene is a little natural 
 harbor, apparently of horseshoe form, with an antiquated fort 
 upon this nearer spur, on which a group is gathered. Some 
 are engaged in loading donkeys and bringing up merchandise 
 from the shore; others sit wrapt in their dark draperies, while 
 others, again, are stretching their brown limbs along the hot 
 ground; for even in the low-toned parts the atmosphere 
 fairly hums with heat. The picture is vividly suggestive of 
 local life and natural features, but the knowledge is tempered 
 with such masterly reserve and enforced with so much artistic 
 cunning that what might have been merely brilliant and vi- 
 vacious is elevated to a preéminently dignified canvas. 
 
 Signed at the right, dated 1853. ae ae 
 
 ag bese 
 
 - Owned by Mr. Bonner. 5 a “ 
 Hetght, 13 ‘incheas length, 22% inches. 
 
 DAUBIGNY Pg ae 
 
 (Ci4F.) \ 
 
 41—The Cliff at Villerville — balers Em. 
 
 There is the suggestion here of freshness after rain and the 
 impressive contrast of cool, darkening earth and foliage with 
 a tender sky still retaining a little light and warmth. | Filmy 
 clouds of pale violet move across the sky, which shows deep 
 blue overhead and rosy. white at the horizon, where it meets 
 the greenish blue of the water. The bulk of the trees and 
 bushes and the solidity of the ground are strongly expressed, 
 the quality of the color is excellent, and a quiet pocig, elvis 
 pervades the picture. ee Col fei. 
 
 ed gt epty Z ip 
 
 Signed at the right. | 
 
 Owned by Mr. Bonner. | ; 
 sktndgos 1334 inches ; eet 22/6 lichen. 
 Js Ai # 
 
 Vv A < i Ag Ft 
 
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 a WYANT 
 
 (A. H.) 
 
 42—White Pincha MM. the Adirondacks 
 
 A glimpse of the aah in het early spring. There 
 are white birches, gray rocks piercing through the blue-gray 
 grass and brown dead ferns, and we see masses of pearly 
 clouds, parting to show a patch of pale blue. It is a harmony 
 of gray and white with a sprinkle of stronger notes ; the whole 
 sensitively delicate with a feeling of pure nimble air. 
 
 Signed at the right. 
 
 Owned by Mr. Bonner. 
 Height, 25 inches; length, 32 inches. . 
 
 (c.E)\) ae 
 1, \ AV 
 43—The Farm LAGS 
 
 A picture of rich tone and homely poetry. A patch of light 
 lingers in a sky flustered with clouds ; the shadows are creep- 
 ing over a cluster of sturdy cottages with mossy thatched 
 roofs, dull red chimneys—one sending up a lusty volume of 
 smoke ; over sheltering trees and smaller fruit trees and the 
 hedge that snugly fences in the garden. Outside is the pasture, 
 dotted with bright-colored fowls, where a man and woman 
 kneel at some occupation. It is a scene of simple prosperity, 
 of rest succeeding to contented labor. An early example of the 
 artist, painted when he ranked high as a colorist. 
 
 ow. 
 
 Signed at the left. co8. re 
 
 Owned by Mr, Bonner. 
 Height, 73{ inches; length, rr34 inches. 
 
THAULOW 
 
 e GRIT). oy 
 44 —Winier PG IOS 
 
 Here is a work joyous in its brilliant coloring and sense of 
 brisk air and clear atmosphere. Yet how knowingly the bril- 
 liance is controlled ; hence the joyousness, rather than a mere 
 gratified sensation. Consider that the color scheme is a play 
 upon red, white, and blue—perhaps the most difficult com- 
 bination to treat pictorially—and one begins to appreciate the 
 skill with which harmony has been obtained without loss of 
 accent. The left half of the picture is in faint shadow, the 
 rest in bright light. The deep tones are set in the stream, 
 and how the iciness and flow of the water are expressed! The 
 snow-covered land and the two red houses are the top notes, 
 both modulated in the shadowed parts and attuned to the blue 
 by the yellow-green stems of the trees, their transparent blue 
 shadows, and by the tawny foliage at the back, and the pale 
 greenish sky. However, these are mere words, a slight 
 analysis of the painter’s science ; and, after all, the picture 
 itself speaks to better purpose. Its union of realism with 
 pictorial quality of the most attractive sort is amazingly com- 
 plete. 
 
 Signed at the right. 
 Owned by the American Art Association. 
 
 Height, 25% inches; length, 34 inches. 
 
 COROT 
 (J. B. C.) 
 
 45— The Mill 
 
 A pleasant scene of village prosperity. A meadow in the 
 foreground, across which a woman is walking, leads to a 
 stream bordered by trees. On the right is the mill, with gray 
 stone walls and dull red roof. Smaller cottages appear on 
 rising ground, above which gardens are laid out, separated 
 by a white wall from a coppice of dark trees which stand out 
 against a pale gray-blue sky. The composition is well 
 planned. There is largeness of feeling in this canvas, and 
 a purity of atmosphere most admirable, 
 
 Signed at the left. eS et 5 aut i} rel 
 
 he 
 
 Owned by Mr. Bonner. i Poth, eE atl 
 
 ; Height, 121% inches ; length, 13 inches, 
 
RAFFAELLI 
 
 (J. F.) hort bat 
 Pa i ; adj ; 
 
 —46—Street at Neuilly \¥- , af 
 
 Instead of the brisk stir of the city, there is here the drowsy 
 movement of a country town. The outward characteristics 
 and the spirit of the scene have been seized and expressed with 
 equal felicity. The picturesque irregularity of the buildings, 
 the little square and trees, children coming from school, a 
 tradesman’s cart waiting by the curb, a nurse and baby, road- 
 men at work, saunterers and loiterers—all are true to life, 
 and pervading the whole scene is that air of simple, leis- 
 urely pleasantness so characteristic of a little French town, 
 The emphasis of the picture is a widow near the foreground, 
 conversing with a man in dark brown clothes. In sentiment 
 and handling it is a more than ordinarily charming example 
 
 of this clever artist. Pe, A V's 
 : \? 0 gs e: 5 et e ne ; 
 
 Ww pS 
 j i er : 
 
 Signed at the right. 4 
 Owned by the American Art Association. 
 
 Height, 25 inches; length, 30 inches. 
 
 t \, 08?" CAZIN 
 
 3 Sam . hn Bg 
 47—Crépuscle ee ee 
 
 wan # Bo me ae 
 
 from the collection of M. Coquelin, the celebrated French comedian. 
 
 Intimate observation of nature is shown in this picture. 
 4 4 Note the definiteness, almost hardness, of the field and shocks 
 
 4 of corn. The moisture has been sucked from:the earth ; it 
 
 | lies heavy on the horizon, in a bank of purple haze which red- 
 ‘i ; dens the sinking sun. By contrast with the horizon, the yel- 
 4 N§ low field, pale in the fading light, counts cold and a trifle 
 4 hard ; the green at the top of the slope, because it has more 
 : affinity with the purple gray, less hard. Such light as there 
 
 is, is high up in the sky, but at our point of sight does not 
 strike the foreground. All this is strong work, rejecting the 
 temptation to sentimental effects and giving truth, but so 
 : pictorially that the frank statement does not jar upon one. 
 The harmony, in regard both to atmosp eré and color, is 
 
 complete. { 
 
 | Signed at the left. if | ae \ pl 
 i Owned by the American Art aay “ { oA : gt 
 
 Height, 23 inches; length, 29 inches. 
 
 t 
 
MAUVE 
 
 48—The Close of Day 
 
 _ This is a picture of strong feeling. The surroundings of 
 laborious peasant life, contrasted with the sky, are almost 
 spiritual in their suggestion of solemn benediction. In the 
 gathering gloom, the cottage on one side of the road, the 
 small outhouses on the other, the bunch of trees beyond, form 
 a mass of dull browns, grays, and greens, relieved by the 
 blue clothes of aman gathering wood. One treesprinkles its 
 slender limbs and foliage against a pale primrose sky just 
 tinged with lingering sunglow. Higher up is a streak of 
 pigeon-hued clouds, and then a canopy of gray haze. The 
 
 day’s labor is completed ; darkness is succeeding daylight; | 
 
 and a mother standing, babe in arms, at the cottage door, is. 
 
 calling the husband to the last meal of the day. 
 
 Signed at the right. _ 
 
 Owned by Mr. Bonner. 
 Height, 22 inches ; length, 30 inches. 
 
 MAUVE 
 
 (ANTON) 
 
 49—Return of the Flock 
 cet (Water Color) 
 
 Delicate tonality, vigorously expressed, and a sentiment, 
 gracious rather than strong—well-known characteristics of 
 this painter—are here seen in happiest combination. A row 
 of cottages line one side of the road, on which a shepherd 
 stops to chat with a woman, while the flock waits passively 
 in front of him. The sheep are drawn with thorough knowl- 
 
 edge; those in the foreground well individualized, with clever 
 
 differences of craning necks, very sheeplike ; the mass sug- 
 gesting bulk and movement, as well as the texture of loose, 
 long wool. The latter, brushed in with freedom and certainty, 
 reflects the pale light of a sky which grows slightly warmer in 
 tone towards the horizon. Thecool green of a patch of fenced- 
 in grass and the solidly painted gray cottages ‘add force and 
 substance to the delicate vibration of the lighter parts. 
 
 Signed at the right. 
 Owned by the American Art Association. . : 
 Height, 25 inches; length, 35 inches, 
 
 (ANTON) f 2 4) sb 
 
BESNARD | 
 (P. A.) et 
 
 so—The Waning Year ~ 
 
 é * The poetic feeling in this picture is due much less to the 
 
 i little allegory of the title, which, one may suspect, was an 
 
 i after-thought, than to the color scheme. Stated simply, it 
 
 \ | seems to be a problem of conflicting yellows, paling or warm, 
 j according to their degree of light and the surface which they 
 
 . play upon. The light is from above and cool ; the flesh tints 
 of the hand, raised upon the staff, are normal. But the girl's 
 face is inshadow, its soft texture taking amber reflections from 
 the yellow gauze robe. The latter, by reason of its hard, dry 
 surface, is pale and cooler as compared with the shining leaves 
 that fallin a shower across a background of deep blue, broken 
 with green and gray. Still further to take the color, as it 
 were, out of the yellow, a portion of a white chemise is shown 
 above a purple bodice. It is a strangely interesting problem, 
 the fascination of which grows by familiarity with the picture. 
 
 Signed at the 
 
 Owned by the American Art Association. 
 Height, 24 inches; width, 19% inches. 
 
 ae VOLLON 
 
 A ae ) (ANTOINE) 
 a ra 3 
 | ot 51—Landscape 
 Here is the work of a giant revelling in his strength. The 
 
 5 
 
 ; 
 
 : 
 
 spacing is so generous, the color rich in quality, and the brush- 
 
 } work stimulating in its breadth and certainty. On the left of 
 
 the scene the sky is blocked with a slaty mass of storm-laden 
 
 . cloud ; elsewhere the blue appears, and, almost in the centre, 
 a great bellying cloud gleams warm in the light. Against it 
 the red and white of the cottages, the browns and greens of 
 the vegetation, and the sandy road stand out coldly distinct. 
 The picture must have been attacked in a burst of enthusiasm 
 and then finished with all Vollon’s faithful care for color, light, 
 and texture. 
 
 | Signed at the left. 
 
 Owned by Mr. Bonner. 
 Height, 2534 inches; length, 3634 inches. 
 
(J. F.) hy , eat fv 
 
 teo 
 52—Nourries, Place de la Concorde 
 
 Two nurses stand in front; one back to us, with long red 
 ribbons hanging down over the pale blue cloak, the other 
 facing her, in a cloak of dark slate color, with light blue rib- 
 bons, and holding in her arms a baby wrapped in a white 
 shawl. Behind them stretch the trees of the avenue, bare of 
 leaf; and over the wide gravel path and along the road that 
 borders the trees are sprinkled moving figures and carriages. 
 A little back of the immediate front is a subsidiary group, 
 consisting of a woman and two children with fawn-colored 
 dresses; behind them being a canvas booth of white and 
 crimson stripes. There is a breezy sky ; distance and breadth 
 are finely expressed, and, notwithstanding the dulness of 
 color, the scene is agreeably animated. 
 
 Signed at the right. ~ 
 
 Owned by the American Art Association. 
 Height, 31% inches; length, 3634 inches. 
 
 POURBUS 
 
 (THE YOUNGER) , ayer 
 
 53—Portratt of Jacques dA igremont ¢ Governor 
 of Antwerp, 1578) © ./9) 
 
 Be 
 . oe By & 
 5 ME BoP 
 
 As in the companion portrait of d’Aigremont’s wife, the 
 painter has rendered the air of distinction as well as the vital 
 characteristics of the sitter, There are a nobleness and 
 authority about the canvas, in its arrangement of large 
 masses of rich, luminous color, quite in keeping with the 
 bearing of the subject. Over his black doublet, elaborately 
 quilted, he wears a robe of the same color, its rolled collar 
 and lining being of gray silk with a damask pattern in gold. 
 A row of gold buttons runs from the right shoulder, and a 
 chain of the same metal hangs below the crimped ruff, which 
 frames in the strong, clear-toned face with its delicate Van- 
 dyke beard. The vivacity of the brush-work is admirable, 
 sensitive in parts, and broad in others, and the ensemble is a 
 grand canvas in fine condition. . 
 
 Owned by the American Art Association. 
 Height, 28 inches ; width, 24 inches. 
 
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 20) ene wari in eg 
 
 -POURBUS. 3, 
 
 « . (THE YOUNGER) ~ , 
 
 54—Portratt of the Wife of des @ Aigre- 
 mont (Born Anne a’ Ursel) é. ) an ir 
 
 } of 
 
 This picture, like the companion one of the lady’s husband, 
 ; affords a splendid endorsement of this painter’s reputation for 
 i giving to his portraits life, spirit, and strong resemblance. 
 N The last, one must take on trust; but of the two other quali- 
 
 ties, the evidence is here. There is a living personality in 
 the face, and hint of character in the tranquil, kindly expres- 
 sion and the latent mirth in the eyes and mouth so noticeably 
 responsive to each other. The head is finely set against the 
 high collar of lawn edged with point lace, behind which is a 
 dull green background with a rose-colored curtain, bearing her 
 coat-of-arms quartered with her husband’s, Her costume is 
 a black dress with pointed bodice and puffed and padded 
 sleeves ; adorned profusely with pearls and jewels. Thecan- | 
 vas is ‘rieh 3 in color and “adhe decorative. | 
 ” Au bch BS Woes ' 
 
 Owned “e4 the Aanetiean t Association. 
 
 ~ Height, 28 inches; width, 24 inches. 
 
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 vai j 55— Tbe Deserted House. l, ve. 
 
 f The eye travels across a stretch of grass-land, darkened 
 
 ; and cheerless, towards a deserted house, obscurely visible 
 
 Ni against a sky rose-flushed on the horizon, and mounting up 
 in clouds that are seamed with rifts, through which the wan- 
 ing light penetrates, The feeling of the picture is intense, 
 almost to solemnity. | é 
 
 £ 
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 Signed at the right. 
 
 Owned by Mr. Bonner. 
 Height, 9 inches; length, 12 inches. 
 
56—Dutch Landscape 
 
 A mellow sunlight fills the picture, flooding an open stretch 
 of cultivated land and filtering through the foliage of sturdy oak 
 trees that stand about a roadway in the foreground. A wagon- 
 load of peasants is driving home ; two woodsmen have paused 
 
 in their work, and other figures are following the winding of 
 
 the road, which passes behind the trees into the sunshine. 
 Spaciousness and light are well depicted, the trees are drawn 
 with much truth as well as conscientious detail, and the general 
 feeling of the whole is tranquil and happy. 
 
 NOTE 
 
 This canvas is signed ‘‘ Hobbema.” The owner: wishes it stated that he 
 does not consider the picture characteristic of the artist, and that he did ‘not 
 buy it under the impression that Hobbema painted it. “However, it is a very 
 interesting Dutch landscape, and there is no reason to doubt its age. Few 
 modern painters could more effectively, yet without exaggeration, have ren- 
 dered the effect of sunlight shining between widely spaced trees. Had truth 
 to values been more considered, the foreground and the more distant parts 
 would bear a better relation to one another. This picture is to be sold on its 
 merits as a canvas, without regard as to who painted it. 
 
 Owned by Mr. Bonner. Aaa 
 ee ae Wyte 3. Height, 34 inches; length, 43% inches. 
 
 WYANT 
 
 (A, H.) 
 
 57—The Last Glow 
 
 There is a beautiful feeling in this picture. Wild flowers 
 are sprinkled over the moist grass. In the hollow with 
 shelving banks, what a sense of hush, of mystery, in the dark 
 foliage of the trees that form a screen across the sky! The 
 rosy yellow of the horizon fades into pearly gray, with purple 
 vaporous clouds—a sky of idealized tenderness. 
 
 ° . M ae 
 Signed at the right. AK extn, prt 
 P Li a : 4 ¥ ; 
 Owned by Mr. Bonner. ~ Q 
 
 Height, 16 inches; length, 24 inches. 
 
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 PA - 
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 JACQUE 
 
 one 
 58—The Pigsty 
 
 Shall one more admire the vigorous truth to life in the pre- 
 sentment of these jostling pigs straining towards the trough, 
 or the skill which has produced a harmony of color that 
 glows like a topaz? The dominant note is golden brown, 
 fused with rich dull greens, and relieved by a passage of 
 cold blue. What an expression of effort is found in the bodies . 
 of these pigs! And how characteristically they are painted ! 
 
 Signed at the left. 
 
 Owned by Mr. Bonner. 
 Height, 6 inches; length, 8 inches. 
 
 WYANT 
 
 (A. HL) 
 
 59—Mpystic Rays 
 
 This is a very distinguished littlecanvas. Simple enough in 
 matter—twilight settling down on meadowland, and a hut and 
 trees nestling against a gray-white sky—it is painted with the 
 vigor that expresses intensity of feeling. Particularly notice- 
 able is the suggestion of suppressed light that fills the picture, 
 haunting the browns and greens of the grass, and stealing all 
 through the sky. It represents the poet-painter in a very 
 earnest mood. 
 
 Signed at the right. 
 
 Owned by Mr. Bonner. 
 - Height, 8% inches; length, 15% inches. 
 
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 MONET te 
 
 (Laure) 6 ¥ 
 
 60—West Front of Rouen Cathedral in a 
 Light Fog 
 
 This is one of the famous series in which Monet studied the 
 Cathedral at different times of day and in various conditions 
 of light and atmosphere. On this occasion it loomed up 
 from a light fog. Down near the base of the great facade the 
 mist is blue, impenetrable ; out of it gradually emerge tower, 
 buttresses, pinnacles, dark arched windows, and gabled end— 
 the stupendousness as well as the suggestion of its infinite 
 _ detail—catching high up, in parts, the glow of sunshine. One 
 has seen the Jungfrau rising out of a wave of cloud, the purity 
 of the snowy peak aloof in asky of turquoise and caressed 
 with the mystery of light. That was nature idealizing herself. 
 Here, it is one art illuminating for a sister art her mighti- 
 ness, mystery, and spirituality. Ifyou wish the facts, as such, 
 you can buy a photograph. This is much more—the soul of 
 the matter, and not without due suggestion of the material 
 charm ; only one is made to feel it ratherthan to see it. Nor 
 is this all. Besides the poet’s vision, there is the painter's 
 profound knowledge of physical phenomena, and also the ex- 
 quisite beauty of the canvas in a way merely pictorial. 
 
 Signed at the left, and dated ’94. 
 Owned by the American Art Association. 
 
 Height, 39 inches ; width, 26 inches. 
 
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 a : 61—West Front of Rouen Cathedral—Effect 
 | of Morning : 
 
 This is still another variation on the theme which Monet 
 studied with so much devotion. Nearly all the morning haze 
 has been drawn up into a clear, pale sky, only enough remain- 
 ing to form a web through which the masses of the architec- 
 ture loom with soft distinctness, and much of the detail is 
 felt. Down near the ground the veil is denser, the hollows of 
 eee Mee se the great arched entrance glowing faintly orange. Higher, 
 i) eh the vast pile grows warm in the quickening light; parts, here - 
 aie and there, catching its direct glow, while the fretwork of 
 masonry at the top shows cool and distinct against the deli- 
 cate sky. The sentiment of this picture is akin to that of the 
 others in the cathedral series, representing a poet-painter’s 
 conception of a masterpiece by artists in another craft. The 
 majesty of bulk and proportion, the infinite variety of enrich- 
 ment appeal to him, but not alone in their material manifes- 
 Re : tation. What he felt far more was the indwelling spirit of. 
 | the whole, the inspired suggestion of each and every part, as 
 every earnest visitor feels in his dumb way; and it is to this 
 that Monet has given expression. 
 
 Signed at the left, and dated ’94. 
 
 Owned by the American Art Association. erat fe 
 Height, 39% inches ; width, 25% inches. 
 
(CLAUDE) * e 3 %¢ 
 
 62—Rouen Cathedral. West Front and 
 Tower of Albanc—Morning o 
 
 This is another of the series. The time is early morning } 
 on some day when there was no mist, but the clear light still j 
 tender, limpid, and caressing. The majesty of the west front \ 
 is veiled in shadow, a penetrable blue, through which one AZ 
 feels rather than sees the noble mass and the rich imaginings . Ree és 
 of the artist’s chisels. Out of the cool depths the mighty /\ © 
 tower rises to greet the young light, which kisses its hoary 
 face into a bloom of rose and yellow and violet. The play is 
 cut short by the gold frame. After all, it is only a picture; but 
 the inspiration of the poet’s vision extends beyond—as far, in 
 fact, as our imagination is able to receive it. The picture, 
 like the rest of the series, is a modern artist’s tribute to 
 brethren of another craft long dead and forgotten. Their 
 inspiration has descended upon him; he has caught it, and 
 flings it upon canvas with a wealth of new interpretation. 
 
 Hip 
 ZS 
 
 . Signed at the left, and dated ’9q4. 
 
 Owned by the American Art Association. 
 Height, 42 inches ; width, 28 inches. 
 
 ee 
 
 g Pree Ng 
 z a LA pgs es pt i 
 gL “MONET ee eerie 
 
 (CLAUDE) 
 
 : a a 
 63—An Old Church at Vernon "| 
 Heit. AAS BY Sate: ‘ i 
 Only that it is not inverted, the ‘Scené ‘for a mohaent seems j 
 a mirage. The church, trembling in the dreamy light ; trees, f 
 just soft shadows ; the terrace-like ground peering through Leg 
 the mist, and the water below a mere suggestion—all faintly f 
 loom up above clouds of vapor. But the vapor has too little 
 luminosity for sky; it clings to moist, cool earth, moving 
 heavily below, growing more and more volatile as it rises, 
 and yields to the dispersing warmth. The picture represents 
 the mystery of awakening warmth and light, a daily miracle 
 unheeded by most of us, but here expressed with extraordi- 
 nary subtlety and an intimacy with the marvel that has only 
 increased the painter’s reverence for it. 
 
 ‘ 
 BY 
 by 
 
 Signed at the left, and dated 1894. 
 
 Owned by the American Art Association. 
 : Height, 26 inches; length, 36 inches. 
 
be as > 
 
 - MONET : 
 ar 
 
 2 wo 
 
 mood is on him, as well as evanescent effects of light and air. 
 It was evidently so when he painted this picture. ‘The con- 
 trasting masses of white, compact masonry and dark, full tree 
 forms interested him ; notably the pompon shape of one tree 
 with two attendant tufty bushes. But though realism attracts 
 him, he is no mere literalist. He sets himself, while repro- 
 ducing these contrasts, to further contrast them with their 
 own differentiating values when reflected in water, and gains 
 still another touch of contrast by means of a streaky sky of 
 rose and creamy gray, and feathery, loose vegetation in the 
 foreground. There is thus an interplay of motives, resulting 
 in an ensemdle a little fantastical, but as subtle in feeling as 
 it is strong. : 
 Signed at the left. 
 
 Owned by the American Art Association. 
 Height, 24 inches ; length, 32 inches. 
 
 MONET 
 
 (CLAUDE), 
 
 D : ; < Ae 3 
 65—La Pluie \ i} yt 
 
 Here is the delicate beauty of an April shower. | The soft 
 sunlight is not banished ; only chastened by the moving, in- 
 termittent threads of rain, The words run to one’s pen that 
 it is light filtering through a gauze. But that will not do. 
 Light and rain are interwoven as woof and warp, and the web 
 ‘5 no mere surface, but penetrable, web behind web indefinitely. 
 Through it the young vegetation takes on more purity of color, 
 and the glare of white buildings and sandy road becomes 
 softened. Smile and tears are intermingled, and the smile 
 
 prevails. Na ie 
 ; } ay Ye hy 
 Signed at the left. at 
 
 Owned by the American Art Association. 
 Height, 24 inches ; length, 29 inches. 
 
 7-B 52/65 Ht 16 Kap. 
 
eat yy; ‘ 
 
 (CLAUDE) x A ni ¥F 
 
 66—The Haystacks, Givern a) 
 
 This is a fine rendering of clear light and fresh air, obtained 
 with little sacrifice of the solid characteristics of the scene. 
 The latter is a variation upon one of the painter’s favorite 
 themes, his neighbor’s haystacks, which he studied from his 
 own garden. There is one near the front of the picture on 
 the right, two others in receding planes ; the field is yellow, 
 freshened with tender green, as hay fields are after the crop 
 is gathered. Beyond is a lattice-work of tall trees, with 
 feathered stems and bunchy tops quivering in the air, and be- 
 hind them a strip of golden corn and swelling woodlands, 
 blue with atmosphere. Overhead white clouds dappleaclear 
 gray sky, large and luminous. The stimulating freshness of 
 the ensemble is enforced by the contrast of rose tones in the 
 half-shadows of the-haystacks ; an artifice, beautiful in itself, 
 which possibly strains a truth of detail, but secures the larger 
 truth of the whole. | f 
 
 Signed at the right, and dated 1884. a ( 4’ 
 Owned by the American Art Association. 
 Height, 26 inches ; leng : » 32 inches, 
 
 MONET \:° | 
 (CLAUDE) %% 4 
 
 > 
 
 67—Meadows, Giverny, F On Ae P 
 
 Storm threatens. The sky Mets over with a compact 
 mass of rain-swollen atmosphere, a lurid purple red, against 
 which the ground and trees stand out sharp and vivid. The 
 yellow haystacks are dulled to brown, but the grass and 
 foliage quicken into shrill green and cold blue. The unity 
 of effect is complete, its fidelity to nature extraordinary, and 
 the force of the whole impression tremendous, 
 
 Signed at the right, and dated ’gI. 
 Owned by the American Art Association. 
 
 Height, 26 inches ; length, 36 inches. 
 
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 >. MONET } 
 ¢ . & 
 
 (CLAUDE) \ o 
 
 68—Folise de Carengeville, Diehpe 
 
 Light, buoyant air, dee ndeur « ie ‘bulk ‘andl strength and 
 color; what invigoration this canvas gives! The sky is a 
 blue, rinsed clear of haze, and floating on it are shreds of faint 
 cloud propelled by the free passage of air. The light plays 
 softly over the front of the church, and in and out between the 
 cluster of gables nestling beneath the low-pitched spire, It 
 is old with pointing the haven to home-coming ships, and 
 gray, even fragile, by contrast with the great stretch of the cliff 
 and the ruddiness of its eternal youth. There is a dip of 
 shadow to the left, and one or two projections catch the full 
 sunshine ; for the rest, the sheer wall of rock is bathed in 
 warm lesser light, which ripens its variety of tint. At its foot 
 slumbers a deep blue shade, parting it from the warm sand. 
 In breadth and force, no less than in its discriminating values, 
 this picture is superb. 
 
 Signed at the left. 
 
 Owned by the American Art Association. 
 Height, 24 inches ; length, 29 inches. 
 
 MONET 71> ae! 
 
 12 ow te 
 (CLAUDE) flat 
 
 69—Serie les Peupliers temps Couvert 
 
 What an“arresting’*picture! Its decorative beauty affects 
 one first ; that fine swirl of movement in the foliage, the ele- 
 gant repetition of theslim tufted stems, the fresh, pure color, 
 and the delicious equipoise of full and empty spaces. But it 
 is far more than simply ornamental. The knowledge displayed 
 in adjusting the diminishing values of the receding trees is 
 profound, and the picture sets one’s imagination moving from 
 a pensive mood to one of elevation. How far is the imagina- 
 tion stimulated by the break in the coil of foliage on the left 
 
 of the picture? Depend upon it, very much. You may call 
 
 it merely an artistic trick, but really it is one of those appeals 
 from sense to imagination by which the great artist creates. 
 Signed at the right, and dated r8qr. - 
 Owned by the American Art Association. 
 Sek ae Height, 36 inches; width, 29 inches. 
 
_ When an artist paints his own home one nay sicaheol a sym- ff 
 pathetic picture ; also, perhaps, a very characteristic one. At cA 
 any rate, there is no evasion here of the simple facts: the Ff 
 long, low white cottage ; outhouse, partly tumbled down ; V 
 
 another cottage ; the steep, bumpy ground, with white flower- 
 ing blossoms, and patches of red soil showing between the 
 tussocks of grass, and the remnants of a fence. Cazin is so 
 far a realist that though he may add poetry it is not at the 
 expense of truth. And there is a poetry in this picture. That 
 glimpse of sea on the left, cleverly suggested to be far be- 
 low, hints at the health and freshness on this bluff of coast. 
 The sky is large and luminous, free of clouds, and the 
 warmth of its rosy gray penetrates the scene. There is a 
 quiet and happy strength in the picture ; spontaneous feeling 
 in the broad and vigorous brush-work ; a color scheme more 
 generous than usual. Heart and brain and hand have co- 
 } operated unreservedly. 
 
 : 
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 * 
 ~*~ 
 
 a9 at the right. . 
 Owried by the American Art Association. 
 abe ah a Height, 32 inches ; length, 40 inches. 
 
 COROT 
 (J. B. C.) 
 
 71—The Sylvan Dell 
 
 A pathway between grassy banks, disappearing through 
 trees, with a peep beyond of pale blue sky that deepens over- Sud 
 head and is shredded into clouds ; a peasant woman is stoop- V 
 ing to pick a flower, and farther back are two other figures 
 and a goat. The light is cool and clear, and there is a fresh- 
 ness in the gray-green foliage yellowing here and there. The 
 tender foliage swaying in the breeze completes — poem of 
 landscape painting. 
 
 , Fe AP en ‘ eu? 
 Signed at the left. \A Ss “ut ty ee 
 fer ; ae: i 
 / 
 
 Owned by Mr, Bonner, ae pe 
 “Height, 13 inches; length, 16 inches, 
 
 & 4 
 Pk ee im Pn 
 
 D Pn ee Fey be 
 
a DAUBIGNY 
 
 (C. F.) 
 
 72—Evening on the Seine 
 
 One looks across a stretch of silvery water, shallow at the 
 edge. Boats are moored along the opposite bank, which 
 mounts steeply on the right to a group of stone cottages with 
 red tiled roofs, sheltered by a bunch of trees, alongside which 
 two solitary ones stand like sentinels, dark against a sky 
 flecked with rose on the horizon, passing to dove hues that 
 merge into white above the village, It is a point of land 
 shelving to the river, which winds to the left, and is lost to 
 view in the distant haze, This picture is invested with a deep 
 feeling of tranquillity, and at the same time it isa powerful 
 performance and is masterly in certainty of touch. 
 
 Signed at the right, and sien 1874. iy ‘ 
 Owned by Mr. Bonner. Aye Ay ve U 
 
 r Height, 13 inches : ; length, 26 inches. 
 } 
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 | TROYON 
 | (CONSTANT) 4 G ee rig 
 
 73—Landscape and Cattle owe bet = 
 
 A most admirable example of Troyon’s tonal power and 
 minute knowledge of nature. There is a storm in the dis- 
 tance; the scudding of clouds lets the sun shine through in 
 fitful gleams. <A shudder of air is coming up from the dis- 
 tance; a horse nervously sniffs at it; two of the cows instinc- 
 tively turn their backs to it; a third, sheltered by its companion, 
 is lying down; while another is still feeding in a hollow, for 
 the meadow is a series of knolls and dips. The focal point of 
 light in this picture is the white and red cow in the centre, to 
 which all the other lights of the picture are rhythmically grad- 
 uated in a most skilful arrangement. In this picture we find 
 Troyon’s greatest charms—beauty of landscape, the portrayal 
 of animal life, and the happy blending of both in a manner 
 which has given him the highest rank in pictorial landscape. 
 All that may be said in praise of Troyon’s landscapes is re- 
 vealed in this canvas, crowned with a most masterly sky. 
 
 Signed at the left, and dated! 857. 
 
 Owned by Mr. Bonner. nei, 
 iS, Height, 188 inches ; weds 27% inches. 
 
: “L fe oe . | INNESS 
 
 “yj (GEORGE) 
 
 74—Spring Blossoms, Montclair, New Jersey 
 
 Unity of feeling and harmony of tone, the more subtle be- 
 cause of the scale of color, are the characteristics of this 
 picture. The subject is an orchard in blossom under the 
 paling light of afternoon. The pale blue of the sky, gathering 
 mist on the horizon, and the gray-green grass fill the larger 
 spaces of the picture. Near the fronta mass of blossom gleams 
 yellow in the sunlight ; far back in the sky the moon is trans- . 
 parently white. These are, respectively, the focus and van- 
 ishing points in the color scheme. There is a bunch of pale 
 yellow blossoms, another of pink; and the same are echoed 
 in the fleecy clouds. A row of slender trees, just budding, 
 helps the exceeding tenderness of the scene, which is strength- 
 ened by the solid mass of the house, by the smooth carpet of 
 green, and particularly by the figure in the foreground. The 
 ensemble is skilful in treatment and inexpressively sweet in 
 feeling. 
 
 Fxg 
 
 + 
 
 Signed at the left centre, and dated 18894" ia: uf Oe Baw! 
 
 ¢ 
 
 Owned by Mr. Bonner. oa tae: 
 
 Height, 30 inches ; length, 45 inches. 
 
RUYSDAEL oh 
 
 (JACOB) 
 75—The Squall IW Soe 
 
 From the private collectio - the late William Schaus. © / ted a 
 atahaeactcayeeinassciiny 
 
 What a grand intensity throughout this picture! In the 
 luminosity of the sky, suppressed yet felt ; in the color tones 
 for all their sullenness, and in the force of wind and water. 
 Out of a dark bank of clouds, low down in the sky, which 
 shows blue and lighter through gaps in the scudding clouds, 
 a smart breeze is racing behind the incoming tide. The gray, 
 curdled water, almost black in the hollows of the waves, 
 breaks back from a little wooden jetty in shreds of white spray. 
 In the gloomy offing looms a ship at anchor, the red bar of 
 her Dutch ensign lending the one warm note to the picture. 
 Smacks at various distances are heeling over in the wind ; 
 a few figures are gathered on the jetty, and behind it appear 
 the masts and sails of a vessel. Grander even than the fidelity 
 and vigor with which the physical phenomena are rendered, 
 is the unexpressed force of power, which one is made to feel. 
 It is a noble picture. . 
 
 Signed at the right. the a 
 Owned by the American Art Association. Y at 
 oe: 
 
 Height, 33 inches; length, 29% inches¢, 4 
 
LAWRENCE Wh" 
 
 (SIR THOMAS) 
 
 78—Portratt of the Countess of Wilton 
 
 en eee is an air of authority and conscious worth in the 
 pose of this seated lady, quite in keeping with her ample pro- 
 portions and the simple richness of her costume. She wears 
 a black velvet dress of Empire design ; the shoulders covered 
 with white lace and her head with a close-fitting cap of the 
 same material, The sleeves are short, terminating in black 
 lace, looped up with a jewel; a fawn-colored glove reaches 
 nearly to her right ‘elbow, which rests on the arm of a red- 
 upholstered chair, and her left hand raises lightly the gray 
 -boa which hangs from her shoulders. At the back is a ground 
 of brownish green and a dark red curtain. The various tex- 
 tures are well rendered; the face is firmly modelled, with much 
 suggestion of character, and the flesh hues, notwithstanding a 
 blackness in the shadows, are fresh and clear and Lobupoipig in 
 vigorously. 
 
 Owned by the American Art Association. 
 Height, 4434 inches ; width, 34% inches. 
 
Sat ie 
 
 Tipe. 
 Rae 
 
 PBR Re aes 
 
 DIAZ 
 (N. V.) 
 Ma 
 
 Fpraggedis 
 (FS 
 
 This splendid campy ‘ts Diaz in his grand mood will be 
 remembered as belonging to the late Charles A. Dana, rank- 
 ing with those other masterpieces in his collection: “ Danse 
 des Amours” and ‘‘ Paturage des Dindes.” The pool, which 
 gives its name to the picture, reflects in fainter hues the 
 brilliant blue of the sky and the warm white of the flocking 
 clouds. Below them the horizon is a dark slate, ripped by a 
 glare of white, against which the distant stretch of land shows 
 a cold purple. In this part there is threat of storm; but,- 
 higher up, the sky is luminous with light, which flows through 
 the oak glade in amber waves, lapping the sward and fern 
 and masses of foliage, stealing in and out between the trees, 
 breaking upon stems and branches in flecks of brilliance, and 
 bathing the shadowed parts with warmth. The wild luxuri- 
 ance of growth is depicted with a master hand ; the tangle of 
 the forest is suggested, yet each of the foremost trees has its 
 own individuality. The strength and lavishness of the artist’s 
 imagination ; his color power, all the more wonderful here for ' 
 its magnificent control; his mingling of breadth and style and 
 profound ee ae nature, are all revealed in this 
 
 superb canvas. ny f Y ZA Awe 
 ri Fr : * tae hin, 
 
 Signed at the oe nea dated 1876, 4 vA 
 a of tom 
 
 Owned by the American Art Association’ 
 
 Height, 31% inches; length, 41% inches. 9 
 
RAEBURN. | : 
 (SIR HENRY) a “Ry 
 
 78—Portrait of Mrs. Carlisle i. A 
 This is a particularly fine example of the Edinburgh mas- 
 ter. The gentle breeding, quiet force of character, and reli- 
 gious habit of life are expressed with remarkable suggestive- 
 ness. The lady is seated sideways on an oak chair with red 
 leather back. She leans back slightly, with the head brought 
 forward in a very gracious pose, her hands laid quietly one 
 
 over the other upon her lap. She wears a black velvet robe, . 
 
 which clings to her form and is cut square upon the shoulders 
 and straight across the bosom, the edges being softened with 
 a filling of lawn. From her neck hangs a slender gold chain 
 terminating in across. The dark hair is gathered into a knot 
 at the back and bound) by a snood of delicate lace, which is 
 fastened at the throat by a little coral clasp. All these details 
 are admirably painted, and the flesh tints are pure. In her 
 features the lady is scarcely beautiful ; but the eloquent poise 
 of the head and its dainty snood, the graceful sweeping line 
 of the arms and figure, thé sweet benignity of character which 
 all these indicate, as well as the sincere affection with which 
 the painter has handled his subject, make it a beautiful 
 canvas. 
 
 Owned by the American Art Association. 
 
 Height, 36 inches; width, 28 inches. 
 
~s } RAEBURN 
 
 ANY A (SIR HENRY) 
 
 79—Portrait of Mr. C arlisle 
 
 This is the simple, straightforward presentment of a country 
 gentleman. The ruddy face bespeaks an open-air life; the 
 firm frame, so well expressed beneath the double-breasted 
 coat, and the quiet, easy posture, suggesting a healthy, well- 
 balanced nature. All this is admirably expressed in the 
 strong drawing and spontaneous freedom of the brush-work. 
 The gentleman is seated sideways, turning round almost 
 full face. He wears a blue coat with brass buttons, white 
 collar, and stock tied in a bow; a peep of gray waistcoat 
 shows below 'the coat, and a scarlet fob hangs from the 
 pocket of his drab breeches. The black hair is brushed 
 forward to the forehead in the manner of the period. 
 
 Owned by the American Art Association. 
 
 Height, 36 inches; width, 28 inches. 
 
 » & gor 
 i) aes J Geo 
 MO ee 4 COELLO 
 / (ALONSO SANCHEZ) 
 
 80—Portrait of the Wife of Admiral De Cordes. 
 
 The textures of this sumptuous costume are excellently 
 rendered. It represents the mode at the end of the sixteenth 
 century, with its extravagantly ballooned skirt, stiff bodice, 
 and padded sleeves, slashed and puffed. The exquisite ma- 
 terial of the skirt is gray and gold silk damask, with inser- 
 tions of rose satin, while the bodice and under-skirt are made 
 of silk, woven in stripes of rose, gray, and gold. Thecuffs are 
 of quilted lawn, with lace edgings, the same being used smooth 
 in the collar and ruff. The face is modelled with gray shadows 
 over white flesh, heightened on the cheeks and lips with carmine, 
 and the light brown hair, crinkled softly round the forehead, 
 is clasped by a gold and scarlet band, decorated with a bunch 
 of roses and green leaves. 
 
 Owned by the American Art Association. 
 
 Height, 33 inches ; width, 28 inches. 
 
MIGNARD ‘. 
 
 81—Catherine of Portugal 
 
 ‘Daughter of King John IV. of Portugal, surnamed The 
 Fortunate, and of Francoise de Guzman, Catherine was. born 
 in 1638, At twenty-three she was.a princess of rare accom- 
 plishments, amiable disposition, and one of the richest matches 
 in Europe. It is to be feared that it was the last considera- 
 tion which appealed to Charles II. of England, who sought and 
 obtained her hand, for it is matter of history that her attrac- 
 tions were unable to retain his volatile heart. After her hus- 
 band’s death she continued to reside in England until 1693, 
 when she returned to Portugal to be near her brother, Peter 
 II., and to assist him with her counsels, She died in 1705. 
 
 In this portrait, the lady is represented standing by a small 
 table, on which she rests a hand with a rose between the 
 fingers. Her dress is of rose-colored silk, with a broad panel 
 of lace extending down the front, a pointed bodice cut 
 straight across the bosom, and a muslin guimpe gathered by 
 a thread, which leaves the neck free. Elaborate ornaments 
 of jet and pearl enrich the costume, encircle her wrists, and 
 gleam amid her glossy black ringlets. The face looks out 
 from the dark background with a very quiet and gracious 
 expression, and notwithstanding the profusion of detail the 
 portrait is simple and unaffected. 
 
 Owned by the American Art Association. 
 
 Height, 53 inches ; width, 38 inches. 
 
FSi 
 fe peters 
 ¢ 
 
 g i rss 
 
 LAWRENCE 
 
 (SIR THOMAS) 
 
 ae 
 Pou 
 4 
 Wess es 
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 82—Charity (The Misses Newdigate of Surrey) 
 
 In response to the taste of his times, the painter has mingled 
 a sentimental episode with the portrait of these young girls. 
 They are standing, each with an arm round the other’s figure, 
 their simple white frocks showing softly against a warm brown 
 wall. A spray of roses appears around the angle of the ma- 
 sonry, and beyond are a pasture and deep blue sky. A little 
 boy in a ragged red coat, barefooted, looks up to the ladies 
 with an expression of mute entreaty ; and while one of them 
 with a gesture invites her sister’s sympathy, the latter extends 
 acoin. The composition and lighting are so arranged as to 
 make the two girls the absorbing interest of the picture; the 
 added episode being skilfully used to lend a little: more move- 
 ment to their figures, and, doubtless, a greater suggestion of 
 their lovable dispositions. The little affectedness of pose is 
 quite characteristic of the studied manners of the period, and 
 the freshness and purity of gentle life in the country has been 
 most charmingly expressed. The picture was shown at the 
 Exhibition of Fair Women held in London in 1894. 
 
 Owned by the American Art Association. 
 
 Height, 83 inches; width, 57 inches. 
 
 AMERICAN ART ASSOCIATION, 
 
 MANAGERS, 
 THOS. EE.” KIRBY, 
 
 AUCTIONEER. 
 
ar 
 
 ARTISTS REPRESENTED 
 
 ‘ 
 
 BARBUDA, V., CC OnbEaS 
 
 Romance and Art 
 
 BESNARD, P. A., 
 
 The Smile 
 Meditation 
 Sunshine 
 
 The Waning Year 
 
 BOL, F., 
 The Burgomaster 
 
 CAZIN, JEAN C., 
 The Monastery 
 “Moon Silvery Light” 
 The Ruins 
 Clouds in the Valley 
 Low Tide 
 Crépuscle 
 The Home of the Artist 
 
 COELLO, Atonso SancHEz, 
 Portrait of the Wife of Admiral De Cordes 
 
 COROT, J.B. C., 
 The Road to the Village 
 The Mill 
 The Sylvan Dell 
 
 DAUBIGNY, C. F., 
 The Towpath 
 Twilight 
 The Cliff at Villerville 
 Evening on the Seine 
 
 7 
 
 14 
 26 
 36 
 50 
 
 33 
 
 80 
 
 30 
 45 
 71 
 
 29 
 39 
 AI 
 72 
 
DE BLOOT, Pieter, CATALOGUE 
 
 NUMBERS 
 
 The Toast 
 A Game of Cards 
 
 DEMONT, ADRIEN, 
 
 Coastguard Station. Early Morning—Setting 
 
 Moon 
 
 DIAZ, N. V., 
 Turkish Landscape 
 La Mare aux Grenouilles 
 
 DUPRE, VICTOR, 
 Summer Afternoon 
 The Pool 
 Summer 
 
 FROMENTIN, EvuceEne, 
 In Algiers 
 
 GAINSBOROUGH, Tuomas, | 
 Portrait of David Garrick 
 
 (?) 
 Dutch Landscape 
 
 HOGUET, C., 
 Landscape 
 
 INNESS, GEoRGE, 
 Leeds, New York 
 Off Penzance, Cornwall, England 
 Spring Blossoms, Montclair, New Jersey 
 
 JACQUE, C. E., 
 Flower Piece 
 The Farm 
 The Pigsty 
 
 LAWRENCE, Sir Tuomas, 
 Portrait of the Countess of Wilton 
 Charity (The Misses Newdigate of Surrey) 
 
 MARIS, WILLEM, 
 The Duck Pond 
 
 4 
 5 
 
 40 
 34 
 
 56 
 
MAUVE, ANTON, 
 The Close of Day 
 Return of the Flock 
 
 MICHEL, GEoRGEs, 
 Near Montmartre 
 
 MIGNARD, PIERRE, 
 Catherine of Portugal 
 
 MONET, CLaupe, 
 
 CATALOGUE 
 NUMBERS 
 
 48 
 49 
 
 23 
 
 West Front of Rouen Cathedral in a Light Fog 60 
 West Front of Rouen Cathedral—Effect of 
 
 Morning 
 
 Rouen Cathedral, West Front and Tower of 
 
 Alhanc—Morning 
 An Old Church at Vernon 
 Argenteuil 
 La Pluie 
 The Haystacks, Giverny 
 Meadows, Giverny 
 Eglise de Varengeville, Dieppe 
 Serie les Peupliers temps Couvert 
 
 POKITONOW, Ivan, 
 An Early Shoot 
 Landscape 
 
 POURBUS, THE YouNGER, 
 
 Portrait of Jacques d’Aigremont Lectemot 
 
 of Antwerp, 1578) 
 
 Portrait of the Wife of Jacques d’Aigremont 
 
 (Born Anne d’Ursel) 
 
 RAEBURN, Sir Henry, 
 Portrait of Mrs. Carlisle 
 Poitrait of Mr. Carlisle 
 
 RAFFAELLI, Jean Francois, 
 Market Day 
 Old Sailor at Home 
 Holidays at Grandpa’s 
 Your Very Good Health ! 
 La Place St. Sulpice 
 Street at Neuilly 
 Nourries, Place de la Concorde 
 
. 
 
 Ai on - 
 o aie a > 
 1) he ? RANGER, H. W., 
 : e if re . Landscape 
 ) we }RUYSDAEL, Jacos, 
 The Squall 
 
 ;” Bucs 
 
 - 163 23 
 Pree ge /THAULOW, Fru, 
 
 The Lane at Night 
 Winter 
 
 roe CONSTANT, 
 Landscape and Cattle 
 
 tc PoNKwown, 
 Interior of a Stable 
 
 VOLLON, ANTOoINE, 
 Landscape 
 
 WYANT, A. H., 
 Early Spring 
 White Birches in the Adirondacks 
 The Deserted House 
 The Last Glow 
 Mystic Rays 
 
 ZAMACOIS, E., 
 The Spanish Troubador 
 
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 met 1 
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 Pheer 
 
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 CATALOGUE 
 NUMBERS 
 
 21 
 
 75 
 
 22 
 44 
 
 73 
 
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INSTITUTE 
 
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 8147 
 
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