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LIBRARY 
 
 556-8 Fifth Ave, 
 New York 
 
 M.KNOEDLER & 60. 
 
ACC. 
 
ON FREE PUBLIC VIEW 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH, NEW YORK 
 
 BEGINNING TUESDAY, JANUARY 24rx, 1922 
 
 AND CONTINUING UNTIL THE DATE OF SALE 
 PROM 9 ALM, UNTIL 6 Po Me 
 
 THE NOTABLE 
 PRIVATE COLLECTION 
 OF 
 
 MODERN PICTURES 
 
 BELONGING TO THE WIDELY KNOWN ANTIQUARIAN 
 DIKRAN KHAN KELEKIAN 
 
 OF PARIS AND NEW YORK 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 BY ORDER OF THE OWNER 
 
 ON THE EVENINGS OF MONDAY AND TUESDAY 
 JANUARY 30TH AND 3l1sr 
 BEGINNING AT 8.15 O’CLOCK 
 
 IN THE GRAND BALLROOM OF THE PLAZA 
 
 NINE WEST FIFTY-EIGHTH STREET 
 
ILLUSTRATED CATALOGUE 
 OF 
 THE NOTABLE COLLECTION 
 
 OF 
 
 MODERN FRENCH PICTURES 
 
 AND 
 
 A GROUP OF THE WORKS OF THE NOTED AMERICAN ARTIST 
 ARTHUR B. DAVIES 
 
 FORMED BY AND BELONGING TO 
 
 THE WIDELY KNOWN ANTIQUARIAN 
 
 DIKRAN KHAN KELEKIAN 
 
 OF PARIS AND NEW YORK 
 
 TO BE SOLD AT UNRESTRICTED PUBRIC SALE 
 IN THE 
 
 GRAND BALLROOM OF THE PLAZA HOTEL 
 
 (ENTRANCE, NO. 9 WEST 58TH STREET) 
 
 ON THE EVENINGS HEREIN STATED 
 
 THE SALE WILL BE CONDUCTED BY 
 MR. THOMAS E. KIRBY 
 AND HIS ASSISTANTS, OF 
 THE AMERICAN ART ASSOCIATION, Manaczrs 
 MADISON SQUARE SOUTH 
 NEW YORK 
 
THE AMERICAN ART ASSOCIATION 
 DESIGNS ITS CATALOGUES AND DIRECTS 
 
 ALL DETAILS OF ILLUSTRATION 
 TEXT AND TYPOGRAPHY 
 
THE KELEKIAN COLLECTION 
 A FOREWORD 
 
 By Seymour pvr Riccr 
 
 It is an unusual piece of good fortune for an art-critic to be called upon 
 to introduce to the American public the Kélékian collection of modern French 
 paintings. Never has such an instructive gathering of masterpieces by the 
 most significant artists of the last hundred years been brought to the attention 
 of this country. This is by no means the idle phraseology of a catalogue- 
 preface, but the firm conviction of one who has known for many years Mr. 
 Kélékian, his paintings and many of the masters who created them. 
 
 It is not saying too much to assert that a detailed appreciation of the 
 Kélékian collection would be a substantial history of the most essential features 
 of modern art. Such an appreciation I dare not venture to give in this short 
 preface. All the more so as my readers will find reprinted hereafter two 
 enlightening studies on the Kélékian collection, by two recognized masters of 
 the pen. To the New York public and to all visitors of the Metropolitan 
 Museum, the name of Mr. Roger Fry is pleasantly familiar. His strong artistic 
 personality, his exquisitely sensitive love, both for the Venetian primitive 
 colorists and for the most refined exponents of impressionism and post-impres- 
 
 sionism, his fearless sincerity founded on the solid certainty that many backers 
 will always support him, the incommensurable services he rendered New York’s 
 
 greatest picture gallery, now, thanks to him, one of the world’s greatest 
 
 galleries—all these characteristics enhance any judgment from his pen with a 
 fascinating and compelling authority, 
 
 Monsieur Arséne Alexandre has long deserved to obtain in this country 
 the high rank of notoriety he enjoys in France. A facile and prolific writer, 
 a splendid journalist, an indefatigable champion of liberty and progress in all 
 arts, a delicate appreciator of past ages’ refinements, he has known in his 
 country every recognition that a grateful nation can shower on a talented 
 son. His preface to the Kélékian catalogue may truly be said to have been 
 written con amore. Mr. Arsene Alexandre not only loved these pictures, 
 several of which he had owned himself in his younger days; he loved their 
 authors, many of whom he had personally known and fought for, Thirty 
 years ago, when the great impressionists of France were jeered at by Academic 
 ignorance and short-sighted prejudice, Mr. Arséne Alexandre stood out fore- 
 most among the little band of writers who upheld the sacred banner of artistic 
 liberty. To-day, his age and experience, his glorious fighting past and present 
 
 authority, give to any utterance from his pen a singular and deep attraction 
 for all art-lovers. 
 
Mr. Dikran Kélékian is so well known to all European and American 
 connoisseurs that it would seem superfluous to presume to introduce him. His 
 warm and sympathetic personality is, however, so strongly impressed on and 
 expressed by his whole collection that I cannot refrain from a few words on 
 the unique character of this art sale. 
 
 A native of Persia, he has, all his life, lived among the antiquities of 
 the nearer East. He has—as everybody knows—successfully dealt in Egyp- 
 tian, Assyrian, Chinese and Sassanide art. Greek, Roman and Byzantine 
 objects have always crowded his cases. Of late years, his attention has been 
 extended to the Middle Ages, and many beautiful Gothic and Renaissance 
 pieces have passed through his hands. Is it not, for a casual observer, some- 
 
 what surprising that modern art—yea, the most modern of modern art— 
 should so strongly have attracted his attention? The reason is that the whole 
 of Mr. Kélékian’s training as a collector and a dealer has been directed towards 
 a keen appreciation of the continuity of artistic tradition. We no longer 
 believe to-day in the time-honored division of ancient art into a certain number 
 
 of watertight compartments. We know nowadays—and it is one of the 
 
 that the whole artistic tradition, from 
 
 greatest conquests of modern science 
 the palewolithic age to the present day, is one continuous tangled skein of 
 many-colored threads. To single out from this skein any one thread of 
 tradition, requires a tremendously keen artistic intuition such as can only 
 be acquired by long years’ familiarity with works of art of every age and 
 description. Books cannot teach it and many hours spent in hbraries and 
 museums are often of little avail. In the few instances I can think of, it is 
 a born feeling for quality, an innate love of beauty, a second sense for the 
 finer and less visible trails of tradition. Few collectors, fewer museum direc- 
 tors, ever acquire that sense, and it is a great pity, inasmuch as something 
 will always be lacking from their houses and their galleries. One of the 
 greatest of all French amateurs, Monsieur Jacques Doucet, knew well what 
 he was doing when he hung on his walls a still-life by Manet between two 
 paintings by Chardin and when he intermingled in his rooms the dainty prod- 
 ucts of French eighteenth century art and the archaic splendors of early 
 Persian and Chinese ware. If Mr. Kélékian had not been intimately familiar 
 with the glories of the East and the magnificence of Byzantium and Ravenna, 
 he never would have succeeded in selecting from the French art of a whole 
 century practically all that was truly significant and practically nothing 
 else. Neither would he have brought together a gallery which will perpetuate 
 his name among art-lovers of the future. 
 
 May I also add that he enjoyed the privilege of picking and choosing 
 from some of the most select collections formed in the last generation and 
 that we find on his walls the flower of the celebrated galleries of Roger Marx, 
 Cheramy, Manzi, Hansen, Mirbeau, Flameng and Rouart, truly a quintessence 
 of quintessence, a selection from houses where everything was select. 
 
 Mr. Kélékian could—if he had felt so inclined—have picked up the warp 
 and woof of evolution at a fairly remote period; for instance, at the Renais- 
 
sance. He might then have led us from Tintoretto to Greco, from Hercules 
 Seghers to Rembrandt, from Rubens to Watteau, from Vermeer to Chardin. 
 He has preferred to limit his efforts to a shorter period, that of the last hun- 
 dred years. And even then, he has reduced to a minimum the representation 
 of some of the most characteristic masters. Goya is illustrated by a single 
 powerful sketch, and Ingres by two highly pleasing portraits. Nearer to our 
 days we find only one Millet, a drawing, it is true, of great importance, and 
 only one Constantin Guys. Other artists are likewise only present in one 
 example, but of paramount importance, such as Manet with his celebrated 
 “Chez Tortoni,” or Gauguin with his group of “Tahitian Women,” one of his 
 most typical masterpieces, or Claude Monet with his “Bridge at Argenteuil,” 
 a striking instance of his most felicitous mood. 
 
 The collector, anxious to illustrate his most intimate preferences by 
 concentrating his efforts on a few unrivalled artistic personalities, has chosen 
 to impress on our eyes the greatness of such super-men as Corot, Delacroix, 
 Daumier and Courbet, as Degas, Renoir, Lautree and Cézanne. These eight 
 names synthetize French art from 1840 to 1900 in its greatest and noblest 
 efforts towards freedom and towards expression. 
 
 Corot we have here under his strongest aspect, as a portraitist and figure 
 painter, not only 
 dawns on the river. The only Corot landscapes are his striking ‘View of 
 Chateau-Thierry” and a fresh and youthful vision of his earliest Italian 
 manner, so highly appreciated by French collectors. 
 
 Delacroix, the greatest revolutionary in the history of painting, stands 
 out boldly with his “Giaour and Pacha,” with his “Hercule et Alceste,” with 
 his inspiring “Garden of George Sand” and above all with his celebrated and 
 fascinating “Paganini,” in which he embodies much of the fantastic humors 
 
 as the crowd believes—the eternal illustrator of misty 
 
 of a Velazquez. 
 
 Of late years, Daumier has been steadily coming into his own as one 
 of the greatest painters of all ages. Three tremendously powerful sketches, 
 the celebrated profile of a woman from the Mirbeau collection and the more 
 sedate portrait of Lavoignat, formerly the gem of Mr. Viau’s gallery, show 
 us varied aspects of his multiple genius. 
 
 Courbet, about whom so much was written in America a couple of years 
 ago and whose works were so highly admired in this country at several memorial 
 exhibitions, fills here a whole wall. His “Guitar-player” shows his close rela- 
 tionship to Corot; the portrait of his sister is of the same quality as the great 
 “Atelier” for which the Louvre paid such an astounding price; the “Dog’” 
 recurs in his celebrated “Enterrement d’Ornans” at the Louvre; the “Flower- 
 piece,” the view of “Lake Leman under Snow,” the dashing and daring De- 
 moiselles du bord de la Seine,” a first study for the famous picture in the 
 Petit Palais, at Paris, display the manifold aspects of his immensely varied 
 art and form a stately array of masterpieces which the Louvre alone could 
 
 surpass. 
 Of Degas, little could be said which is not present to every mind; of 
 Renoir little need be said in the city which deprived France of the painter’s 
 
masterpiece, the “Famille Charpentier,” even if I do find it difficult not to 
 linger before his portraits and before the exquisite decorative panels he painted 
 in 1879 for the Docteur Blanche. 
 
 Toulouse-Lautree likewise speaks for himself and in no silent tones, with 
 such forceful masterpieces as, for instance, the famous portrait of Cipa 
 Godeski. Seurat, another genius unfairly judged by most men of his own 
 generation, is here present with his exquisite Poudreuse from the collection 
 of his friend Fénéon. 
 
 Cézanne, whose greatest audacities seem now almost timid and restrained 
 requires no further comment, even to draw attention to the luminous ‘“Land- 
 scape,” the tender “Portrait of his Wife” or the majestic “Nature morte” 
 from the Gangniat collection, doubtless the most important of his still-life 
 pieces which will ever have been sold at auction. 
 
 Nor has Mr. Kélékian confined himself to the illustrious dead. The 
 most brilliantly endowed of living French artists are here exemplified by care- 
 fully chosen works. Matisse, Picasso, Bonnard, Vuillard, the great landscape 
 painter Guillaumin, Derain, a painter whose works have much increased in 
 value and will increase still more, are but a few of the names which will strike 
 the reader of the catalogue. 
 
 A few foreigners complete this great ensemble: Van Gogh, too close to 
 the French impressionists to have been omitted, Mary Cassatt and Arthur 
 B. Davies, the most refined and tasteful of American classics; last, but not 
 least, Whistler, whose exquisite “Chelsea Girl” once belonged to the most 
 gifted and seductive of his pupils, an American lady well known to all lovers 
 of Paris and beauty. 
 
 It is with a sigh that I close this enumeration; a few days more and this 
 gathering of wonderful paintings will be dispersed. As a Frenchman, I cannot 
 but regret that so many masterpieces are leaving France instead of adorning 
 our great museums; as a Frenchman also, I cannot but be proud of the success 
 that these silent ambassadors have achieved at Chicago, on the walls of the 
 Metropolitan Museum of New York and in the spacious halls of the Brooklyn 
 Museum where for several months they have been exhibited. May the lesson 
 they teach not remain without fruit, may they continue to teach it in their new 
 homes; may they bring joy into more houses, love of beauty into more cities 
 and may they stimulate in the hearts of all those who see and admire them 
 the higher and greater virtues of patience, labor and probity, by which their 
 illustrious makers will live in the memory of future generations. 
 
THE KELEKIAN COLLECTION 
 
 By Arstne ALEXANDRE 
 
 Inspecteur Principal des Musées Nationaux 
 
 Around the central cupola of the National Gallery in London is displayed 
 a solemn inscription in letters of gold. 
 
 The traveler, who has been lifted up into lofty spheres by the majestic 
 beauty of the treasures gathered about him, instinctively lifts his eyes, as if 
 to seek from above a ray of light to pierce the darkness, an answer to the 
 noble problem of art, a problem always before him, but never solved. 
 
 This inscription reads somewhat like this: “The works of those who have 
 stood the test of ages, have a claim to an admiration and respect to which no 
 modern can pretend.” 
 
 At first, the traveler impulsively agrees with this, heart and soul. How 
 could he bargain with his feelings, and how would he even question the grati- 
 tude he owes to those who have revealed so much to him, who have been a source 
 of such deep consolation? Nevertheless, he ponders. He looks about him 
 once more. After Fra Angelico, Botticelli, Piero della Francesca, he sees 
 Michel-Angelo and Raphael; after these, Titian, Tintoretto, Veronese; then 
 comes Holbein; then again, Rembrandt, Rubens, Vermeer; and again, Velasquez 
 and Greco; and Poussin, Claude, Watteau, Reynolds, Gainsborough and then 
 the great magician, Turner. 
 
 Then he tells himself that the sentence, so eloquent and peremptory, might 
 have been engraved successively, at the end of each one of these branches of 
 immortality. At the same time, he remembers one point which has always 
 troubled him, a question at once fascinating and serious: “What would each 
 one of these great conquerors of Time (with the help of some perfect machine 
 made to explore the future—a machine which a Wells might have imagined— 
 applied to the esthetic) think of the wrestlers who have succeeded them, up 
 to and including those of the present moment which we are in vain endeavoring 
 
 to retain? 
 
 The beauty and interest of this question are not the witticism 
 d’esprit—of an idle curiosity. The import of it is far greater. It amounts to 
 this; what affinities, what analogies, what relations, or what contrasts, exist 
 between the works of the past and those of the present? 
 
 The problem is not one of to-day. The “ancients” and the “moderns,” 
 in the seventeenth century, not to go back any further, discussed it at length, 
 and the ease is still at issue in our own day, though under other forms, more 
 
 jeu 
 
 freely and less dogmatically discussed. 
 
 Mr. Degas used to sum up the case in a witty manner, with the following 
 apologue which, through modesty, he denied being the author of. He used 
 say, Raphacl, to whom the works of a modern 
 as 
 
 to imagine an old master 
 say, Manet—were being submitted. At first, he would frown 
 
 painter 
 
much as we can imagine Raphael frowning; then almost immediately, would 
 become serene once more, and say: “This is curious, nevertheless . . .” After 
 which some one would show him the masterpiece of an academic celebrity—say 
 Bouguereau—and then, in a really bad humor he would exclaim, “Ah! in this 
 case they will say, I am to blame!” 
 
 However, savory as M. Degas’ parable is, it is, after all, only what 
 we call a fashionable solution. It does not even go to the root of the subject. 
 
 We discover, if not certainties, at least horizons infinitely vaster and 
 ever new, in drawing more closely together the qualities and forms by which 
 we became masters, as the great masters of the old school did, our seniors who 
 preceded us, and our contemporaries. To consider only a few examples, and 
 to make a few comparisons—full of revelation—let us compare the Assyrians 
 and Barye; Phidias, Michel-Angelo, Puget; then Verrocchio and Donatello, 
 with Houdon, Rude and Carpeaux; or again, place together Vermeer and cer- 
 tain figures by Corot; a Rubens and a Delacroix; look at Daumier, then 
 Hokusai; Watteau, then Koriusai or Harunobu—I have just discovered 
 that not only must period with period be joined, but periods of time and place, 
 in a study which is so marvelous in its consideration but so tremendous in its 
 undertaking that artists, their students and ardent admirers, will never be 
 able to pursue it only step by step, feeling already dazzled by its great 
 brilliance. 
 
 And so, we at last understand—and that is already a great victory won 
 —that the problem had always been badly stated, and that the question at 
 issue was not a quarrel between the “ancients”—those of the old school—and 
 the “moderns,” but indeed of an uninterrupted harmony. Once this point of 
 view is grasped, the consequences are seen to be innumerable, and the applica- 
 tions very practical and clear. ‘“Eclecticism” becomes a greater intelligence ; 
 there is no longer “dilettantism,” but a more awakened and keener sensibility 
 —and we would be tempted to believe that, art being the real torch which pre- 
 cedes the march of humanity, social problems, by means of an analogous prin- 
 ciple, might one day be solved just like the xsthetic problems themselves. 
 
 Nevertheless, without traveling so far in the unknown, let us rejoice when 
 we see the demonstration of these elating ideas realized in acts and productions, 
 or, better still, in a man influenced by art. 
 
 Let us suppose this man to possess a well-developed sense of taste, and to 
 be an enthusiast by temperament as well as one trained in his profession. This 
 amateur in art has seen, and very often handled, many treasures which this 
 earth has jealously guarded for many centuries, or which were lying forgot- 
 ten at the door of unknown or forgotten sanctuaries. Legendary lands, on 
 whose soil so many struggles were fought, where buried deep in earth’s bosom 
 slumbered, the witnesses of dethroned splendors, revealed to him at last the 
 many secrets that were theirs. And thus he learned of many marvels, and 
 passed them on, in turn, and dwelt familiarly with the masterpieces of Egyp- 
 tian, Persian, Hellenic, and Byzantine art. The best works of our French 
 art in the Middle Ages have claimed and held their place in collections along- 
 side of these grand vestiges of ancient art 
 
Again, he looks about him. After haying searched in the very heart of 
 ancient empires, his inquisitiveness and passionate love of art drew him to 
 more recent fields of growth and expansion. Without any effort, but very 
 naturally—and with the same pleasure, he enjoys the productions of modern 
 talent like the works of the masters of the old school (and little persuasion 
 would be needed to have him invert the terms, and that modern genius appear 
 to him as the harvest—the reaping—of ancient “genius”). In truth, he per- 
 ceives the secret affinities and the visible harmonies. No preconceived idea 
 guided him, no concession to accepted standards of the time, only a simple 
 and spontaneous adherence to the logical in beauty. The fact is that he recog- 
 
 nized, not the antagonisms, but the similitudes. 
 
 This figure, which we have often imagined, is the portrait of M. Kélékian, 
 and the result of this mental evolution, as concentrator—if one may use the 
 expression—of precious works, is found in the collection of works of modern 
 artists of which this album is destined to preserve the souvenir, in a faithful 
 and integral manner, for the small number of those persons who can appreciate 
 and understand its importance. 
 
 In the enamelled surface of a painting by Cézanne, he will have found 
 again the enamel of a piece of faience of Persia or Rhodes. In the pen- 
 sive charm of a face painted by Corot or Renoir, though veiled and indirect 
 in its relation—but none the less real—he will have perceived instinctively cer- 
 tain similitudes with the aristocratic lineaments of a priestess of Isis, the profile 
 of which, though very slightly colored, makes on the stone a very faint but 
 very powerful bas-relief. 
 
 I also build up associations and successions of ideas even more mysterious, 
 where perhaps the collector has not himself realized the fact as clearly as the 
 expression of the same in words would make him realize. Why would a partic- 
 ular scene from the classics mean so much and be so dear to him, when brought 
 forth to life again by a Painter-Poet, were it not because Delacroix’s imagina- 
 tion was fired upon the reading of Euripides’s “Alceste,” and “that he saw 
 in colors” the rhythm and pictures in the work of the great tragedian, and 
 that these pictures and this rhythm are, in their turn, but one and the same 
 thing with the admirable Greek sculptures which were acquired by this col- 
 lector? 
 
 In another moment, you yourself will possess, in reproductions—the ex- 
 actness of which regarding form and values has been the object of the greatest 
 and most expert attention—this résumé of an entire portion of a period of 
 French art in the nineteenth century. I mean by this, first of all, that school 
 which is represented by masters most typical of this period, then by offspring, 
 less dedicated to, but far more directly related to the great artists of the past, 
 than those who thought that copying them was succeeding them. You can 
 then return to the predecessors of long ago and find them either through the 
 antique windows of Mr. Kélékian’s collection or those of the Louvre or British 
 Museum. But then, either suddenly, or after an incubation period, the points 
 in common will appear to you in the details which won your admiration. 
 
It may well be said that this way of grasping the wsthetic relation existing 
 in the works of the artists of the most distant periods is truly an achievement 
 in modern thought. However, one must be modest, and admit that this idea 
 is merely at its dawn, but is one that will lead our disciples to many other 
 beautiful and more assured discoveries. 
 
 Already, the comparison of paintings here brought together is a source 
 of much pleasure and ever-new reflections, just as when one gazes upon a rich 
 country from a height and from different positions. I can only point out a 
 few of these beautiful sites, but your own mind will easily find others, for a 
 picture expresses infinitely more than words, and he who here attempts to 
 obtain general ideas of a collection so rich in thought has always looked upon 
 descriptive criticism as useless. 
 
 It is impossible to imagine a more magnificent and more brilliant setting 
 than can be found with Delacroix. Two easel paintings which are considered 
 among the artist’s best works by every one whose heart can still be made to 
 throb by this marvelous visionary, seemed like two beautiful loves of one’s 
 youth, when I saw this ensemble for the first time. “Alceste,” so deeply, so 
 essentially tragic, between his incense-burning altars and his incandescent 
 Tartar! The queen, in the arms of Hercules, utterly prostrate, and dead even 
 in her resurrection! What accents, at the same time, in both the classical and 
 modern poetry, and how this first painting, in its least stroke, sums up all the 
 thoughts which require so many words for expression! 'Then comes the tiny 
 and great “Paganini,” the complete incarnation of Romanticism. Ever-mem- 
 orable sight ! 
 
 This is not all. The sketch of one of the angels in the Chamber of Depu- 
 ties may be one of those which inspired, most logically, the master of “Ovid 
 (with) chez les Scythes” ;—then the small painting of “Duel of the Giaour and 
 Pacha,” painted from precious stones ground together ;—and finally, in order 
 that we may penetrate more intimately into Delacroix’s work, a shady corner 
 of “Garden of George Sand.” Here Nature and the supernatural unite, a 
 magnificent Prelude. 
 
 With Ingres absent we might have been accused of a little partiality. 
 Two sketches, one a less touching “Paganini,” represent very well the sub- 
 lime Pedant. But it is easy to understand that I am anxious to leave the 
 emotions of Delacroix to go on to draw from another marvelous source; viz., 
 the Virgilian serenity of Corot. 
 
 The few paintings we find here by him are charming, but there are three 
 especially fascinating ones; a general view of “Chateau-Thierry” with the 
 surrounding landscape; a small “View of Albano,” and a “Portrait of a Young 
 Blonde.” One cannot gaze upon this small French landscape without delight 
 —and with a heart-throb—for nothing can be more limpid, richer nor more 
 beautiful ; and one recalls the still recent martyrdom of all this Virgilian charm. 
 Little masterpiece, doubly dear to all those for whom France is a second father- 
 land! . . . In these reduced dimensions, the Italian landscape recalls to mind 
 the lines in the “Priest of Nemi,” lines which have the same purity of form 
 and color as in Corot: “I will never believe that a wicked and blood-thirsty 
 
 Ss 
 
spirit dwells under this wonderful mass of trees, as old as the world, which rot 
 and return to life of themselves, on the shores of this beautiful bowl of the 
 lake.” 
 
 As for the portrait, there are the same depths of expression and charm- 
 ing touches just as in the landscape. Chaste and modest creature, whose 
 contemplative spirit reveals itself in the hand pressing her brow, and the timid 
 dreamy nature by the few flowers in her other hand, which barely relieve the 
 severe lines of the black dress—we could not find in her the heroine of a novel, 
 
 but if we had to choose a sister, it would be she! . . 
 
 The time of Corot! Although in the present day we seem to be getting 
 further and further away from patriarchal traditions, Corot’s period will ever 
 be for us one expressive of tenderness and greatness. This is the reason why 
 we would not be surprised to find in a man who understands and loves this 
 apostle of the beautiful in art, reminder of his contemporaries, they too, men 
 upright in conscience, true to Nature. Millet is heart and soul in his simple 
 drawing of the “Blés murs” (Ripe corn-fields) ; Barye, in that aquarelle of 
 “The Leopard Sleeping” (Léopard au Repos), and lastly, Daumier in his 
 powerful sketches of “The Burden” (Le Fardeau), Portrait of a Woman, and 
 many others which have become such striking examples; and even up to Guys, 
 “the modern man” of Baudelaire, the illustrator par excellence, every one of 
 whose drawings, like these two “Cocodettes Watching a Team Go By,” eclipses 
 the works of our innumerable “instantaneous” artists which lack in originality. 
 
 What Daumier could have accomplished, had he been free from the 
 restraints imposed by his “profession” and family conditions, and what he 
 proved capable of doing, sufficiently so to keep his place in the first rank, 
 Courbet did fully accomplish, in ample measure, and with masterly ease. He 
 was not the continuation of a school (for he is very distant from the masters 
 of Fontainebleau, in conception, and even personality), but he is an evolution, 
 which is none the less astonishing. He introduced a poetic conception of his 
 own (these words would have made him bound, but things must be seen as they 
 are), in his technique, which is only that of the Flemish, or Spanish masters, 
 combined. His horror of allegorical subjects did not keep him from painting 
 allegories, call them “real” if one will. The splendid study for the “Young Girls 
 of the Banks of the Seine?” (Demoiselles des bords de la Seine); the gloomy 
 and profound portrait of a woman in black with red cuffs and collar, a kind 
 of Gioconda of la Franche-Comté, the robust and artless portrait of a girl in 
 white and blue, which seems the work of a young peasant who divines the art 
 of painting; the tragic landscape of the lake buried under snow; so many 
 
 paintings which, in the collection, show Courbet—also a rich painter of flowers 
 —in every aspect. Again, one might say smilingly, under still another aspect, 
 for “The Man with the Guitar” (Homme a la Guitare), the Gastibelza of 
 
 » is the 
 
 realism, with his scarlet stockings, his doublet, his rustic “byronism, 
 blending of strange elements, but how perfectly done! the picturesqueness of a 
 Johannot, the rich subject matter of a Metsu, and to boot, the uncertain 
 
enemy which he—the naive one!—thought he had felled; viz., sentiment. After 
 all, Pierre Dupont, the song-writer of the “Grands Beufs,” he too had en- 
 camped his “homme rouge” in his romance, the “Louis d’or.” 
 
 Since we are proceeding analogically, instead of chronologically, we will 
 next consider Manet, who is at the same time very different from and yet very 
 like Courbet, very different from him in his aristocratic and nervous tempera- 
 ment, but very like him in his “direct vision,” and in “his tradition in tech- 
 nique.” It was necessary to make note of Manet here, before we pass on to 
 Degas, for his light and dainty feminine pastel sketch, as well as the young 
 man writing, bring him to mind at this point. Degas is a dominating figure 
 in this collection, just as he was that of a whole period, which now seems as 
 far removed from us as the days of the masters whom we have just seen file 
 by, and whom we hardly dare term as modern. Degas was a queer and 
 dominating personality. We cannot consider him as a revolutionist, for his 
 art, his education, his tendencies, his style, all are strictly classical; again, 
 it is impossible to consider him as a bulwark of classicism, for he has over- 
 thrown so many barriers, freed himself from set forms, and in a word, like 
 Victor Hugo, who boasted of having done the same for the sake of poetry, 
 enriched the pictorial dictionary. Without entering into these purely exstheti- 
 cal sides of the question, let us enjoy some of the many and typical examples 
 of his principal characteristics: movement, as seen in the two dancers seated ; 
 mass in the form, as seen in the stout woman viewed from the back; clear 
 delicacy in color, in the “Toilette” with the coral-rose water jug; the classical 
 drawing, with the little girl, from the Manzi collection, and the sketches from 
 the Italian masters; the modern element in the “Milliner” (Modiste), in a 
 curious posture, taken from life, and lastly, the severe and sober style of the 
 début with the splendid portrait of the woman and little dog. Nothing can 
 be said about this, because the magic element in the sketch cannot be ex- 
 plained. 
 
 It is quite natural to note here Toulouse-Lautrec, so very original, in 
 spite of his conection with Degas. He is well represented by several of those 
 clear-cut portraits, and descriptions of fallen women, where the painter has 
 dissected his models with implacable distinction. 
 
 With pleasure, we note, alongside of Degas, the great artist, not his 
 pupil, but his disciple, Miss Mary Cassatt. Portraits of women of sad and 
 haughty mien, and yet full of hidden tenderness, and a strong and bold out- 
 line, with rich coloring, produce an ensemble which stamp Miss Cassatt as 
 a great artist. 
 
 Another charming sketch must also be noted here, for, though different 
 from the others in this group, it is yet similar. This sketch is by Whistler, 
 and will always stand out, because it sought and found splendor in shadow, 
 and power in murmuring. 
 
 An analogous phenomenon is found in a painter who is at home every- 
 where, and in harmony with all. I mean Renoir. Is he not as far removed 
 from Degas, or Corot, or Delacroix, or Monet, as from Whistler himself? 
 
Truly, Renoir is Renoir, and that is all there is to say about him; i.e., the fas- 
 cinating, frolicsome child, the magic cat, the person of instinct, who never 
 knew what he had done, nor what he would do, but who never grew weary of 
 doing it, just as a child intoxicates himself with music, sunshine and candy. 
 well and loved so dearly, 
 
 My deep affection for this_man, whom I knew 
 
 springs forth again when I see here such perfect specimens _of his work; this 
 nude form, that wonderful bouquet, one of his finest paintings of flowers; this 
 delicate portrait of “Benjamin Godard and his Wife”; these sketches of scenes 
 from “Tannhiuser,” which, alas, will ever bear witness to the fascinating deco- 
 
 rator he might have been; these various and exquisite trifles, children, flowers, 
 little portraits, brilliant gems, which he thought nothing of leaving behind 
 him, any more than did the inhabitants of the Eldorado the wonderful pebble- 
 stones they trod under foot on their roads; and lastly, the beautiful head of 
 “Madame Maitre,” which for serious expression is what “Madame Charpentier” 
 is for the charming and caressing. 
 
 Claude Monet, whose beautiful “Bridge of Argenteuil,” a sketch wonderful 
 for its accuracy, finds his place here, with Pissarro, in the chapter devoted 
 to what is known historically as the impressionistic school. I regret being 
 unable to say more about so many paintings which are at once masterpieces 
 of art and documents too, in spite of my statement above on the superfluity of 
 comments. 
 
 Even so—but here the fear of literature is greater than the beginning of 
 wisdom—there is much to bear in mind relative to the artists who follow, 
 while we catch up with those of our own day, the patriarch Cézanne. The 
 dithyrambic language which it is now customary to use in mentioning our 
 latest conquerors of celebrity has the disadvantage of violating all sense of 
 proportion, of falsifying the relations between the masters of yesterday and 
 the combatants of to-day. Words no longer mean anything, and our present 
 “writers on art’? risk not only wounding the vanity of individuals, but of caus- 
 ical encounters. Some who, like ourselves, are content to enjoy 
 
 ing actual phy 
 what is original in the refined pursuits of a Gauguin, the domain of art, or 
 the passionate ones of a Van Gogh, or the saprices of a Bonnard, the har- 
 monious and rich expressions of a Vuillard, and even the vast compositions of 
 a Matisse, which are much more pleasing than copies of the works of the old 
 to find enjoyment in 
 
 school; those who are too fond of things in themselves 
 the living instead of the dead—though the dead do not let themselves be buried 
 —we will be grateful, in the study of the Kélékian collection, for not letting 
 ourselves be influenced either by the servile flattery of some or the general 
 standards of others. 
 
 It suffices that we have appreciated and have tried to make others appre- 
 ciate the joy of a connoisseur, one equally blessed with enthusiasm and neces- 
 sary wisdom to collect, in a coherent and logical manner, examples of original 
 works, and to have proved that the new and the old, when both are the result 
 of an irresistible honesty and an inspired labor, are but two different ways for 
 
 the ideal aiming. 
 
FROM “MODERN PAINTINGS IN A COLLECTION OF ANCIENT ART” 
 By Rocer Fry 
 
 in The Burlington Magazine (Number CCXIII, Volume XX XVII), Dec., 1920. 
 
 “Mr. Kélékian’s venture in modern art is of comparatively recent date; 
 before that, he was known as the greatest collector and dealer in Oriental 
 textiles and pottery. . . . Now he puts forward his modern pictures as yet 
 another aspect of his esthetic point of view. . . . The case of Mr. Kélékian, 
 therefore, is one of great interest. Here is a man whose whole life has been 
 spent in the study of early art, who at a given moment has had the grace to 
 see its implications, to see that principles precisely similar to those employed 
 by early Persian potters and Fatimite craftsmen were being actually put into 
 practice by men of the present generation. . 
 
 “His long familiarity with early Oriental art has trained his taste in the 
 search for what is really significant in the work of art, has given him a courage 
 which has not betrayed him in his choice of modern work. 
 
 “Such a picture, for instance, as the profile by Daumier (Buste de femme, 
 from the Octave Mirbeau collection) which frightened most collectors by its 
 strangeness, fell an easy prey to his net. Again, a man who had handled so 
 many Fayum portraits was not likely to miss the qualities in a head by Matisse 
 (Téte de femme) which was so evidently inspired by the same feeling for the bal- 
 ance between style and realism. 
 
 “Tt thus happens that one of the charms of this collection is the occur- 
 rence of unusual works, which are not at first sight characteristic of their 
 authors, but for that very reason reveal some intimate and unforseen side of 
 their artistic personality. Such for example is the surprising Portrait of a 
 man by Corot (Portrait de Monsieur Abel Osmond) which in its tense pre- 
 cision of form, its hard and clear delineation of planes, might rather suggest 
 Ingres than a man who like Corot developed to exaggeration the atmospheric 
 envelopment and blurring of form. 
 
 “Or take again the Courbet Snow Scene by a lakeside (La neige sur le 
 lac Léman) in which a quite strange quality as of a great visionary painter 
 unexpectedly emerges in spite of the doctrine of literal realism which he pro- 
 posed to himself. This picture recalls indeed the conscious and deliberately 
 poetic handling of some of the great Chinese landscapists of the school of Ma 
 Yuan. It has too a certain personal interest from the letter with which he 
 dedicated it to the Marquise Colonna. . 
 
 “Cézanne, Degas and Renoir are all well represented in this collection, 
 but we have chosen (for reproduction—the article reproduced five of the pic- 
 tures of the collection) yet another of the earlier masters, Delacroix. It is 
 impossible for most Englishmen to share to the full the enthusiasm which 
 
Delacroix’s name always has aroused in French artists. We are put off by 
 the theatrical quality of his vision, and for myself I can rarely understand | 
 why his color is so much admired. However, I can come to terms with regard 
 to so profound and dramatic an interpretation of character as the little 
 Paganini discovers. It is indeed a marvellously intense and imaginative con- 
 ception, and though the abandonment of the romantic attitude to life seems 
 strangely distant and unfamiliar to us now, one cannot refuse to it an imagi- { 
 native sympathy when it makes so eloquent and so passionate an appeal as it i 
 
 does here.” 
 
CONDITIONS OF SALE 
 
 I. Rejection of bids: Any bid which is not commensurate 
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 or fractional advance may be rejected by the auctioneer if in his 
 judgment such bid would be likely to affect the sale injuriously. 
 
 Il. The buyer: The highest bidder shall be the buyer, and 
 if any dispute arises between two or more bidders, the auctioneer 
 shall either decide the same or put up for re-sale the lot so in 
 dispute. 
 
 III. Identification and part payment by buyer: The name 
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 the lot number, amount for which sold, and his or her name and 
 address. 
 
 Payment at the actual time of the sale shall be made of all 
 or such part of the purchase prices as may be required. 
 
 If the two foregoing conditions are not complied with, the lot 
 or lots so purchased may at the option of the auctioneer be put 
 up again and re-sold. 
 
 IV. Risk after purchase: Title passes upon the fall of the 
 auctioneer’s hammer and thereafter neither the consignor nor the 
 Association is responsible for the loss or any damage to any 
 article occasioned by theft, fire, breakage or any other cause. 
 
 V. Delivery of purchases: Delivery of any purchases will 
 be made only upon payment of the total amount due for all 
 purchases at the sale. 
 
 Deliveries will be made at the place of sale or at the storage 
 warchouse to which purchases may have been removed. 
 
 Deliveries at the American Art Galleries will be made only 
 between the hours of 9 A. M. and 1 P. M. on sales’ days and on 
 other days—except holidays, when no deliveries will be made— 
 between the hours of 9 A. M. and 5 P. M. 
 
 Deliveries at places of sale other than the American Art 
 Galleries will be made only during the forenoon following the day 
 
 of sale unless by special notice or arrangement to the contrary. 
 
Deliveries at the storage warehouse to which goods may have 
 been sent will be made on any day other than holidays between 
 the hours of 9 and 5. 
 
 Deliveries of any purchases of small articles likely to be lost 
 or mislaid may be made at the discretion of the auctioneer during 
 the session of the sale at which they were sold. 
 
 VI. Storage in default of prompt payment and calling for 
 goods: Articles not paid for in full and either not called for by 
 the purchaser or delivered upon his or her order by noon of the 
 day following that of the sale will be turned over by the Associa- 
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 cost of such cartage and storage will be charged against the pur- 
 chaser and the risk of loss or damage occasioned by such removal 
 or storage will be upon the purchaser. 
 
 NOTE: The Limited space of the Delivery Rooms 
 of the Association makes the above requirements 
 necessary, and it is not alone for the benefit of the 
 Association, but also for that of its patrons, whose 
 goods otherwise would have to be so crowded as to 
 be subject to damage and loss. 
 
 VII. Shipping: Shipping, boxing or wrapping of purchases 
 is a business in which the Association is in no wise engaged, and 
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 Association will, however, afford to purchasers every facility for 
 employing at current and reasonable rates carriers and packers ; 
 doing so, however, without any assumption of responsibility on 
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 service. 
 
 VIII: Guaranty: The Association exercises great care to 
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 the actual time of sale to point out any error, defect or imperfec- 
 tion, but guaranty is not made either by the owner or the 
 Association of the correctness of the description, genuineness, 
 authenticity or condition of any lot and no sale will be set aside 
 on account of any incorrectness, error of cataloguing or imper- 
 
 fection not noted or pointed out. Every lot is sold “as is” and 
 without recourse. 
 
Every lot is on public exhibition one or more days prior to its 
 sale, and the Association will give consideration to the opinion of 
 any trustworthy expert to the effect that any lot has been incor- 
 rectly catalogued and in its judgment may thereafter sell the lot 
 as catalogued or make mention of the opinion of such expert, who 
 thereby will become responsible for such damage as might result 
 were his opinion without foundation. 
 
 IX. Buying on order: Buying or bidding by the Associa- 
 tion for responsible parties on orders transmitted to it by mail, 
 telegraph or telephone will be faithfully attended to without 
 charge or commission. Any purchases so made will be subject to 
 the foregoing conditions of sale except that, in the event of a 
 purchase of a lot of one or more books by or for a purchaser who 
 has not through himself or his agent been present at the exhibi- 
 tion or sale, the Association will permit such lot to be returned 
 within ten days from the date of sale and the purchase money will 
 be refunded if the lot in any manner differs from its catalogue 
 description, 
 
 Orders for execution by the Association should be written and 
 given with such plainness as to leave no room for misunderstand- 
 ing. Not only should the lot number be given, but also the title, 
 and bids should be stated to be so much for the lot, and when the 
 lot consists of one or more volumes of books or objects of art, the 
 bid per volume or piece should also be stated. If the one trans- 
 mitting the order is unknown to the Association, a deposit should 
 be sent or reference submitted. Shipping directions should also 
 be given. 
 
 Priced Catalogues: Priced copies of the catalogue or any 
 session thereof, will be furnished by the Association at charges 
 commensurate with the duties involved in copying the necessary 
 information from the records of the Association. 
 
 AMERICAN ART ASSOCIATION, 
 American Art Galleries, 
 Madison Square South, 
 
 New York City 
 
CATALOGUE 
 
FIRST EVENING’S SALE 
 
 MONDAY, JANUARY 30, 1922 
 
 IN THE GRAND BALLROOM OF THE 
 
 PLAZA HOTEL 
 
 Nine West 58rxu Srreer 
 
 BEGINNING AT 8.15 O’cLOCcK 
 
DENIS 
 (Maurice) 
 
 Frencu: Contemporary 
 
 1—ETUDE DE NU ) 
 : a er ke 
 (Study of the Nude) 
 
 : (De = (Crayon Drawing) 
 Height, 191% inches; length, 24 inches 
 
 In a soft grayish-black, with touches of white, on a buff ground. 
 
 Dedicated to Pascat Dacuano. 
 
 SE 
 
)5 0: 
 
 DAVIES 
 (Arthur B.) 
 
 AMERICAN: 1862— 
 
 2—ATHLETE 2 aN 
 Cae yxe P 
 Height, 944 inches; width, 7 inches 
 
 Fieure drawing in black and white chalk on a background of soft 
 grayish-azure. 
 
 DAVIES (Arthur B.) 
 3—W RESTLERS 
 
 (Gouache) 
 
 4 i 
 Height, 7 inches; length, 16 inches ce a Col 
 
 Bacxeround a yellowish mahogany-brown, the figures outlined in 
 black and executed in white, with touches of purplish-blue, gray and 
 mauve. 
 
DERAIN 
 (André) 
 
 Frencu: Conremporary 
 
 4—PORTRAIT DE JEU INE FILLE 
 (Portrait of a Young Girl) bed BAM 
 
 (Drawing) 
 Height, 24 inches; width, 18 inches 
 
 Back crayon, the outlines though bold yet soft by reason of their 
 breadth; the figure very slightly grayed over, against the white 
 background. 
 
 Signed at the lower right, A. Deratn. 
 
MATISSE 
 (Henri) 
 
 QL Qa * FrencH: CONTEMPORARY 
 ridp Seki 124. 
 
 5—TETE DE FILLETTE 
 
 (Head of a Young Gil) 
 (Pencil Drawing) 
 Height, 19 inches; width, 12 inches 
 AN engaging black and white sketch, the drawing free and the notes 
 soft. 
 
 Signed at the lower right, Hnnri Marissz, 1915. 
 
DERAIN 
 (André) 
 
 Frencu: Conremporary 
 Crane Jay te eae e 
 (Nude) . 
 U 
 (Red Chalk) 
 
 Height, 25 inches; width, 19 inches 
 
 Tue red chalk used with notable effect but just enough of it to pro- 
 duce the desired result with the complementary service of the white 
 background. 
 
 Signature near lower right corner. 
 
MATISSE 
 (Henri) 
 
 / Frencu: ConrEMPORARY 
 a Ae , Gat, RENCH ONTEMPORARY 
 7—FEMME NUE 
 
 (Female Figure in the Nude) 
 
 fx 
 
 (Pencil Drawing) 
 
 Height, 24 inches; width, 18 inches 
 
 A PLAIN lead pencil sketch, of simple outline, directly done, as the 
 
 illustration shows. 
 Signed at the lower left, Henrt Marissx. 
 
DEGAS 
 (Hilaire Germain Edgard) 
 
 Frencu: 1834—1917 
 8—PORTRAIT OF M. ROUGET U 
 
 (Drawing) 
 
 Height, 7 inches; width, 51/4, inches 
 
 In lead pencil throughout, in soft, delicate grayish tone, on plain 
 white ground. 
 
 At lower left, in lead pencil: Paris, 1850; EK. D.” And below it 
 oe 2 P Srp. ) = 
 the stamp of the Degas Sale. 9 { q = fil) cen kebe Par, 
 
| 
 | 
 : 
 i] 
 yy 
 COUBINE \ 
 Frencu: ConreMPorary | 
 ) i! 
 age Hale J haat ' i 
 9—TETE DE FEMME | 
 i a ) 
 (Woman’s Head) 7 2, | 
 (Pencil Drawing) | 
 Height, 1614 inches; width, 1114 inches | 
 FIney executed, with minute attention to expressive detail, in gray- 
 ish-black lead-pencil of soft tonal quality but precise. 
 
 Signed near lower right, Couninx. 
 | 
 ' 
 | 
 i 
 
INGRES 
 (Jean Auguste Dominique) 
 Frencu: 1781-1867 
 
 10—PORTRAIT DE PAGANINI es ee q af 
 (Black and White) G 
 
 [3o0. 
 
 Height, 9 inches; width, 7 inches 
 
 In lead pencil, with the stock and collar heightened in gouache (Chi- 
 nese white). “This drawing, designed to serve as model for the 
 engraving by Calametta, has been entirely gone over in lead pencil 
 by Ingres, on a counter-proof of the first drawing by the artist.” 
 
 (en the collection of Francois Flameng, the stamp of which it bears, at 
 
 lower right. gq Ato, 
 
y Hi { 
 s : cage 
 5 Se em A SF) 
 t / ay 
 ser YN 
 Ay z 
 if _ Z 
 ¥ 
 
 INGRES 
 (Jean Auguste Dominique) 
 
 P. L{) eee ee Frencu: 1781—1867 
 1I—PORTRAIT DE BERLIOZ 
 (Black and White) 
 
 Height, 7 inches; width, 5% inches 
 
 In lead pencil, the collar tips touched in in white. 
 
 a re 
 
 Signed at the lower right, Incres, prw., FLorence, 1824. 
 
 } q 19. From the Flameng Collection. 10 pt, 
 
SEURAT 
 
 (Georges Pierre) 
 
 Frencu: 1859—1891 Bourgeses r\ f 
 12—FEMME ET ENFANT 
 
 (Woman and Child) 
 (Study) 
 
 Height, 12 inches; width, 9 inches 
 
 Cuarcoat freely used, and yet with restraint, in the figures, on a 
 grayish-white ground, its use continued to produce a background. 
 
PICASSO 
 (Pablo) 
 
 Frencu: ConrEMPORARY 
 
 13—HOMME ASSIS 
 
 = 2 f (Man Seated) 
 Ll fal 
 A ierers : (Study) 
 
 Height, 71% inches; width, 484 inches 
 g 7 4 
 
 OD 
 
 (parts 
 
 CrarcoarL, heavily used, for the full effect of the figure masses, 
 with the white ground reserved and screened for the construction of 
 
 the face and hands. 
 Signed at the lower right, Picasso. 
 
 a E one 
 
DERAIN 
 (André) 
 
 Frencu: ConreMPORARY 
 
 borane 
 
 14—GROUPE DE FEMMES 
 (Group of Women) 
 
 Height, 16 inches; width, 13 inches 
 
 Fixes tones arbitrarily conventionalized to ivory and old-ivory hues. 
 The background a deep emerald-green at right and left, a conventional 
 veiled sky-blue at centre, with grayish and lilac cloud effects above 
 and below. 
 
 Signed at the lower right, A. Drratn. 
 
DERAIN 
 
 ; André 
 uid. Uj af Wee aia 
 
 Frencu: ConrEMPORARY 3 
 of, 
 
 15—DOS DE FEMME 
 (4 Woman's Back) 
 (Red Chalk) 
 Height, 201% inches; width, 1514 inches 
 
 Tur red chalk very soft in note, the ground creamy. 
 
 Signed at the lower right, A. DEratn. 
 
DAVIES 
 (Arthur B.) 
 
 American: 1862— 
 
 16—FIGURE DRAWING CY. Ee 
 
 Height, 12 inches; width, 9 inches 
 
 Tue headless figure executed in white chalk on a soft paper of rich 
 purple, the background hue permitted to come through effectively, 
 and utilized in the construction of the figure. 
 
DAVIES 
 (Arthur B.) 
 
 i 8 Sede nae eas on 
 
 17—NUDE STUDY 
 
 Height, 17% inches; width, 12%4 inches 
 
 Ix black and white chalk, the black used in outline and for the “do” 
 of the hair, and the execution of the figure being in white, on a ground 
 of warm red-brown soft paper. 
 
DERAIN 
 (André) 
 
 Frencu: Conremporary 
 
 18—ETUDE DE NUE 
 (Nude Study) org WW ef Rus 
 / 
 (Red Chalk) 
 Height, 24 inches; width, 1734 inches 
 Broapry done, but with sure line, the red chalk of rich, warm yet soft 
 
 hue, over a white background. 
 
 Signed at the lower right, A. Drraty. 
 
SEURAT 
 ) (Georges Pierre) 
 
 syeuseeees ie , Frencu: 1859—1891 /60,— 
 19—GARCONNET ACCROUPI 
 (Seated Boy) 
 (Charcoal Drawing) 
 Height, 121, inches; width, 94 inches 
 
 Dense black, with the ground and background coming through but 
 slightly, in a grayish creamy-white. 
 
CEZANNE 
 (Paul) 
 Frencu: 1839—1906 
 
 20—DEUX ARBRES 
 (Two Trees) Leys ae dal ; 
 (Water Color) U 
 
 Height, 1734 inches; width, 1314 inches 
 
 In tones of blue and green, mauve and rose and faint yellow, and 
 other vague, neutral hues, on a faintly creamy ground. 
 
} 
 DERAIN H 
 (André) | | 
 Frencu: ConrEMPORARY | | 
 My 
 21—LE PIN | 
 (The Pine) i 
 / ; (Pastel) Yb Ko Hi 
 Fea Cale i C. Height, 24% inches; width, 134% inches ; | { 
 iN] 
 Tux olive-gray background broadly utilized in details of the composi- Ht 
 tion, which is completed in black, white and red, all of soft tone. 
 Signed at the lower right, A. D. 
 . i lj 
 
RENOIR 
 (Auguste) 
 Frencu: 1841—1919 
 
 i) 
 
 —PORTRAIT DE FEMME 
 
 i (Portrait of a Woman) 
 
 vedi S. (Water Color) Borgcecy Ae 
 
 Height, 18 inches; width, 1214 inches 
 
 Prk cheeks and pink shoulders, and deep blue eye, and light golden- 
 Hl blond hair with reddish tints in its shadows, against a pale orange 
 | background. The head and shoulders in aquarelle, the arms and body 
 sketched in pencil. 
 
 Signed at the lower right, Renor. 
 
DERAIN 
 (André) 
 
 : 
 Frencu: CoNTEMPORARY 
 
 f PecuhsrsteSee a 
 
 PORTRAIT DE JEUNE FILLE: DESSIN AU 
 CRAYON 
 
 (Portrait of a Young Girl: Pencil Drawing) 
 
 23 
 
 Height, 24 inches; width, 18 inches 
 THE penciling in a soft, grayish-black, on creamy-white paper. 
 oO (=) v d 
 
 Signed at the lower right, A. Dreratn. 
 
45D. 
 
 AN 
 ay 
 
 SEURAT 
 (Georges Pierre) 
 Frencu: 1859—1891 
 
 trarare Fel. 
 
 24—UNE PERISSOIRE: LA SEINE A LA GRANDE 
 JATTE 
 
 (A Canoe: The Seine at the Great Bowl) 
 Etude pour 
 “Un dimanche a la grande jatte, 1884” 
 (Study for 
 “A Sunday at the Great Bowl, 1884’) 
 
 (Panel) 
 Height, 614 inches; length, 934 inches 
 
 A DELICATE tracery and partial screen of emerald-green leaves, with 
 interstices of golden sunshine, over a stream shimmering with color 
 refractions. An incidental figure in a canoe. Distant creamy-white 
 buildings with red tile roofs. 
 
 Signed at the lower right, Srurat. 
 
LOTIRON 
 
 Frencu: ConTEMPORARY 
 
 Pcl Utes 
 
 25—LE PONT MARIE $o.— il 
 (The Marie Bridge) iI 
 it 
 
 Height, 914 inches; length, 13 inches ih 
 
 Tuer bridge buff-gray, the rounding shore of the stream a light creamy | 
 buff, the stream itself bluish-gray in reflection of the sky and green I 
 in reflection of the dense green foliage of the trees on either bank. 
 
 Signed at the lower right, Loriron. 
 
DAVIES 
 (Arthur B.) 
 
 AmeERIcCAN: 1862— 
 
 26—SEATED GIRL ft, ere Pare, vt 
 
 Qu, ¢ Cae 
 
 Height, 9 inches; length, 12 inches 
 
 Two figure drawings: one in profile to the left, one in back view. 
 Both in white and black chalk, on red-brown paper, the black being 
 used for outlines and coiffures. 
 
MATISSE 
 (Henri) 
 
 Frencu: ConrEMPORARY 
 
 a. . 
 d 27—PETITE FILLE WA ustdh fut, 
 
 (Granddaughter) 
 
 (Panel) 
 
 Height, 1834 inches; width, 101% inches 
 
 GREEN background; green and black frock with white collar. Red 
 locks, set off by a light-yellow and burnt-orange bow. 
 
 Signed at the upper right, Henri Marisse. 
 
RENOIR 
 
 rere Save: caro, oe 
 Frencu: 1841—-1919 
 
 283—PORTRAIT DUNE FILLETTE 
 (Portrait of a Little Girl) 
 
 Height, 834 inches; width, 71/4 inches 
 
 Rose and gold and blue. The little girl with golden hair, in which 
 a red rose is tucked or a red bow is tied, and with rosy cheeks and 
 with deep blue eyes; in a white frock, before a rose background. 
 
 Signed at the upper right, Renor. 
 
RENOIR 
 (Auguste) 
 Frencu: 1841—1919 
 
 29—FLEURS 
 
 Las (Flowers) A. UA hy Cad. 
 
 Height, 7 inches; length, 9144 inches 
 
 Rosrs of deep and glowing pink at the centre, and palest soft pink 
 and pinkish-white at the petal-borders, with hints of their green leaves 
 about them, in a confused neutral background largely greenish- 
 yellow. 
 
 Signed at the lower right, A. R. 
 
DERAIN 
 
 (André) 
 
 \ oak " FrencH: CONTEMPORARY or 
 30—NATURE MORTE: VERRE ET FRUITS 
 (Still Life: Glass and Fruits) 
 Height, 12% inches; width, 121, inches 
 Tue rosy fruits in natural color, touched with a kiss of sunlight and 
 
 gold, the red having as a ae a single green leaf; the tumbler 
 a neutral background 
 
 exhibiting a grayish op 
 of dark and deep ae re tone. 
 
 Signed at the lower right, A. DrRrarIn. 
 
CEZANNE 
 (Paul) 
 Frencu: 1839—1906 
 
 31—GERANIUM 
 (Geranium) 
 (Water Color) 
 Height, 131% inches; width, 9Y inches 
 Ricu, vivid and varying greens, with aubergine shadows and touches 
 
 of a wan yellow relieving them. The background, which contributes 
 the flower-pot, a very light buff. 
 
PICASSO 
 
 (Pablo) 
 Dt bed Ce Frencu: ConrEMPORARY Gk Tee = 
 32—NATURE MORTE 
 (Still Life) 
 (Water Color) 
 Height, 13 inches; width, 10 inches 
 THE vase a lapis-blue, deep below, light with reflections above, and 
 standing before a jade-green bowl. 'The flowers of rose-mahogany 
 
 tones, the leaves a rich green. The upper background a medley of 
 neutral grays, the draperies below of varying mahogany notes. 
 
 Signed at the lower right, Picasso. 
 
PICASSO 
 (Pablo) 
 
 Frencu: ConrTEMPORARY ([l / HO cca 
 383—PETITE NATURE MORTE 
 (Still Life) 
 
 Height, 1384 inches; width, 10% inches 
 
 A CONFUSED mass of geometrical forms of very definite but erratic 
 outlines, in white and black, brown and blue, against a gray back- 
 ground. 
 
 Signed at the lower left, Picasso, Brarrirz, 1918. 
 
RENOIR 
 
 (Auguste) 
 
 Crrol [5 eee 
 G Frencu: 1841—1919 
 yee: RENCH 
 
 34—BOUQUET DE ROSES 
 (Roses) 
 
 Height, 10% inches; width, 81% inches 
 
 Roses red and roses pink and pinkish-white, with blossoms of golden 
 note among them, amid their green and yellow-tipped leaves, against 
 
 an indefinite background. 
 Signed at the lower right, Renor. 
 
BONNARD 
 (Pierre) 
 Frencu: 1867— 
 
 35—LES COURSES A BOULOGNE ‘ A 
 (4 
 a5 = (Boulogne Race Track) tego ' 
 
 (Panel) 
 
 Height, 141% inches; length, 181% inches 
 
 SCARLET, orange, green and white, in the jockeys’ colors, their horses 
 sorrel and brown, the turf a faded greenish-yellow. Over the white 
 grandstands with dark roofs, the brilliant tri-color standing out in 
 the breeze, above the indefinite brown mass of the spectators. 
 
 a Signed at the lower left, Bonnarp. 
 
hr. P- 
 
 DERAIN 
 (André) 
 
 Frencu: ConreEMPorRARY 
 
 Ly 
 36—LA ROUTE 
 (The Road) 
 
 Height, 914, inches; length, 111% inches 
 
 THE gray-white road runs between red-brown banks and along 
 orange-yellow meadows, and the shrubs and trees are of mild green 
 —with a single bright exception at right-—the trees being more or 
 less in shadow against the bright white and blue sky. 
 
 Signed at the lower right, A. Duran. 
 
 Ab6O, 
 
DERAIN 
 
 (André) 
 Kay = Frencu: ConreEMPORARY 
 if . 
 87—ROSES DANS UN POT beara 
 
 (Roses in a Jug) 
 (Panel) 
 Height, 18 inches; width, 131% inches 
 
 THE pitcher a rich lapis-blue, running from deep tones to reflections 
 of light—the roses a warm pink, paling almost to white at some of 
 the petal-edges, and lying among deep green leaves which overhang 
 the pitcher. 
 
 Signed at the lower right, A. Drratn. 
 
FRIESZ ) 
 (Othon) Hi] 
 Lehr bw / Frencn: ConrEMPORARY | 
 2 Q a || 
 388—UNE RUM DE HONFLEUR : = 
 
 Height, 164% inches; width, 131 inches } 
 
 Tue black cab in the foreground, with its brilliant red running-gear, 
 its top shining white—the group of people beside it in a jumble of 
 dark colors. Buildings creamy-gray and sky-blue, red and grayish- 
 green, the street surface a commingling of the reflections of all the 
 colors; and the whole dominated by the high dark green hill of the 
 
 background. } 
 Signed at the lower left, Ornon Friesz. Il 
 | 
 
 | 
 
 iW 
 
PICASSO 
 (Pablo) 
 
 Frencu: ConrEMPORARY Wo es 
 39—TETE DE FEMME Suits 
 
 (Woman's Head) 
 (Drawing) 
 
 Height, 7 inches; width, 41% inches 
 
 Iw pen and ink, the sharper pen lines a deep black, the softer shadings 
 beneath appearing in a lead-pencil gray. 
 
COUBINE 
 
 Wot (re. = Pelle TRENCH: CONTEMPORARY 
 
 40—TETE DE FEMME 
 (Head of a Woman) 
 
 Height, 1334 inches; width, 101% inches 
 g 74. /2 
 
 Jur black hair, set off by a single touch of white, binding it back of 
 her left brow. White gown. Dark eyes and warm complexion, the 
 pink roundly flushing the soft creaminess of her skin. 
 
 Signed at her left shoulder, CousINe. 
 
ey RENOIR 
 
 ie (Auguste) Pecod 
 [A | Frencu: 1841—1919 Ourawd 5 
 
 41—PORTRAIT DE MME. PAUL GALIMART 
 
 Height, 16 inches; width, 12% inches 
 Darx hair, almost black, with hints of reddish-mahogany notes; 
 dark eyebrows and rosy features. About her neck and over her left 
 
 shoulder a scarf of richly mottled dark emerald, over a waist revealing 
 hues of cream and rose. 
 
 From the Galimart Collection. 
 
} 
 i} 
 | 
 rit 
 | 
 i 
 | 
 Hi 
 I 
 DERAIN | 
 (André) | 
 © eee Gen , vi fe Hi) 
 4 uratyel yal FrencH: ConTEMPORARY 3 oF | 
 42—PORTRAIT DE SOLDAT 
 (Portrait of a Soldier) i | 
 (Cardboard) | i} 
 Hh || 
 Height, 1144 inches; width, 834 mches Wi} 
 TypicaL uniform, with cap and jacket in red and blue. Dark neutral i 
 background. (A penciling on the back notes this as a portrait of the 
 artist, by himself.) | 
 1 \ 
 i 
 \ 
 ‘Ih 
 
ae: 
 
 BONNARD 
 (Pierre) 
 
 Frencu: 1867— 
 
 483—FEMME A TABLE q : 
 Larsrew cal 
 
 (Woman at a Table) 
 Height, 1834 inches; width, 12 inches 
 Crap in a waist of soft material shot with a variety of shimmering 
 colors, with grays, browns and a deep lapis-blue predominating; 
 
 at her throat a large rosette-bow of bluish turquoise-green. Golden- 
 yellow hair under her plum-brown hat with light trimmings. 
 
 Signed at the upper left, Bonnarv. 
 
VUILLARD 
 (E.) 
 
 Frencuo: CoNTEMPORARY 
 
 44—FILLE EN BLEU 
 
 Girl,in Blue) ROA = 
 rertd ferceke’ (Pastel) 
 
 Height, 24 inches; width, 1834 inches 
 
 Att in blue she is, a soft and engaging blue, and her hair shows soft 
 brown lights and darker shadows. As she sits at table she is engaged 
 with her knife upon what appears to be a loaf of bread well browned, 
 with the bottom or pan side of it toward the observer somewhat 
 blackened—or a cheese of rich exterior coloring and lighter inside. 
 Table gray, and background a mingling of neutral hues of a room 
 
 interior. 
 Signed at the lower right, E. Vuriiarp. 
 
DERAIN 
 (André) 
 
 Frencu: ConrEMPORARY 
 
 45—PETIT PAYSAGE i) 
 
 LAr dal, 
 (Landscape) 
 
 LY Ob, 
 
 Height, 1234 inches; length, 16 inches 
 
 Dense bluish-green depths amongst the foliage of the gray-trunked 
 trees, with sunshine flashing in the light green reeds at their base 
 and on the neighboring stream, and on the bare brown hills of the 
 background, from a bright sky filled with white clouds. 
 
 Signed at the lower right, A. Drratn. 
 
30: 
 
 DERAIN 
 (André) 
 
 Frencu: ConrEMPORARY h eed 
 
 46—VUE DE CAHORS 
 (View of Cahors) 
 Height, 1514 inches; length, 1714 inches 
 
 Tue hills both to right and in the distance appear in the warm red- 
 brown of a cultivated ferrous soil, while in the foreground and to 
 left is a green carpet of grass, and the white and creamy buildings 
 of the middleground, with their warmer, reddish-brown roofs, project 
 from among dense green trees. 
 
 Signed at the lower right, A. Derain. 
 
| 
 
 i 
 
 } 
 
 i 
 
 | 
 | Hl 
 DUFY i 
 
 qf, ‘| trrcharat +e Raoul) = 
 
 aK Frencu: ConrEMPORARY 
 47—NATURE MORTE Ht 
 i} 
 (Still Life) 
 Mil 
 Height, 18 inches; length, 21% inches Hl 
 | 
 A curious assortment of jug, plate and bowls, in dense deep green, } 
 rich yellow, light and dark blue, white and suggestions of mauve, i 
 against a dazzling background. ) | 
 Signed at the lower right, Raovx Dury. 1 
 | 
 Hh 
 
 ii 
 
 Hi 
 
COROT 
 
 (Jean Baptiste Camille) 
 Frexc: 1796-1875 ‘WA Prerde 
 
 48—LA PETITE SERAPHINE, VETUE DE GILET DE 
 COROT DANS SA CHAMBRE A ARLEUX 
 
 (Little Seraphina, Dressed in Corot’s Waistcoat in Her 
 3 ro Chamber at Arleux) 
 
 Height, 15% inches; width, 101% inches 
 
 “A stupy made by the master at Arberg du Nord, July 14, 1871. 
 Painted in the very modest chamber w hich, we offered the master..... 
 His bed, his books. The little girl wears Corot’s (inverted) 
 waistcoat.” The waistcoat a light gray with an edge of dark brown; 
 the girl’s dress bluish-gray, with a dark gray underskirt; white “V” 
 at her throat. Her hair black, bound with a red ribbon. The bed and 
 its covering gray and gray-white, before a gray wall, and casting a 
 brownish shadow. The commode dark aoe red—a searlet scarf 
 
 over the stack of bone books. oe ail naght 
 Signed at er abe lower left, Corov. 
 
 Samet Vol. toy p. 298; No. 2159 
 
 From the George Viaw Collection. Wr r - 
 
 From the Hanson Collection, Copenhagen. 
 
= ERT = eS — a = ~ — ee 
 ——————————— pe = — — — ———— — - 
 ——_— —— geen ee re oe a eer ————— —- ————— = =) 
 
BS ie 
 
 COURBET 
 (Gustave) 
 Frencu: 1819—1877 
 
 49—NATURE MORTE 
 
 (Still Life) A 
 Aust a 
 Height, 144% inches; length, 171% inches 
 
 Tue sward of a darkening green field in a rolling country, under a 
 robin’s-egg sky in which mauve tints of approaching sunset appear. 
 To left the forest edge, dark green against the sky. In the foreground 
 the subject fruits, greatly magnified—those at the left as rich and 
 luscious a red as eye could seek or palate crave, those to right a creamy 
 and golden green-gray. 
 
 Signed at the lower left, G. Cournert, °71. 
 
4S 
 
 DAUMIER 
 (Honoré) 
 
 Frencu: 1808—1879 
 
 2h ATI’ | AV INAT ‘ : () 
 50—PORTRAIT DE M. LAVOIGNAT . Ca if fet 
 L 
 
 Height, 18 inches; width, 14°/4 inches 
 
 A vortrair of the artist’s friend, the engraved Lavoignat, painted 
 about 1860; purchased from the Lavoignat family. A man of reddish 
 brown hair and beard, and complexion at once creamy and florid, 
 the light in which the painter observed it. White collar and dark 
 brownish coat. Olive-gray background. 
 
 Exposition of Vienna, 1908. 
 Exposition of St. Petersburg, 1912. 
 Exposition of Geneva, 1818. 
 
 From the George Viaw Collection. 
 
 From the Hanson Collection, Copenhagen. 
 
ae Ss 
 
 DERAIN 
 (André) 
 
 Frencu: ConreEMPORARY 
 
 51—BUSTE DE FEMME 
 (Bust Portrait of a Woman) 
 
 ur ay bode ied 
 
 Height, 21 inches; width, 111% inches 
 
 Tue flesh of bust and face appearing in warm tones in a warm half- 
 light, which from above lightens but mildly the woman’s reddish hair. 
 Her sagging undergarment white, her skirt gray-blue. Brownish 
 background. 
 
 Signed at the lower right, A. Drratn. 
 
 é \, =~ 
 mr ¥ \ pb 
 
yids 
 W/o Un 
 
 ORTIZ 
 (José) 
 
 SpanisH: 1869— 
 52—BUSTE DE FEMME 
 
 » | «-f— (Bust Portrait of a Woman 
 LA) eG ie 3 Wi ) 
 
 Height, 2834 inches; width, 21 inches 
 
 Neutra background, gray and emerald in its tones at right, moss- 
 green and purplish at left, the cool gray-emerald reappearing at the 
 lady’s right elbow and the general scheme warmed by orange notes 
 above her left shoulder. Her gown bluish, with suggestions of mauve. 
 Hair reddish-brown and cheeks rosy. The play of the light on hair, 
 face and breast yields a maze of color and reflections, as fascinating as 
 elusive. 
 
 Signed at the upper right, Orriz. 
 
COURBET 
 (Gustave) 
 
 Frencu: 1819—1877 
 
 583—LA MER Wutn : 
 
 { 
 ( The Sea) Aba lilhis 
 2) v] LO. Height, 191% inches; length, 23% inches Puro. 
 
 THE sea a dark gray-green, with a lighter translucence as well as the 
 white of the foam defining the successive waves, and at the fore- 
 ground shore the broad white line of the surf. The shore sandy-gray 
 and yellowish, and its detached and jagged rocks gray-brown. Over 
 the sea, banks of nimbus clouds, with gray ones above them opening 
 to a robin’s-ege@ sky. 
 
 Signed at the lower right, G. CourBer. 
 
 Exhibited at the Exhibition of the Works of Gustave Courbet at the Metro- 
 politan Museum of Art, 1919. 
 
SISLEY 
 (Alfred) 
 
 Bunncn 1640-1690 ad, OW, 
 
 54 DANS LES VIGNES A LOUVECIENNES, 1874 
 
 (In the Louveciennes Vineyards, 1874) 
 
 Height, 18 inches; length, 2134 inches 
 
 GrrEEN of many notes, for the most part soft gray-greens, in fields and 
 on the hillsides. To left rich red fruits among the green leaves of 
 the round trees, and to right yellowish and brown notes. Distant 
 hills blue under a mauve-gray sky. Two laborers stand in the middle 
 distance. 
 
 Signed at the lower left, Sistny, 74. 
 
 From the George Viau Collection. 
 
 From the Hanson Collection of Copenhagen. 
 
FRIESZ 
 (Othon) 
 
 G ) {ian 
 e oS Waite 3° 
 15 O r Frencu: ConTEMPORARY 
 
 55—LES MATS DERRIERE LES MAISONS 
 (The Masts Behind the Houses) 
 
 Height, 191% inches; length, 25% inches 
 
 THE masts, some of them flying the Tricolor, stand before a creamy 
 sky, which to right becomes a bluish-gray. The leaves of the over- 
 hanging tree-branches inshore of them wave in a breezy sunlight, and 
 show hues of light and dark green and touches of yellow. The houses 
 below, over whose orange, salmon and red roofs the masts are seen, 
 are creamy and purplish grays, and the trees and shrubbery add a 
 variety of greens. 
 
 Signed at the lower right, OrHon FRrusz. 
 
} 
 
 eos VLAMINCK | 
 | | 
 4 
 
 Frencu: ConrEMPorary 3 = i 
 Se | 
 Hie 
 56-—BORDER OF THE SEINE | 
 i 
 Height, 23, inches; length, 281 inches | 
 = % 2 2 . . A 
 Sxy dark and light blue, filled with gray and white clouds, all its hues Hi 
 mirrored in the stream, which also reflects the gray walls and red roofs it 
 of the houses on the bank and the green trees between them. | { 
 Mm || 
 ii) 
 Signed at the lower right, VLAMINCK. 
 | | | 
 ih} 
 VE 
 HN) || 
 wi | | 
 1] 
 
PICASSO 
 (Pablo) 
 
 Frencu: ConreEMPORARY 
 
 57—PORTRAIT DE JEUNE FEMME 
 (Portrait of a Young Woman) Woveess5m 
 
 S J 0. Height, 281 inches; width, 191% inches 
 In a cloak of neutral green with suggestions of olive-yellow, and deep 
 blue trimmings and shadings, and wearing a vermilion-red hat 
 trimmed with dark greenish-blue, with a feather to match and an 
 olive-green buckle. She has brown hair, and her rosy cheeks are 
 almost florid. Neutral background in light key. 
 
 Signed at the lower right, Picasso. 
 From the Libaude Collection, Paris. 
 
DAVIES 
 (Arthur B.) 
 
 AMERICAN: 1862— 
 
 58—A POOL OF FRAGRANCE 
 
 Height, 25%4 inches; length, 891 inches 
 
 Aw allegorical nude, in which a sloe-eyed nymph seems Narcissus- 
 like to contemplate her own image in a pool or fountain not apparent 
 to the spectator—the creamy flesh dappled with pale golden sunshine 
 and flushed with pinkish shadows, in a conventional environment of 
 umbrageous green. 
 
 Signed at the lower left, A. B. Davirs. 
 
 “ole 
 
= = = — a = — = 
 
 a 
 a ee 
 
FOURNIER 
 (Gabriel) 
 
 FRENCH: CONTEMPORARY a B Dewy 
 
 (Landscape) 
 
 59—PAYSAGE 
 
 Height, 251% inches; width, 21 inches 
 Fo taGE in deep and lighter green, in shadow and sunshine, and the 
 herbage adding further variety to the verdant notes; the transverse 
 pathway a warm sandy-brown, the middle-distance building creamy in 
 the sunlight, with touches of other color notes. The sky a deep, in- 
 tense azure. 
 
 Signed at the lower right, GasrieL Fournier. 
 
SIGNAC | / 
 (Paul) il 
 
 Orretd_ Sencha Frencu: 1863 J/ 2, ii | 
 
 60—MARSEILLE 
 
 (Marseilles) | 
 (Ink Drawing) i 
 
 Height, 3534 inches; width, 2834 inches 
 
 Trers broadly and heavily lined in, foreground rocks and distant i) 
 landscape lightly grayed over, light grayish reflections emphasizing 
 the course of the intervening water. Wh) 
 
 Signed at the lower left, P. Sienac. 
 
GUILLAUMIN 
 (Jean Baptiste Armand) 
 Frencn: 1841— 
 
 aol 
 
 A 
 6I—PAY SAGE: LE MATIN Wen Same me 
 (Landscape: Morning) 
 
 Height, 23% inches; length, 2834 inches 
 
 PuRPLE-BLUE and hazy-violet the woods of the distance, beneath a 
 morning sky with its auroral pink suffusing the pale golden light 
 breaking through moist white clouds. The river slowly coursing 
 the middle distance reflects the shadows of the woods, and in its course 
 and on the hither bank are rough red-brown and green-gray rocks— 
 those on the land lying on a grass-covered ground of luminous yellow- 
 green. 
 
 Signed at the lower left, Guttuaumin. 
 
UTRILLO 
 (Maurice) 
 
 Frencu: ConrEMPORARY 
 
 LE CHATEAU 
 (The Castle) if (sO, 
 (Board) 
 
 62 
 
 Mr. RP, 
 
 Height, 23 inches; length, 2814 inches 
 
 Tum castle tower is creamy white, with weathered areas and mossy 
 adhesions, under a dark slate-blue roof, and the walls at either side 
 are a grayish-cream and faint rosy-gray, rising amid trees and dense 
 and dark greenery. ‘To right a low red wall borders the stream or 
 moat in the foreground; to left a red gabled building comes into view 
 
 beyond green shrubbery. 
 Signed at the lower right, Mavricr UrriLto. 
 
VLAMINCK 
 
 Frencu : CONTEMPORARY 
 
 68—DANS LA FORET 
 
 (In the Forest) LE Ud Sew, ae 
 
 Height, 231% inches; length, 281% inches 
 
 Trees at right and left of the house in the middle distance bright 
 green, with emerald notes, in sunshine; those at left in the background 
 dark in shadow. The house gray-white with brown and reddish roof, 
 the land before it of mellow tone, the foreground stream a mass of 
 reflections. 
 
 Signed at the lower left, VLAMINCK. 
 
DUFY 
 (Raoul) 
 
 Frencu: Contemporary 
 
 64—PAY SAGE: S. PAUL 
 
 a (Landscape: St. Paul 
 Welty, PP aek pet | ne 
 Teight, 251 inches; length, 32 inches 
 
 Tue tall, dominating architectural pile in its walls and tiled roofs 
 shows purple-gray and sundry browns and yellows, while relieved 
 against it the tall poplars are a dense and vivid green. Green, heavy 
 in mass but in lighter hue, appears beside the curving wall on the earth 
 below, while the curious trees of the left foreground have in their 
 foliage a suggestion of the blue-green of an olive grove. In the far 
 distance the blue of a deep cerulean sea. 
 
 Signed at the lower right, Raout Dury. 
 
MATISSE 1 
 (Henri) 
 
 Frencu: ConrEMPORARY 
 
 65—PORTRAIT DE FEMME ACCOUDEE SUR UN 
 FAUTEUIL 
 
 (Portrait of a Woman Leaning on Her Elbow in an 
 
 Armchair) E 
 (Panel) 4, qe 
 
 Height, 21 inches; width, 18 inches 
 
 Flas, 
 
 Wuite waist, with greenish trend, the sleeves transparent, Creamy 
 features, rose-touched, and black hair. Orange-backed chair against 
 a mottled-emerald background. 
 
 Signed at the upper right, Henrt Matisse. 
 
CASSATT 
 (Mary) 
 
 AMERICAN: CONTEMPORARY 
 
 66—_JEUNE FEMME ASSISE 
 
 (Young Woman Seated) 
 4 f 
 (Pastel) A4A4f 
 Height, 231% inches; width, 191% inches 
 ReppisH-yELLow hair very dark, with blond lights revealed in it, 
 above a face of warm hues enclosing hazel eyes. Her décolleté waist 
 is old-rose, and the jar of flowers includes blooms pinkish and of pale 
 
 golden-yellows, while the table-top repeats orange tones and the fan 
 discloses notes of green. Background a deep aerial blue. 
 
 Signed at the lower right, Mary Cassarv. 
 
 From the Theodore Duret Collection. 
 
oe 
 
 s. 
 
 Pe CABS Of 
 
GUILLAUMIN 
 ean aptiste rmanc 
 (J Bapti A 1) 
 
 Frencu: 1841— 
 
 67—PAY SAGE 
 Mr. Preud ive aa 
 (Landscape) fi 
 
 Height, 23 inches; length, 31% wches 
 An autumn landscape with yellows and orange tones, and soft browns, 
 besides greens in a variety of notes, and certain blues and touches of 
 
 red. A veiled and nebulous robin’s-ege sky, with mauve strata 
 amongst the mixture of cloud colors. 
 
 Signed at the lower right, GuiLLAuMIN. 
 
PISSARRO 
 (Camille) 
 
 Frencu: 1830—19038 ) 
 Quad. Rue 
 68—LA SEINE A ROUEN: EFFET DE BROUILLARD 
 (The Seine at Rouen: Wog Effect) 
 
 2 oo. 
 
 Height, 251% inches; length, 32 inches 
 
 Mavve and pale yellowish notes mingle with the faint gray of the 
 confused sky, and mauve reflections with the bluish-gray of the 
 ruffled river below,—the whole, with the traffic on the busy bridge, 
 the boats and trains, and the distant city buildings, seen dimly in the 
 pervasive fog. 
 
 Signed at the lower right, C. Pissarro, ’98. 
 
 From the Hanson Collection, Copenhagen. 
 
DUREY 
 (René) 
 
 FRENCH: 
 
 69—LA VILLE 
 
 (The Town) 
 
 Height, 251 inches; length, 81% inches 
 
 Deep blue the encompassing hills, and gray-blue the sky overhead, 
 while the sky just over the hilltops is a white and creamy bank reveal- 
 ing soft hues of orange and rose. The town buildings brown, white 
 and creamy, their roofs blue, orange, brown and red, the street sandy, 
 with a border of green grass. 
 
 Signed at the lower left, René Derry. 
 
CAMOINS 
 
 Frencu: ConTEMPORARY 
 
 70—LE PETIT PORT 
 
 tr4. Woe Becaf (small Harbor of a Seaport) 
 
 Height, 21 inches; length, 3114 inches 
 
 here and there 
 
 Cream walls of varying tone in the mass of houses 
 a white or gray-brown one—blue, green or orange shutters or doors; 
 pinkish and red roofs. Emerald the stream crossing the middle- 
 ground and cream, pinkish, buff and brown the foreground sands. 
 
UTRILLO 
 (Maurice) 
 
 Frencu: ConrEMPORARY 
 71—LA RUE 
 (The Street) 
 
 364. 
 
 ( Board) Wr, “aS Ee 
 
 Height, 22% inches; length, 2914 inches 
 
 Barr the trees, in autumn or spring—the cold purplish-blue sky with 
 fleeting white clouds suggests the autumn—and bare the earth but 
 full of colorful reflections and refractions from the rose and white 
 houses with brown and reddish roofs. And the women in the road- 
 way are dressed in colors sober as the leafless trees. 
 
 Signed at the lower right, Maurice Urritzo. 
 
UTRILLO 
 (Maurice) 
 
 Frencu: ConrEMPORARY 
 
 72—EHFKFET DE NEIGE 
 O if) 
 (Snow Effect) oO catt qe 4. OUHKE 
 
 | 3 60, Height, 231% inches; length, 8134 inches 
 
 Snow on the ground, registering the tracks of stragglers in quiet 
 streets, who are out in the bright winter air; snow on roofs and walls, 
 making the scene more bright under a mild gray sky. And but little 
 of the snow holding to the trees lining street and hillside, whose all 
 but bare branches retain a few leaves, while red chimney-pots above 
 the varied houses spot the composition with lively color. 
 
 Signed at the lower right, Mavrice Urrinzo, V. 
 
VLAMINCK 
 
 Frencu: Conremporary a Oa 
 
 73—BORDS DE RIVIERE 
 
 (Banks of the River) 
 
 Height, 281% inches; length, 36 inches 
 
 o) 
 
 Wir wonderful clearness the limpid stream reflects on its deep blue 
 and silvery-white surface the cream-white and warm red of the walls 
 and roofs of the houses on its farther bank, and more suggestively the 
 greens of the landscape around them. Foreground green in sunshine 
 and shadow. 
 
 Signed at the lower right, Vuamtncx. 
 
DUREY 
 (René) 
 
 rl ean O Ne cate 5 # 
 Frencu: CoNrTEMPORARY ij rae 
 
 ey ea 
 T4A—LE VILLAGE 
 (The Village) 
 
 inches; length, 3184 inches 
 
 2 
 
 Height, 251 
 
 Tx yellow-sandy road is bordered by banks of green grass, and above 
 these rise gray and orange walls, supporting blue roofs and brown 
 ones, and intervening between these are green tree-tops. Sky grayish- 
 blue, with much white vapor. 
 
 Signed at the lower right, Rext Durey. 
 
PICASSO 
 
 (Pablo) 
 Frencu: ConTEMPORARY pees 
 
 Ss = 
 75—GRANDE NATURE MORTE: LE COMPOTIER 
 (Still Life: The Compote Dish) 
 
 Height, 23 inches; length, 3114 inches 
 
 THE compote dish white with green interior, and strong black shadows 
 outside and in. The table, wall, and all else, green in groundwork, a 
 vivid green, spotted with white and black and red and blue, rose and 
 yellow and magenta, on gray. 
 
 Signed at the lower right, Picasso, 1914. 
 
| 
 | 
 | 
 
DAVIES 
 (Arthur B.) 
 
 AMERICAN: 1862— 
 
 oe Onto Coif 
 
 76—THE SUMMIT THICKET 
 
 7 
 
 Height, 221, inches: length, 40 inches 
 
 THE two young women nude in the seclusion of a leafy retreat, the 
 foliage all about them a rich variety of greens, with golden flashes 
 of sunlight on occasional blossoms—here a patch of orange, there one 
 of a deep, dense blue—and the play of the transparent shadow-lights 
 on the cool flesh tones. The nearer nymph with mahogany-red hair. 
 
Se SS ae am pen a ne ———— —S——S—_— 
 —— a — SS SS — — = = = — Tan a a 
 SSS — SSS = ee = 
 = eee —=—=aae = _—_——— = —— = Sa = ————— ee 
 _ seni — = ee — a en 
 
LEBOURG 
 (Albert) 
 
 Frencu: 1849— 
 
 —LES BORDS DE LA SEINE p W. T nticola 
 (The Banks of the Seine) 
 
 ~ 
 “I 
 
 Height, 2514 inches; length, 3914 inches 
 
 Tue freight boats, whether with steam or without, massed at both 
 borders of the river, are in low tones of red, brown, blue and grayish- 
 yellow, and the landscape and its buildings and the busy life of the 
 quay are in the same colors, varying in value and but rarely striking 
 a higher key. The stream and its reflections share in the soft poly- 
 chrome effect, the most luminous of the reflections in the foreground 
 being that of an orange and mauve cloud-bank in the bluish sky. 
 
 Signed at the lower left, A. Lesnourc, Roven, 1894. 
 
 Wy From the Roger Marx Collection. ela i) hes 
 
DAVIES 
 (Arthur B.) 
 
 AMERICAN: 1862— 
 
 78—_SHADOW V ALLEY (Otto oe 
 
 Height, 25%/ inches; length, 391 inches 
 
 Aw allegorical composition of eighteen male and female figures, 
 mainly nude and indistinct, in a vale of shadows where apparently 
 or semi-apparently is a stream—the nebulous lights in the peculiar 
 environment of a prevailing creamy hue in the upper part of the 
 region, and bluish below. 
 
DERAIN 
 (André) 
 
 Frencu: ConTEMPORARY 
 
 79—_PAY SAGE y f 
 tyrdescaud, 
 j 200. (Landscape) Nort 
 
 Height, 281% inches; length, 36 inches 
 
 Gray the sky and gray the water, with a diffused sunlight illumining 
 the mounds of a cloud-bank and polishing a section of the water 
 surface with a light sheen. The middle-distance shore-hills yellowish, 
 the dense trees a grayish-green, roofs pinkish, and the narrow street 
 almost white. 
 
 Signed at the lower right, A. Derain. 
 
ee a ~— ————— - am —————— —<——— 
 
DAVIES 
 (Arthur B.) 
 
 American: 1862— 
 
 80—VELVET-EYED VENUS 
 
 Height, 3784 inches; width, 37%4 inches r) 
 Ot Brug agt: 
 Tue figure is gray, and dappled with creamy lights, and the aureole of | 
 her hair mauve, against a cerulean background with a few nebulous, 
 misty patches before it. White surf of a blue sea—the projecting 
 rocks red-brown. 
 
 Signed at the lower left, A. B. Davins. 
 
SECOND AND LAST EVENING’S SALE 
 TUESDAY, JANUARY 81, 1922 
 
 IN THE GRAND BALLROOM OF THE 
 PLAZA HOTEL 
 Nive West 587H Srreet 
 
 BEGINNING AT 8.15 0 CLOCK 
 
GOYA Y LUCIENTES 
 
 (Francesco) 
 Spanisu: 1746—1828 
 
 81—DEUX TETES yom 
 
 SoM: (Two Heads) 
 Dirrete 
 
 (Pencil Drawing) 
 
 Height, 3°4 inches; width, 33/4, inches 
 
 As a paster on the back notes, a drawing for an engraving of “The 
 Duel,” engraved by A. Hirsch, in the Gazette des Beaux Arts. Pen- 
 cil drawing finely executed, the title explaining it. 
 
 At lower left, stamp of the Francois Flameng Sale. |4 | q— ut ood y < 
 
| 
 | 
 | 
 
 CHAHINE 
 
 (Edgard) 
 Frencu: Conremporary r 
 < C6 + f ols 
 82—PORTRAIT DE FEMME 
 
 (Portrait of a Woman) 
 (Charcoal Drawing) 
 Height, 23 inches; width, 16 inches 
 
 In very rich, matt black. 
 
 Signed at the lower right, Epcar CHAHINE. 
 
VUILLARD 
 (E.) 
 ; Frencu: CoNTEMPORARY 
 
 88—DEVANT LA GLACE 
 (At the Mirror) 
 (Pastel) 
 
 Height, 22V% inches; width, 1834 inches 
 
 Darx blue-black skirt, and gauzy waist with lavender and buff sug- 
 gestion; dark brownish hat. The pale gold mirror frame darkening 
 toward brown, and on the purple-gray dresser ornaments of orange- 
 brown and robin’s-egg blue. 
 
 Signed at the lower right, E. Vurtuarp. 
 
RIVIERE 
 
 (Henri) 2 
 8 O. Frencu: 1860— ‘ yee s.e7 
 
 84—SOUS LE PONT DES ARTS 
 
 (Under the Bridge of the Arts—the bridge across the 
 Seine, leading to the Louvre) 
 
 (Water Color) 
 
 Height, 81% inches; length, 181 inches 
 
 Tue river a pale blue below a grayish sky, with its rippled waters 
 showing green shadows beneath the bridge. The neighboring land- 
 ings gray—and green foliage looming in the middle distance. 
 
 Signed at the lower right, Henrt Rivisre; and at the lower left, 
 “cH. R., Pont pus Arts.” 
 
BARYE 
 As Q (Antoine Louis) 
 
 Frencu: 1796—187¢ 
 
 85—TIGRE COUCHE DANS LA BROUSSE 
 (Tiger at Rest in the Brush) 
 (Water Color) 
 
 Height, 7 inches; length, 11 inches 
 
 Tue tiger in his warm and stunning natural coloring; the path where 
 he lies, worn gray earth or rock; the ground growths of the bleak 
 environment grayish, and touched with green and deep autumn- 
 
 browns. 
 
 Signed at the lower right, Banryx. 
 
 On back, seal of the Barye Sale. 
 
ec nba eRRRoema inseam ep oe 
 
 ines 
 
 Weve. ‘Nd by BP 
 
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 Se tee 
 
 Ww A 
 
 A va Ae ith 
 
 MILLET 
 (Jean Francois) 
 
 Frencu: 1814—1875 
 
 86— LES BLES MURS 
 (The Ripened Grain) 
 (Water Color) 
 
 Height, 7®4 inches; length, 10 inches 
 
 THE grain brown, with soft surface lights, the trees green, and among 
 them and beyond the grain-fields the gables of red-tiled and brown- 
 thatched farm buildings. 
 
 Signed at the lower left, J. F. M. 
 
GUYS 
 
 rarcehoay (Constantin Ernest Hyacinthe) Sto, 
 Sal : Frencu: 1802—1892 
 
 87—LA PROMENADE U 
 (The Promenade) 
 
 (Water Color) 
 
 Y 
 
 Height, 16 inches; length, 19 inches 
 
 Ture ladies are dressed, the leader in water-green, her companion ina 
 light buff; the officer is in light green. The horse is dark. 
 
 7 : - . = ——_ - EE TE 
 
RENOIR 
 (Auguste) 
 Frencu: 1841-1919 
 
 88—PORTRAIT DE FEMME EN CHAPEAU DE PAILLE 
 (Portrat of a Lady in a Straw Hat) 
 
 Heights83), incheas-uilih, 8 inches ugeaee 
 
 THE straw of her tepee-like hat a vivid yellow, with canary lights 
 and brownish-orange notes; the scarf binding it and tied beneath her 
 chin a rich azure, which, like the yellow in her hat, glows in the sun- 
 shine. Her cheeks a brilliant and deep rose, above the soft pink of her 
 chin. Gown and background a confusion of soft colors, keyed to the 
 high light of the whole brilliant performance. 
 
 Signed at the lower left, Renorr. 
 
a 
 
RENOIR 
 (Auguste) 
 Frencu: 1841—1919 
 
 89—BUSTE DE FEMME 
 
 (Bust Portrait of a Woman) Persruf (7, 
 
 Height, 9 inches; width, 7 inches 
 
 )b 6. 
 
 A PASTER on the stretcher notes the painting as a portrait of Madame 
 i Renoir. The sitter presents her smiling features in pink and rose, 
 | framed in blond hair showing light golden and dark mahogany lights; 
 eyes blue. She is in a delicate greenish-blue gown of robin’s-egg note, 
 | shot with white, orange and gold, and reflecting warm orange and 
 | brown notes of the background. 
 | 
 { 
 
 i Signed at the upper right, Renorr, 92. 
 
DAUMIER 
 (Honoré) 
 Frencu: 1808—1879 
 
 90—GROUPE DE TROIS PERSONNAGES 
 
 (Group of Three Persons) Wire D 
 ( 
 
 (Panel) 
 
 Height, 534, inches; length, 7 inches 
 Or the three figures the stout woman at left, who is in a white waist 
 edged in blue, and the third figure, with heavy masculine features, 
 have reddish-yellow hair; the intermediate person has black hair above 
 a florid face, and is clothed in a mingling of colors and flowing lines, 
 both more or less indefinite. 
 
 (Note on back: “Mai | May] 1860.) 
 
 From the Boy Collection. }404— | 506 .\) 
 i) 
 
 c 
 
DEGAS 
 (Hilaire Germain Edgard) 
 Frencu: 1834—1917 
 
 91—LE BALLET 
 (The Ballet) 
 (Pastel) 
 
 Height, 9 inches; width, 7 inches Orrstld Gevctke 
 
 On the broad dusty-gray boards the first three dancers appear in 
 costumes of robin’s-egg hue, with dark apricot bodices, and those 
 behind them in soft yellow, enlivened by touches of orange-red, with 
 green scenic relief. 
 
 Signed at the lower left, Drcas. 
 
 ft) 1) 
 From the Roger Marx Collection. | qi - b $1 1" 
 
! 
 | 
 } 
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DAUMIER 
 (Honoré) 
 Frencu: 1808—1879 
 
 92—FEMME ET ENFANT SUR UN PONT 
 (Woman and Child on a Bridge) 
 
 (Panel) Cel pk Cul 
 
 3 5 Ao. Height, 1084 inches; width, 8Y% inches Y 
 
 In sombre notes. Tones of brown, amid which suggestions of red and 
 of gray appear in the garb of the figures, who approach the spec- 
 tator in their own shadow, with moonlight softly ilumining footway 
 and barrier—and far off a dark greenish-blue sky. 
 
 From the Alphonse Kann Collection. 
 
 Formerly in the collection of Arséne Alexandre. 
 
DELACROIX 
 (Eugéne) 
 
 Frencu: 1798—1863 
 
 983—ESQUISSE POUR LE TABLEAU LE “GIAOUR ET 
 
 LE PACHA” 
 
 (Sketch for the painting, “The Giaour and the Pacha”) 
 
 (Board) (Rot, ed Ons 
 Height, 734 inches; length, 984 inches. Gee (/ 
 
 Tue flying robes of the combatants white and a rich cream, above 
 their richer apparel of crimson and olive, blue and purple, standing 
 out before the brown and black of their chargers—the colors reap- 
 pearing in the garb of the stealthy, creeping figure in the foreground, 
 while the mountain fastnesses of the background and the distant sky 
 vield a variety of color reflections softer in tone. 
 
 From the Chéramy Collection. | |) 3— 2520 aa 
 
 Formerly in the collections of Victor Hugo, Théophile Gautier, Alice Ozy, and 
 Alexandre Dumas fils. 
 
ya 
 
 es 
 
Dy {(¥ Yai 
 RENOIR 
 (Auguste) 
 Frexcw: 1841—1919 a4, DAA 
 
 )A+L-O : / 
 94—PORTRAIT DE FEMME EN TOILETTE DE VILLE 
 
 (Portrait of a Lady in Walking Dress) 
 
 Height, 984 inches; width, 734 inches 
 
 Her white hat banded in a rich velvety brown-black, her hair blond 
 and complexion creamy—with lips a warm red. Color abounds in 
 the background which the painter has given his study—a rich blue, 
 lightened by faint greenish-yellow, orange and brownish-red—and 
 more light appears in the light yellow and cream of the lady’s bow tie, 
 and her white collar and waist. 
 
 Signed at the lower left, Runor. 
 
 “UM LA 
 
ro DAUMIER 
 (Honoré) 
 Frencu: 1808—1879 
 
 95—TETE D’HOMME 
 
 (Head of a Man) iH (A Aaa 
 WL, 
 
 Height, 81% inches; width, 61/4, inches 
 
 Expression and brush strokes count so heavily in this fascinating 
 tour de force that its color, eloquent as it is, is difficult to represent 
 in words—further than to say that the man’s hair is a deep brown, his 
 brow, features and neck, and his undefined apparel, all an assemblage 
 of color not confused nor yet analyzed, but richly conceived in tones 
 soft and warm, with red, brown, gray and an obscured white pre- 
 dominating. 
 
 From the Alphonse Kann Collection. 
 
CEZANNE 
 (Paul) 
 Frencu: 1839—1906 
 
 96—QUATRE PECHES DANS UNE ASSIETTE 
 
 s 
 
 | (Four Peaches on a Plate) Druwa 2d - Pe, 
 fl | 60. Height, 94% inches; length, 141% inches 
 
 GoLpEN with the gold of noonday sunshine and crimson with the 
 warmth of sunset-red, the fruit in the full perfection of maturity rests 
 on a blue-edged white plate, on a table whose coverings show a ming- 
 ling of colors, with red and yellows predominating. 
 
 From the collection of Octave Mirbeau. | 4 | 4 - | Goo} 
 
j 
 | 
 } 
 | 
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 | 
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DERAIN 
 (André) 
 
 Frencu: Contemporary 
 
 97VASE DE FLEURS : ae: 
 Wy oe 
 (Vase of Flowers) iwecere : Prather 
 / 
 
 (Canvas on Board) 
 Height, 26 inches; width, 101% inches 
 Roses and other flowers, their colors running from pinkish-white to 
 
 dark brownish-red, rise high above their indeterminate grayish vase 
 and stand forth against a very light background. 
 
RENOIR 
 (Auguste) 
 Frencu: 1841—1919 
 
 98—PORTRAIT D’HOMMME, ETENDU SUR UN SOFA 
 
 (Portrait of a Man at Ease on a Sofa) 
 : Clya,f 
 | 6-0. Height, 8¥ inches; length, 114 ae U SALLEEA 
 In dark clothing, coat a grayish-black and trousers dark brown; he 
 is seen against a drapery of olive notes, with rambling floral orna- 
 mentation in greenish-blues—both figure and drapery in a soft half- 
 light. 
 Signed at left below centre, A. Renoir. 
 
 From the Chéramy Collection. | 4137 4D ag / 
 
ea ee pentose 
 
MORISOT 
 (Berthe) 
 Frencu: 1841—1895 
 99—AU BORD DE L7HAU 
 (At the Waterside) 
 
 \OEr a yee | (Se ALK 
 
 Height, 844 inches; length, 1114 inches 
 
 (Water Color) 
 
 Tue lady is in blue, a blue azure in its depths and pale in its brilliant 
 light reflections—her small hat the same color. The man, with sandy 
 beard, shows but little color in his apparel. The green bank on which 
 they are seated is lightened by hinted blossoms, and the surface of 
 the stream shares reflections of the bordering greenery. 
 
 Signed at the lower left, B. Monisor. 
 From the Manzi Collection. 1919, — ort ite 
 
| VAN GOGH 
 i (Vincent) 
 Frencu: 1853—1890 
 
 100—PORTRAIT DE L’ARTISTE PAR LUI-MEME 
 
 | (Self-portrait of the Artist) 
 
 i (Canvas on Panel) Oelref- Presta 
 | f Out 
 Height, 1334 inches; width, 101% inches 
 
 : 
 
 Tur extraordinary man, with complexion of warm pinkish hue, and 
 i) his piercing blue eyes dark, portrays himself with beard as yellow as 
 his broad straw hat, but of deeper note, and with his lips and ears vivid 
 in their redness. He is clothed in blue of an azure quality, and ap- 
 pears against a grayish neutral background. 
 | 
 
 From the collection of M. Bernard Goudchaue. 
 
i DEGAS 
 (Hilaire Germain Edgard) 
 
 Frencu: 1834—1917 
 
 q 101—ETUDE DE FILLETTE POUR LE “PORTRAIT DE 
 hs FAMILLE” 
 
 (Study of a Small Girl for the “Family Portrat”) , 
 
 Rutt 
 (LM 
 Ay 4 Oo. Height, 1484 inches; width, 1014 inches Ourard KR ul 
 
 Tue washed shadows on the skirt and below it are in transparent 
 My black, the overskirt and waist lightly brushed in in dove-gray. The 
 | broad strokes at left are in brown. The young girl’s hair is a soft 
 || | chestnut-yellow. 
 
 i Signed at the lower right, Deas. 
 i 
 | 
 
 From the Manzi Sale. \¢ | Oe ison 
 
| 
 | 
 
 DAUMIER 
 (Honoré) 
 Frencu: 1808—1879 
 
 102—BUSTE DE FEMME 
 
 (Bust Portrat of a Woman) 
 
 (Paper on Canvas) Eugint Oo. M. ful A : 
 inches 
 
 Q DAO Height, 15%4 inches; width, 1234 
 
 Tue bold broad outlines conspicuous in the illustration done in gray- 
 black, in free strokes; the woman’s hair red, her complexion the trans- 
 parent pink that often accompanies this Titian hair. Background 
 the azure of a nebulous sky. She is dressed in gauzy white, with a 
 blue ribbon at her throat and a pink rose with a green leaf at her 
 breast. 
 
 From the collection of Octave Mirbeau. 14, %—U4S 60 ita 
 
RENOIR 
 (Auguste) 
 Frencu: 1841—1919 
 
 1083—PORTRAIT DE MADAME ED. MAITRE 
 
 i 1b Oo Height, 1484 inches; width, 1234 inches Dy eal Gol. 
 is 
 
 In gray and black and white the checkered dress, the brooch garnet; 
 the cushion a fabric of lighter grays against a chestnut background, 
 and both textiles and background relieving the sitter’s rich black 
 i hair. Her comely features, in a softened light, reflect a vague variety 
 i, of color notes, in partial shadows which veil without concealing the 
 natural rose of her cheeks beneath them. 
 
 | Signed at the upper left, Reno. 
 
MANET 
 (Edouard) 
 
 Frencu: 1832—1883 
 
 i | —CHEZ TORTONI 
 | | 104A— CH HZ TORTON p ne eae | 4-0, 
 
 (dt Fortoni’s) 
 
 £6) 4 64 : Height, 101% inches; length, 13% inches 
 
 Porrrarr of a blasé and yet alert young man writing a letter at the 
 famous Paris café, his refreshing glass resting just at hand. His hair 
 and moustache are of the yellow-blond type, his face and hands 
 show good color. His black hat and attire take a soft bluish-black 
 | | in the soft light-reflections of the place, the sombre coat relieved by a 
 rosebud at the lapel. 
 
 Signed at the lower left, Manrr. 
 
 From the Alphonse Kann Collection. 
 
| Q 
 Q 0 wv 
 ee RENOIR 
 x (Auguste) 
 
 Frencu: 1841—1919 
 
 105—PORTRAIT DE M. ET MME. BENJAMIN GODARD 
 
 35 60. Height, 1334 inches; width, 101% inches 
 
 Born of rosy complexion, and both also having blond hair, which 
 shows mahogany lights; she, clothed in a soft grayish-blue, he in dark, 
 unassuming and indefinite hue, and the group observed against an 
 undetailed back@round as of a highly colorful garden window, full 
 of light” on the right, and a dense woodland-interior green at left. 
 
 Signed at the lower left, Reno. 
 
 From the private collection of M. Joseph Hessel. 
 
 Gehan tag Gil. 63 + 37 Kap we fob. 
 
 O.Wy. 
 
! 
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MATISSE 
 (Henri) 
 
 | F : aK pe 
 | PRENCH : CoNTEMPORARY 
 
 106--TETE DE FEMME 
 
 (Womans Head z (i iy ares 
 ) Se, WU yy 
 : lb 4 ae (Panel) / 
 
 | Height, 1334 inches; width, 101 inches 
 
 Jxer black hair and eyebrows, dark brown eyes, and a face creamy and 
 | pink, and again more creamy. Light gown of an opalescent dove- 
 | gray. Background a bold green of mottled emerald note. 
 
COURBET 
 (Gustave) 
 Frencu: 1819—1877 
 
 Chur ; Ife) OAL Ae 
 
 107—LA NEIGE SUR LE LAC LEMAN 
 
 (Snow on Lake Geneva) 
 
 , 3] Co. 
 
 Height, 15 inches; length, 18 inches 
 
 FE\verGREENS dark, revealing only shadowy depths rather than their 
 native color, beneath and between their heavily snow-weighted 
 branches, the ends of the lower branches borne down to the snow- 
 | laden ground. he lake gray, leaden, under the lead-gray sky, and 
 the sails of the boat a penumbral creamy-brown. Yet the whole dark- 
 q | ening scene enlivened by the continuously descending flakes, which 
 | seem merely to make more attentive to their duties the two boatmen 
 | at either end of their craft. 
 
 Signed at the lower left, Gustave Courser, ’74. 
 
 Presented by the painter to the Marquise Colonna, November 28, 1874, accom- 
 paned by a letter thanking her for visiting him in his exile, and begging 
 her to accept this “impression of the falling snow,” which it seemed to him 
 had pleased her at the time of her visit. 
 
COROT 
 (Jean Baptiste Camille) 
 
 Frencu: 1796—1875 
 
 108—ITALIENNE ASSISE A TERRE, ACCOUDEE SUR 
 SA CRUCHE 
 
 (Italian Woman Seated on the Ground, Leaning on Her 
 
 Pitch 
 | 0-0, itcher) gine OM LiL 
 Height, 12 inches; length, 15 ite 
 
 Sxirt deep blue and overskirt of scarlet; waist and cap white, and 
 | the broad apron light yellow barred in red and adorned in white. 
 ¥ White stockings. The pitcher a soft brown. She sits on a ground 
 ' of pale yellowish-olive note, in a soft light before a nebulous back- 
 ground of obscure brown. 
 
 At lower left, “VENtE Corot”; and on back the seal of the Corot 
 
 | Sale. 
 
 Described and illustrated in Robaut’s “L’Giuvre de Corot,” No. 1087, Vol. IT. 
 
 | 
 From the Chéramy Collection. | i Os = Vy ob i. g 
 
DELACROIX 
 (Eugéne) 
 
 Frencu: 1798—1863 
 
 109—OVIDE CHEZ LES SCYTHES 
 
 e (Ovid Among the Scythians) 
 y 50. 
 
 | Height, 13 inches; length, 161% inches 
 
 | Tue exiled poet in rose, and enwrapped in a blue-green mantle, the 
 semi-nude Scythians, with dark reddish-brown hair, showing in their 
 rude clothing gray, reddish and green notes. (A sketch for the 
 
 i 
 
 ! decoration of a “corner’—the fifth “bay’—in the library of the 
 | Chamber of Deputies, Paris.) 
 i 
 
 DO yu. 1B bY. 
 
 | Near bottom, to left of centre, the seal of the Delacroix Sale. 
 | 
 i} 
 
po 
 
 COROT 
 (Jean Baptiste Camille) 
 Frencu: 1796—1875 
 
 110—CH ATEAU-THIERRY: VUE D’'ENSEMBLE AVEC 
 LA TOUR DE SAINT-CREPIN e 
 
 (Chdteau-Thierry: General View with the Tower of 
 Saint Crépin) 
 
 Height, 84% inches; length, 171% inches 
 
 Gray the bridge with its dual arches and gray the varied architecture 
 of the town beyond, the soft predominant grayish tone lighted by 
 creamy slants and corners where sunshine direct brings out the 
 brighter hue of the walls. Distant hillsides are vague, while tree 
 groups to right and left in the middle distance are bold in their dense 
 green leafage, whether in sunshine or shadow. In the clothing of the 
 standing figure in the boat, the characteristic Corot touch of red set 
 off by white. 
 
 Signed at the lower right, Coror. 
 
 Described in Robaut’s “L’Qiuvre de Corot,” No. 1019, Vol. IT. 
 ot : 
 
 | A ( & 
 
DELACROIX 
 (Eugéne) 
 Frencu: 1798—1863 
 
 1lI—HERCULE RAMENANT ALCESTE DES ENFERS 
 (Hercules Bringing Back Alcestis from Hades) 
 
 (Canvas on Panel) Dursud - Reel 
 
 Height, 12 inches; length, 181% inches 
 
 i Arcrstis in drapery of palest fleece-veiled sky-blue, which falls over 
 the lion-skin of Hercules, her fairer flesh in a soft light against his 
 swarthier skin and huge muscles. The kneeling Admetus saluting his 
 spouse appears in crimson and deep emerald, and a touch of scarlet 
 ! is seen among the figures about the sacrificial altar at the left, while 
 the figures in Hades, grasping serpents, are nude. 
 | 
 | 
 
 Signed at bottom, to left of centre, Kuc. Denacrors, 1862. 
 
 From the Chéramy Collection. 1913 — 2 5 ot an 
 
 Formerly in the collection of Ernest Cronier. | a 5— Uae Y 40 ia ’ 
 
 QUlard 18 66, § 400 ft, 
 
) 
 | 
 i 
 1 
 
CEZANNE 
 (Paul) 
 Frencu: 1839—1906 
 
 112--PORTRAIT DE MADAME CEZANNE 
 
 Height, 1814 inches; width, 15 inches Bored 
 Gao. a tf. 
 
 COMPLEXION warm, and the flesh reflecting sensitively the delicately 
 varying tones imposed by softly colorful details of the surroundings 
 —with here and there a shadow, itself transparent to the inveigling 
 colors. Gray-blue peasant jacket closely buttoned, disclosing at the 
 neck the red of the waist beneath. Neutral background of vague 
 robin’s-ege suggestion. 
 
 From the Pellerin Collection. 
 
7p 
 
 \eo~ O\e 
 
 TOULOUSE-LAUTREC 
 (Henri de) 
 Frencu: 1864—1904 
 
 6.W. dritery, 
 1183—PORTRAIT DE CIPA tee 
 
 (Portrait of Cipa Godeski) 
 5 | 60. (Board) 
 Height, 201% inches; width, 1534 inches 
 In dark blue coat, and with a blue-stemmed pipe, and dark hat a 
 greenish-blue and with purplish suggestions. His scragely beard is 
 
 dark brown, yellowish reflections enliven his face; the background is of 
 green and yellow-green foliage. 
 
 Signed at the upper right, A Cipa, HTLavurrec. 
 
 From the Alphonse Kann Collection. 
 
 buds 3S. |e rser 
 
TOULOUSE-LAUTREC 
 (Henri de) 
 
 Frencu: 1864—1904 
 
 114—PORTRAIT DE FEMME ASSISE 
 
 i 6-0. (Portrait of @ Woman Seated) Teen. 
 lal Height, 181% inches; width, 11%4 inches 
 
 Her dark skirt bluish-green, and waist a light, semi-transparent 
 greenish-yellow. The drapery beyond her shoulder lavender-blue, and 
 the dark yellowish wall of the background having its color counter- : 
 
 \ : 5 é F Se 
 
 | part in her hair. The bow] back of her, light robin’s-egg blue. 
 
 | 
 
 til Signed at the upper right, AT-Laurrec, 790. 
 
 From the Théodore Duret Collection. 
 
DELACROIX 
 
 (Eugéne) 
 gad Frencu: 1798—1863 f 
 Soe. eee Owwey 
 115—PAGANINI Hot 
 (Board) ( 
 
 Height, 181% inches; width, 114% inches 
 
 In conventional black, against a dark olive and neutral background, 
 the sombreness intensified by the violinist’s black hair and relieved by 
 the white at his throat—the violin showing only just enough of color 
 to define itself—while the powerful, dreamy features of the man, 
 and his expressive hands, come forth and gleam softly in flesh notes 
 creamed against the dusky background. 
 
 From the Chéramy Collection. \ 10 C—- (740 ac 
 
 Formerly in the Hermann, Perreau, and Champfleury Collections. 
 
COURBET 
 (Gustave) 
 Frencu: 1819—1877 
 
 116—TETE D’HOMME DAs tf fevaks 
 
 (Head of a Man) 
 
 Height, 1614 inches; width, 1334 inches 
 
 His beard a light sandy-brown, in the full light which falls upon his 
 face, darkening in the lower shadows; his deep-set eyes dark. Dark 
 hl hat and coat, white collar, and a red cravat. Background a soft and 
 | dark olive. 
 
 Signed at the lower right, G. Cournrxr. 
 
COROT 
 (Jean Baptiste Camille) 
 
 Frencu: 1796—1875 
 
 117—PORTRAIT DE FEMME ever: nh. Oa 
 ) O-0 (Portrait of a Lady) U 
 
 Height, 15°84 inches; width, 12%4 inches 
 
 Ricu golden-yellow hair with Titian tinges in its shadowy depths, 
 and a complexion creamy, heightened with tints of rose. Her gown, 
 dark in the shadows, reveals, where the light slants upon it about 
 shoulder and breast, its fine plum-color, soft and rich in tone. The 
 wisp of flowers in her hand, green with a blossom of red. 
 
 Signed at the upper left, Coror. 
 
 Described and illustrated in Robaut’s “L’Géuvre de Corot,” No. 1390, Vol. IIT. 
 
4 
 kK DEGAS 
 4 (Hilaire Germain Edgard) 
 Frencu: 1834—1917 
 ‘ 
 
 118—PORTRAIT DE FEMME A MI-CORPS 
 (Half-length Portrait of a Woman) 
 
 ao. 
 Height, 18 inches; width, 15 imches « A 
 
 Danrx reddish-brown hair, hazel eyes, and warm complexion. Hat 
 
 4 ; 7 
 and garments a blackish-brown, with a suggestion of rose about the 
 throat. Background of creamy olive notes, with the olive-yellow pre- 
 
 dominating. 
 i Signed at the upper right, Drcas. 
 ill 
 
COROT 
 (Jean Baptiste Camille) 
 
 Frencu: 1796—1875 
 
 119—LE LAC ALBANO, A CASTEL GANDOLFO 
 
 (Albano Lake, at Gandolfo Castle) 
 
 (Panel) alee pp ta 
 Height, 914 inches: length, 154, inches 
 g ae g 14 
 
 WALL ay, 
 
 Tu lake silver-blue, with gray and mauve reflections, and its shores 
 in foreground and to the right green in a soft sunlight beneath a 
 lightly veiled sky. The castle buildings sandy-gray and creamy, the 
 far high bank of the shore beyond them dark in shadow. 
 
 Stamp of the Corot Sale at lower left, and seal of the sale on back. 
 
 From the Dutilleux Collection. 
 
 i Described and illustrated in Robaut’s “L’Gfuvre de Corot,’ No. 160, Vol. II. 
 
 I Uy [A131 700 [A Neb 
 
5 5 O 
 
 GUILLAUMIN 
 
 (Jean Baptiste Armand) 
 Frencu: 1841— 
 
 120—PAY SAGE 
 
 (Landscape) S ee Fawley ‘ 
 
 Height, 21 inches; width, 17 inches 
 
 DELICATE mauve and cream clouds, in a sky robin’s-egg below and 
 turquoise aloft, over distant and hazy-blue hills. In the middle dis- 
 tance creamy buildings, with orange, brown and gray roofs, standing 
 in a green countryside—the whole observed over the gray picket fence, 
 and between the darker gray trunks and interlaced branches of the 
 tall foreground trees. 
 
 Signed at the lower right, A. GurruauMtry, 776. 
 
BONNARD 
 (Pierre) 
 
 Frencu: 1867— ee rie & ‘cuaee 
 
 121—FILLETTE A TABLE AVEC UN CHIEN 
 
 = Little Girl at Table with a Dog 
 ine S : 
 (Paper Board on Wood Panel) 
 
 Height, 16 inches; length, 22 inches 
 
 Suz is dressed for outdoors, in black and white coat and comfortable 
 brown and blue cap, and loose muffler, and has stopped to give a lesson 
 to her pet French poodle, or to put him through his table tricks, at a 
 white-covered table on which there remain a ripe cheese of rich yel- 
 low color and a blue cup and saucer. 
 
 Signed at the lower right, Bonnarv. 
 
 From the Bernard Goudchaux Collection. 
 
VUILLARD 
 (E.) 
 
 Frencu: ConTEMPORARY 
 
 Mrs. Wed. Bul 
 
 122— PORTRAIT DE MADAME HESSEL 
 
 3 0 Height, 2014, inches; width, 12°4, inches 
 Her features, hair and dress, the chair in which she sits and the 
 immediate environment all are as if shimmering in sunshine, and the 
 shadows which play about her cheeks are subtle. She is in rich but 
 soft crimson and deep blue, and her armchair is upholstered in soft 
 bluish-green. 
 
 Signed at the lower left, HK. Vurruarn. 
 
RENOIR 
 (Auguste) 
 Frencu: 1841—-1919 
 
 123—TETE D’ENF ANT 
 
 3 s (Head of a Child) Dead Pug 
 
 nO, 
 (Pastel) 
 
 Height, 224% inches; width, 19% inches 
 Rosy cheeks little deeper in hue than the fire of his hair, which darkens 
 
 in the thicker places. Blouse black. 
 
 Signed at the lower right, Renorr. 
 
MATISSE 
 (Henri) 
 
 Frencu: ConTEMPORARY 
 
 124_QUELQUES FLEURS DANS UN VASE 
 
 (Flowers in a Vase) WAg WW f oe 
 
 IB ALS 5 Height, 211% inches; width, 18 inches 
 
 Kwown also as “The Bouquet on the Bamboo Table,” the table on 
 which the vase rests being framed in bamboo rods, in natural coloring. 
 The flowers are purple-blue and mauve, with tinges of flame color, 
 white, pink and pale golden-yellow. ‘The table-top is in dull olive 
 notes and the background soft gray. 
 
 Signed at the lower left, Henrt Martissz. 
 
 From the Bernard Goudchaux Collection. 
 
ae 
 
DEGAS 
 (Hilaire Germain Edgard) 
 
 Frencu: 1834—1917 
 
 125—LA MODISTE 
 (The Milliner) . ae 
 he Cop lila. 
 
 2 (Pastel) 
 aS oo, MALLLCL VVC 
 
 Height, 18¥% inches; length, 244 inches 
 
 In dark waist and olive-brown skirt, the milliner leans over, studying 
 the hat which seems in color to match her own dress. Her companion 
 is in blue waist, and the table cover is of dark red. Background 
 neutral, in light notes. 
 Signed at the upper right, Dueas. 
 
 From the Roger Mare Collection. | de) yf —] dX pbb He , 
 
DELACROIX 
 (Eugéne) 
 Frencu: 1798—1863 
 
 126—LE JARDIN DE GEORGE SAND A NOHANT 
 
 (George Sand’s Garden at Nohant) 
 
 q Ao, Height, 18 inches; length, 22 inches Wor bps Lita Lic 
 ' PYWOALL LW 
 Lrarace and grass green, blue-green and brownish-green, relieved by ji 
 the brown of the tree-trunks, and all in variable shadow save for a 
 sun-lighted meadow in a middle-distance hollow, while at left, on a 
 middle-distance knoll, hollyhocks in blossom catch a slant of sunshine 
 
 on its way to the meadow. 
 Signed at the lower left, EH Drtacrors. 
 
 From the Chéramy Collection. | 4 0 S— 1) 0 ‘‘ : 
 
 Formerly in the collection of George Sand. 
 
PISSARRO 
 (Camille) 
 Frencu: 1830—1908 
 
 127—LA MAISON DANS LE BOIS ¢ Pie Leos 
 (The House in the Wood) 
 
 i Height, 191% inches; length, 251% inches 
 
 In the masses of foliage a variety of greens, from the tender qualities 
 in the sunlight to the deep tones in intermittent shadow where the 
 leafage is dense. And still further variations, still green, in the par- 
 tially shaded grass on the right, and the sunny clearing at the left, 
 of the sunshine-dappled path in which, besides the equestrian, two 
 peasant pedestrians are seen. 
 
 Signed at the lower right, C. Pissarro, 1 
 
 From the Henri Rouart Collection. 14 } te = yy 6 \* hi 
 
MONET 
 (Claude) 
 Frencu: 1840— 
 
 128—LE PONT DARGENTEUIL 
 (Argenteuil Bridge) 
 
 Height, 191% inches; length, 251% inches 
 
 Tue bridge in bluish-leaden-gray, the central support olive-gray—the 
 latter, particularly, carrying its color tone to its reflections in the 
 water, which in its further reaches ripples with pink and yellowish 
 reflections from the distant shore line and from the yellow and reddish 
 tall buildings of the left middle distance. 
 
 Signed at the lower left, CLaupE Monet. 
 e 
 
 From the Roger Mara Collection. \41 Mone f 1 rb) 
 
 “Al , 7 D 
 
PISSARRO 
 (Camille) 
 Frencu: 1830—1903 
 
 129—LE VILLAGE ENTRE LES ARBRES 
 
 (The Village, Between the Trees) p @ hd thls 
 
 + 
 Height, 21 inches; width, 1714 inches 
 
 Tue village as seen between the trees, the village not suggested but 
 emphatically declaring itself, beyond the trees and seen between them, 
 in sunshine under a fair sky, its buildings gray, white and creamy 
 under roofs of thatch and tile of varying color. Earth-surface gray- 
 ish-yellow, and green with herbage. The woman in the foreground 
 in dark blue and brown, with a bluish-white apron. 
 
 Signed at the lower left, C. Pissarro. 
 
a nt 
 
COROT 
 (Jean Baptiste Camille) 
 
 Frencu: 1796—1875 
 
 130—PORTRAIT DE M. ABEL OSMOND 
 
 Height, 2144, inches; width, 17% inches} Reg e / 
 G Urc_gleld Yn 
 
 A MAN of somewhat florid complexion, his hair and whiskers and eyes 
 brown. Coat black, with white waistcoat and stock. Chair-back 
 brown. Background neutral, of darkest olive. 
 
 j , r Signed at the lower left, Corot, 1829. 
 soy me Net To Purre Qarernrd. 
 Described and illustrated in Robaut’s “L’Gucre de Corot,” No. 205, Vol. II. 
 
WHISTLER 
 (James MacNeill) 
 American: 1834—1903 
 
 ) / 
 131—-CHELSEA GIRL Ot 
 
 Ae) 
 
 Height, 1934 inches; width, 12 inches 
 i] p-t0 ' 
 
 Aw expressive head, carried to completion in its modeling and color 
 against the desired dark olive background,—figure and a nondescript 
 apparel finely suggested, only, with a loose brush and in browns on a 
 pale olive. The pensive young girl has a wealth of light brown hair, 
 darker in its shadowy depths, and her hat, of deeper brown, is adorned 
 with a yellowish and red feather. 
 
 From the Madame B.... Collection. 
 
‘ of ‘ 
 
 // nw 
 
 | 
 
 | 
 
 COURBET 
 
 ] (Gustave) 
 
 | Frencu: 1819—1877 
 
 | 1382—PORTRAIT DENFANT 
 
 | (Portrait of a Child) ee ek el 
 4) Height, 23 inches; width, 19 inches 
 
 Pate: 
 
 Buonp hair and creamy complexion, with blue eyes and pink cheeks. 
 Hair-ribbon blue, and the checked frock a soft mixture of bleu-de-ciel 
 and white. Chair-back red-brown, and background a neutral dark 
 green. 
 
 Signed at the lower left, G. Cournrr, 69. 
 
 A statement in ink on the stretcher identifies the child as the daughter of a 
 Mayor of Pontarlier, on the Swiss border. 
 
COURBET 
 (Gustave) 
 
 Frencu: 1819—1877 
 
 133—LE GUITARRERO 
 
 h\ f f— 
 
 Bihar Vie ise Ase IN yy ; 
 
 ) (Man Playing Guitar) WA, Ir tiude 4A € f 
 if ; Height, 211% inches; width, 16 inches 
 
 oD 
 
 Dark red hose and creamy-gray doublet, and brown cape with lining 
 striped in blue and light gray. Hair and beard red-brown. Gray hat 
 with scarlet feather; and varied gray rocks in a green landscape where 
 sunshine and shadow play under a gray and blue sky. 
 
 Signed at the lower right, Gusvave Cournet, 1844. 
 
 From the Faure Collection. 
 
 From the collection of the Prince de Wagram. 
 
RENOIR 
 (Auguste) 
 Frencu: 1841—1919 
 
 134 BOUQUET DE CHRYSA NTHEMES 
 
 < ; 
 (Bouquet of Chrysanthemums) WULALLK KECL& 
 
 44 64, 
 
 Height, 251% inches; width, 21 inches 
 
 | Iw a globular jar of rich aubergine tones, the eccentric blooms stand 
 forth in a soft, diffused light, exhibiting among their colors light 
 golden-yellow, pink, crimson, flame, green and white, against a neutral 
 ! azure-and-greenish background. 
 
 iH Signed at the lower right, RENorr. 
 
 } {| From the private collection of M. Joseph Hessel. 
 
CASSATT 
 (Mary) 
 
 BE ra weer: ) 
 AMERICAN: CONTEMPORARY Der edi Z Mg Ta 
 
 | 366. 
 135—PORTRAIT DE FEMME DE PROFIL 
 | (Woman in Profile) 
 
 Height, 28 inches; width, 2234 inches 
 In a window light which reveals and brings with it a confusion of 
 colors and reflections, with a suggestion of the aspect of a garden, a 
 full light meeting her rosy cheeks and burnishing her golden and red- 
 
 dish hair. Her hat is light and greenish in tone, and trimmed with 
 deeper green, and her waist shows deep green and a rich dark blue. 
 
 Signed at the upper left, Mary Cassar. 
 
COURBET 
 (Gustave) 
 
 Frencu: 1819—1877 
 
 136—TOUFFE DE FLEURS ( ) N 
 : Meraud = toe iG 
 
 (A Bunch of Flowers) 
 Height, 20 inches; length, 24 inches 
 Wuitr, pink and red blossoms, in their several forms and varieties, 
 
 some peering in mauve from the shadows, upon and among stems of 
 green leaves of their particular species. 
 
 Signed at the lower left, Gustave Courset. 
 
 From the private collection of M. Joseph Hessel. 
 
PISSARRO 
 (Camille) 
 Frencu: 1830—1903 
 
 | 137—-LE SENTIER GRIMPANT 
 (The Climbing Way) 
 
 il Al &0. Height, 21 inches; length, 2534 inches 
 
 A 
 Lh ff 
 Brookli A 
 
 Gray-BurrF the bare, climbing way, winding over the shrubbery-bor- 
 i dered crest, below which all is verdure, beyond a transverse stone wall 
 low in the foreground. Seen between the trees and beyond the wall, 
 creamy buildings of the French countryside bright in sunshine, with 
 their varied roofs yellow and orange and sandy-red, blue and gray. 
 Above the last roof, three poplars rise from a hillside. 
 
 Hi Signed at the lower right, C. Pissarro, 1875. 
 
 ih On back, stamp of the “Donop de Monchy Collection, No. 110.” 
 
CASSATT 
 (Mary) 
 
 AMERICAN: CONTEMPORARY 
 
 1388—PORTRAIT DE FEMME TENANT UN EVEN- 
 TAIL 
 (Portrait of a Woman Holding a Fan) 
 
 ~ 
 
 (Pastel) WET AL A a 
 
 t 8 OO, 
 
 ) / 
 Height, 26 inches; width, 201% inches RCL {_ 
 
 Sanpy-rep hair, warm in tone, and her fan a rich yellow before her 
 eray-pink gown, which is topped by its soft neck scarf of greenish 
 note. Before the deep crimson upholstery of the chair, a confusion 
 of draperies or cushions indicated in several colors. 
 
 Signed at the lower left, Mary Cassarr. 
 
 From the Roger Mara Collection. 
 
DEGAS 
 (Hilaire Germain Edgard) 
 
 Frencu: 1834—1917 
 
 139—LA TOILETTE 
 
 4 ’ 
 oy — 
 f 
 
 (The Toilet) C4 wt (CP A/a SOR eS 
 1S b0, (Pastel) 
 
 Height, 2634 inches; width, 2034 inches 
 , ‘A. ‘A. 
 
 THE corset covering black, with robin’s-ege blue edge, over the white 
 under-vestments, and light grayish skirt. ‘The lady’s hair is a brilliant 
 golden-yellow, and her mirror stands against a wall of rich blue, while 
 the pitcher and bow] are orange-pink on the white top of the dresser. 
 
 Signed at the upper left, Drcas. 
 
o. 2 CASSATT 
 
 y Ae (Mary) ? 
 AMERICAN: CONTEMPORARY Ty LOL YX S tL i , 
 ro, () / 
 140—FEMME APPRENANT A LIRE A UNE PETITE 
 
 FILLE 
 
 (Woman Teaching a Small Girl to Read; or, “The 
 Reading Lesson’) 
 
 (Pastel) 
 
 Height, 2314 inches; length, 2834 inches 
 i) 712 g 7A 
 
 Ow a brilliant green and sunny lawn, and partly in transparent 
 shadow, the mother in a blue gown which shows a shimmer of green 
 and yellow, the child’s frock mauve. The child’s hair a warm red-gold, 
 the mother’s much darker. At right in the rear the base of a red house 
 Hi | comes into view. 
 
 Signed at the lower left, Mary Cassarvr. 
 
PICASSO 
 (Pablo) 
 
 Frencu: ConTtTEMPORARY 
 
 141--PAY SAGE 
 
 Luge on, VY, 5 loa 
 Kt 
 
 Height, 19 inches; length, 25 inches 
 
 Q pao. (Landscape) 
 
 Herzace and foliage in soft light greens, the stream in the middle- 
 ground reflecting the deep blue of the sky, which is banked with white 
 clouds. Buildings gray, brown, white and cream, and their many- 
 pointed roofs grayish, red, and light and dark purple. 
 
 Signed at the lower left, Picasso, *19. 
 
TOULOUSE-LAUTREC 
 (Henri de) 
 Frencu: 1864—1904 
 
 142—PORTRAIT DE FEMME 
 
 (Portrait of a Woman) © ve 1 ois ON. L, tha. 
 ( Board) ( ° 
 
 14 00, 
 
 Height, 26°34 inches; width, 2134 inches 
 g /4 74 
 
 Buivur eyes misty, but neither mystic nor mysterious, in a face of 
 creamy flesh which seems to lend its flexible surface readily and sym- 
 pathetically to the commingled reflections of the varied surroundings 
 —whose notes are quietly colorful, in neutral tones. Gown of green- 
 ish blue-black, with which fuse themselves still other soft, low tones. 
 
 Signed at the lower left, HTL (monogram). 
 
PUVIS DE CHAVANNES 
 (Pierre) 
 Frencu: 1824—1898 
 
 143—CONCORDIA 
 
 a @.7} 
 
 CAC AL 
 
 | ao Height, 23%/, inches; length, 3114 inches ft : ‘ iui Nn, - 
 nh Ce (Ce 
 
 Figures partly nude, in the softened light of a woodland’s edge, the 
 turf beneath them a dark, rich green, the stream at the side gray and 
 white. Their assorted, informal apparel disclosing notes of brown, 
 gray, blue and white, black, purple-pink and crimson. Sunshine gilds 
 a green hillside in the background. (The frame, with garlands on a 
 dark azure ground, was also painted by Puvis.) 
 
 Signed at the lower left, A MAvame Gautier; son Ami, P. Puvis pE 
 CHAVANNES. 
 
 From the Hanson Collection, Copenhagen. 
 
MATISSE 
 (Henri) 
 
 Frencu: Contemporary Joep B 
 NECA VANE VW 4 
 
 144—LA FENETRE SUR LE JARDIN ° 
 (The Garden Window) 
 
 Height, 311 inches; width, 25\%5 inches 
 
 Britianr cerulean sky crossed by gray-white cloud-banks, over a 
 rough garden of light and rich green—the gable at the left, salmon- 
 color under a roof of dark slate-gray. The table within the window 
 and the objects it supports, a broad color display of greens and reds 
 and yellows and blues. 
 
 Signed at the lower right, Henri Matisse. 
 
CEZANNE 
 (Paul) 
 
 Frencu: 1839—1906 
 
 145—PAYSAGE A L’ESTAGUE , gy 
 (E'stague Landscape) ¢ UN BAL A f LL 
 
 (2 Z Height, 25 inches; length, 3114 inches 
 ; bo. 
 
 Mer iow coloring,—a varied assemblage of warm, creamy orange- 
 browns, with subdued flashes of reds—in earth, and walls and roofs, 
 all relieved by varied greens in foliage and shrubbery, under a nebu- 
 lous bluish-gray sky. 
 
 From the Alphonse Kann Collection. 
 
 From the Hanson Collection, Copenhagen. 
 
RENOIR 
 (Auguste) 
 Frencu: 1841—1919 
 
 146—LA BAIGNEUSE 
 ] C ii 
 (The Bather) (? h ue rf L@ She L f ea 
 
 Height, 33 inches; width, 2614 inches 
 4S 6. : “A 
 
 BackGrounp a confusion of color, as of a wood interior; dominantly 
 green, but showing a variety of natural, highly chromatic neighbors, 
 and penetrated freely by softening lights. The admixture of the 
 reflections on the light flesh of the nude bather continues the chro- 
 matic medley with harmonics. The draperies in the bather’s hand are 
 white and blue. Her cheeks are rosy and she has golden-blond hair. 
 
 Signed at the upper right, Renom. 
 
DEGAS 
 (Hilaire Germain Edgard) 
 
 Frencu: 1834-—1917 
 
 147—LA SORTIE DU BAIN 
 (Quitting the Bath) 
 (Pastel) 
 
 . 
 Da eee eae 
 
 / 560 ; Height, 21 inches; length, 27 inches 
 
 THe aerial tones warm and mellow over the palpitant flesh, relieved 
 by the delicately varying shadows of muscular resilience; the linen 
 white on a ground of orange-red and pale yellow; the tub green-white. 
 
 Signed at the lower left, Drcas. 
 
 From the Degas Studio Sale. 
 
CEZANNE 
 (Paul) 
 
 Frencu: 18839—1906 
 
 148—PAYSAGE DE PROVENCE 
 g ‘ie: 
 YRS DRATEYD cane ‘ -\ ¢ / 
 9 Kae (Provence Landscape) aie tone WN. dial OW. 
 
 Height, 311% inches; width, 25’ inches 
 
 GreEEN turf and foliage, tree trunks gray and a warm russet-red; and 
 bil between the trunks and amid the verdant luxuriance orange roofs be- 
 ii low a gray-white and gray-blue sky. In the short foreground are all 
 i of the colors of the greater scene. 
 
DEGAS 
 (Hilaire Germain Edgard) 
 Frencu: 1834—1917 
 
 149—PORTRAIT DE FEMME 8 
 i 
 (Portrait of a Woman) [cept [Berm Hee 
 
 east Height. 3214, inches; w idth, 2914 Macnee 
 
 Cap in a plain gown of soft seal-brown, relieved by the soft white 
 collar at her throat. Dark hat and dark hair; her creamy face rosy in 
 the cheeks. The sofa a soft gray-white, with a creamy flash in the high 
 light on the arm. Neutral background, gray and blackish. 
 
 Signed at the upper left, Drcas. 
 
TOULOUSE-LAUTREC 
 (Henri de) 
 Frencu: 1864—1904 
 
 150—PORTRAIT DE M. SESCAUT 
 
 Braeblyn. ONL Loans 
 
 ) uy 60, Height, 391 inches; width, 2034, inches 
 
 In a studio, with paintings stacked on the floor, and on the wall a kake- 
 mono. Monsieur wears a dark greenish coat and purplish-drab trous- 
 ers, and the wall behind him is a greenish-blue. His complexion, 
 naturally a bit florid, seems by reflections to share in the colors of his 
 environment. 
 
 Signed at the lower left, HT Laurrec, 91. 
 
 From the Roger Mara Collection. 
 
COURBET 
 (Gustave) 
 Frencu: 1819—1877 
 
 151—ESQUISSE POUR LES DEMOISELLES DES 
 
 ? i) ; 
 BORDS DE LA SEINE ue att A-Circel 
 By 60 (Sketch for the Damsels of the Seine Banks) 
 
 Height, 35 inches; length, 46 inches 
 
 Tue demoiselle clasping the large bundle of flowers is clad in rose, 
 her companion in white lawn with overhanging golden and rose-brown 
 draperies, the former reclining in the shadow of the trees and the 
 latter prone in a sunlight not harsh but softened. Green the sward 
 about them, and dark green the leafage overhead, while sky and river 
 are alike blue, with light nebulous reflections. 
 
 From the Madame de Taste Collection. 
 
GAUGUIN 
 (Paul) 
 Frencu: 1848—1908 
 
 152—-MATERNITE (TAHITI) . thw 
 ( ) 
 (Motherhood—Tahiti) Rb HAL 4 eas } aah 
 
 ( 
 
 7 BAO, Height, 8644 inches; width, 231/, inches 
 
 Tue baby sharimg its mother’s loin-cloth of curiously mottled light 
 green,—the only clothing of the two—their coppery nudity relieved 
 against the rich and deep lush green of the verdure upon which they 
 ' rest. ‘The standing figures in crimson (at the centre) and indigo-blue 
 (left) skirts, the one clasping a garland, the other carrying rich green 
 tropical fruits both in basket and hand. ‘These stand before a sunset- 
 yellow sky crossed by a mauve cloud. 
 
 Signed at the lower right, Paun Gavcuin. 
 
 From the Alphonse Kann Collection. 
 
DEGAS 
 (Hilaire Germain Edgard) 
 Frencu: 1834—1917 
 
 LA BAIGNEUSE 
 (The Bather) 
 
 1538 
 
 Quitart ‘Brel 4 
 Ib a6. q | 
 
 (Pastel) 
 
 Height, 35 inches; width, 231 inches 
 
 Tue tree-trunk gray and reddish-brown, springing from turf of warm 
 springtime-green, on which lie the bather’s white and deep blue drap- 
 eries, while over her shoulders is brought one of a delicate robin’s-egg 
 hue. The flesh tones rich in a variety of refractions of the surrounding 
 lights, with a delicately permeative rose suffusion. 
 
 Signed at the lower right, Drcas, 785. 
 
ee ee ET aS = 
 
SEURAT 
 (Georges Pierre) 
 
 Frencu: 1859—1891 
 
 154—JEUNE FEMME SE POUDRANT 
 
 a 
 b 
 (Young Woman at Her Powder-bow) U4twt Q 
 
 j Height, 37 inches; width, 31 inches : 
 
 Her bodice in its reddish-mahogany notes almost matches her hair, 
 her skirt is only more creamy than her supple flesh, the table surface is 
 an iridescence of gold and red and blue, the background of all a vari- 
 able robin’s-egg soufflé. Her cheeks are rose-hued, her eyes dark. 
 From the Fénéon Collection. 
 Seurat Exposition, Bernheim Jeune & Cie., Paris, 1890. 
 
 i . 
 
 Société des Artistes Indépendants Exposition, 1890. 
 
 Berlin Secession Exposition, 1913. 
 
COURBET 
 (Gustave) 
 
 Frencu: 1819—1877 
 
 155—ETUDE DE CHIEN POUR LENTERREMENT 
 
 DORNANS rete 
 
 U CT 
 9 x (Study of a Dog, for the Interment at Ornans) 
 y AO , 
 
 [Ornans, the birthplace of Courbet, near Besancon | 
 
 Height, 25 inches; length, 31 inches 
 
 ‘THE hound brown and white, the grass beneath him and to left a pale 
 \ green in a fading light—just enough light to permit the shadows of 
 | his legs to be seen—the hillside landscape to right and its trees dark 
 brown in deep shadow, as the light is dimming. 
 
 Signed at the lower left, G. Courner, 1856. 
 
 [qis- 11s eegr, Welebcae 
 
 From the Marczell de Nemes Collection. 
 
 Exhibited at the Diisseldorf Museum, 1912; No. 63. 
 
CEZANNE 
 (Paul) 
 Frencu: 1839—1906 
 
 156—GRANDE NATURE MORTE 
 (Still Life) 
 Height, 2614 inches; length, 3524 inches BR A wet ¢ 
 2X) sso, ght, 26% inches; length, 35%, inches ( 41. 
 Luscious fruits red, golden and green, as they lie in high lights and 
 soft shadows on draperies blue and creamy-white. Tumbler, dish and 
 a polychromatic pitcher add their colorful contributions to the group 
 
 of fruits, and share severally in the bewitchment of the many reflec- 
 tions. 
 
 From the Gangniat Collection, 
 
VAN GOGH 
 (Vincent) 
 Frencu: 1853—1890 
 
 157—LA CUEILLETTE DES OLIVES 
 
 Hd, Bru WW’ 
 
 (Gathering the Olives) 
 4Y 0, 
 
 Height, 28% inches; length, 85Y inches 
 Fortace green, earth a purplish-brown and yellow, the sky suffused 
 with pink; all, alike, wavy and tortuous. Of the harvesters, she on 
 the ladder is in purple-gray, she in the foreground in mauve waist and 
 pale green skirt, and the companion between them isin pale blue. (A 
 paster on the back gives the canvas to 1888 or 1889.) 
 
 From the collection of M. Bernard Goudchaua. 
 
~ = ee a cele 
 
DEGAS 
 (Hilaire Germain Edgard) 
 
 Frencu: 18384—1917 
 158—DEUX DANSEUSES ASSISES 
 (Two Ballet Dancers Sitting Down) i 
 (Pastel) ‘VMeriwte_ 
 a) b bo, Height, 291% inches; length, 42 inches 
 Boru in soft grayish-blue skirts, with gauzy-black waists over the 
 
 buff, and warm pink stockings and slippers—the background light 
 greenish-yellow, with orange areas, and the foreground deeper green. 
 
 At lower left, stamp of the Degas Studio Sale. 
 
 From the Degas Studio Sale. |G. Sale. 191 ¢ 44 ty = 2-3) 0 ba ; 
 i 
 
COURBET 
 (Gustave) 
 
 Frencu: 1819—1877 
 
 159—-PORTRAIT DE LA SQEUR DE L’ARTISTE 
 “w (\ —) 
 XK, pst, (Portrait of the Artist’s Sister) Wk w_sUlt 
 
 Height, 491% inches; width, 3834 inches 
 
 Sometime known as “Ia femme aux manches rouges”—a title which 
 the canvas gives itself through the red undersleeves that puff out 
 above the sitter’s wrists—almost the sole relief from the sombreness 
 of her black gown. The color reappears, restrainedly, in the small 
 bow at her neck, held by a gold brooch. 
 
 From the Madame de Taste Collection. 
 
is 
 
MATISSE 
 (Henri) 
 
 FrencH: CoNTEMPORARY 
 
 160—LA FENETRE 
 
 i fe ‘ a fA\ a 
 (The Window) be] rpel & Goa). ( rt (Lt / 
 ( 
 ei) 5°60, Height, 57% inches; width, 46 inches 
 
 A winpow interior, the walls a vivid green, and white, a glimpse out 
 through the window and over a balcony railing giving a view of a 
 single tree, with black, bifurcate trunk, and also of indefinite light 
 greenery beyond it. The chairs at right and left are black and green, 
 the table between them is red-brown and the (myosotis) flowers on it 
 are a brilliant bluish-purple over a base of greenery. [On back, H. 
 Matisse, Issy (Seine); and on stretcher, Interieur (Les Myosotis) 
 1916. | 
 
 Signed at the wpper left, Henri Marissr. 
 
 Direct from the artist. 
 
RENOIR 
 (Auguste) 
 
 Frencu: 1841—1919 
 
 161—TANNHAUSER. DEUX DESSUS DE PORTES 
 (Esquisse d’une décoration pour le Dr. Blanche) 
 
 4 4 
 (LTannhduser. Two Over-doors) nOwat | ey Gee Oe, keel 
 (Sketch for a Decoration for Dr. Blanche) 
 
 r] geo. 
 
 Height (each), 22% inches; length, 5584 inches 
 
 Scenes in the Venusberg, the nude and the clothed figures more or 
 less nebulous before nebulous backgrounds—warm rose predominant 
 in one scene, a deep blue background dominating the other. 
 
 Signed, the rose canvas at the lower left, the blue one at the lower 
 right, both, Renoir, ’79. 
 
io el 
 
LIST OF ARTISTS REPRESENTED 
 AND THEIR WORKS 
 
LIST OF ARTISTS REPRESENTED 
 AND THEIR WORKS 
 
 CATALOGUE 
 NUMBER 
 
 BARYE, Antornr Louis 
 
 Tigre couché dans la Brousse (Tiger at Rest in the Brush) 85 
 
 BONNARD, Prerre 
 
 Les Courses 4 Boulogne (Boulogne Race Track) 35 
 Femme a Table (Woman at a Table) 43 
 Fillette 4 Table avec un Chien (Little Girl at Table with 
 a Dog) 121 
 CAMOINS 
 Le petit Port (Small Harbor of a Seaport) 70 
 
 CASSATT, Mary 
 
 Jeune Femme assise (Young Woman Seated) 66 
 
 Portrait de Femme de Profil (Woman in Profile) 135 
 
 Portrait de Femme tenant un Eventail (Portrait of a 
 Woman Holding a Fan) 138 
 
 Femme apprenant a lire 4 une petite Fille (Woman 
 Teaching a Small Girl to Read; or, “The Reading 
 Lesson”) 140 
 
 CEZANNE, Paci 
 
 Deux Arbres (T'wo Trees) 20 
 Géranium (Geranium) 31 
 Quatre Péches dans une Assiette (four Peaches on a 
 Plate) 96 
 Portrait de Madame Cézanne 112 
 Paysage 4 lEstague (Hstague Landscape) 145 
 Paysage de Provence (Provence Landscape) 148 
 
 Grande Nature morte (Still Life) 156 
 
CHAHINE, Encarp 
 Portrait de Femme (Portrait of a Woman) 
 
 COROT, Jean Baptiste CAMILLE 
 
 La petite Séraphine, vétue de Gilet de Corot dans sa 
 Chambre a Arleux (Little Seraphina Dressed in 
 Corot’s Waistcoat in Her Chamber at Arleux) 
 
 Italienne assise & Terre, accoudée sur sa Cruche (Italian 
 Woman Seated on the Ground, Leaning on Her 
 Pitcher) 
 
 Chateau-Thierry: Vue d’Ensemble avec la Tour de Saint- 
 Crépin (Chdteau-Thierry: General View with the 
 Tower of Saint Crépin) 
 
 Portrait de Femme (Portrait of a Lady) 
 
 Le Lae Albano, 4 Castel Gandolfo (Albano Lake, at 
 Gandolfo Castle) 
 
 Portrait de M. Abel Osmond 
 
 COUBINE 
 Téte de Femme (Woman's Head) 
 
 Téte de Femme (Head of a Woman) 
 
 COURBET, Gustave 
 Nature morte (Still Life) 
 La Mer (The Sea) 
 La Neige sur le Lac Léman (Snow on Lake Geneva) 
 Téte d Homme (Head of a Man) 
 Portrait d’ Enfant (Portrait of a Child) 
 Le Guitarrero (Man Playing Guitar) 
 Touffe de Fleurs (A Bunch of Flowers) 
 Esquisse pour les Demoiselles des Bords de la Seine 
 (Sketch for the Damsels of the Seine Banks) 
 Etude de Chien pour I’Enterrement d’Ornans (Study of 
 a Dog, for the Interment at Ornans) 
 Portrait de la Soeur de Artiste (Portrait of the Artist's 
 Sister) 
 
 CATALOGUE 
 NUMBER 
 
 82 
 
 48 
 
 108 
 
 110 
 17 
 
 119 
 130 
 
 9 
 40 
 
 49 
 
 53 
 107 
 116 
 132 
 133 
 136 
 
CATALOGUE 
 NUMBER 
 
 DAUMIER, Hownort 
 Portrait de M. Lavoignat 50 
 Groupe de trois Personnages (Group of Three Persons) 90 
 Femme et Enfant sur un Pont (Woman and Child on a 
 
 Bridge) 92 
 Tete d Homme (Head of a Man) 95 
 Buste de Femme (Bust Portrait of a Woman) 102 
 
 DAVIES, Arruvur B. 
 
 Athlete D 
 Wrestlers 3 
 Figure Drawing 16 
 Nude Study 17 
 Seated Girl 26 
 A Pool of Fragrance 58 
 The Summit Thicket 76 
 Shadow Valley 78 
 Velvet-eyed Venus 80 
 
 DEGAS, Hinaire Grermarn Encarp 
 
 Portrait of M. Rouget 8 
 Le Ballet (The Ballet) 91 
 Etude de Fillette pour le “Portrait de Famille” (Study 
 
 of a Small Girl for the “Family Portrait”) 101 
 Portrait de Femme a mi-corps (Half-length Portrait of a 
 
 Woman) 118 
 La Modiste (The Milliner) 125 
 La Toilette (The Toilet) 139 
 La Sortie du Bain (Quitting the Bath) 147 
 Portrait de Femme (Portrait of a Woman) 149 
 La Baigneuse (The Bather) 153 
 
 Deux Danseuses assises (T'wo Ballet Dancers Sitting 
 Down) 158 
 
CATALOGUE 
 
 NUMBER 
 DELACROIX, Evckne 
 Esquisse pour le Tableau le “Giaour et le Pacha” (Sketch 
 for the Painting, “The Giaour and the Pacha’) 93 
 Ovide chez les Scythes (Ovid Among the Scythians) 109 
 Hercule ramenant Alceste des Enfers (Hercules Bring- 
 ing Back Alcestis from Hades) 111 
 Paganini 115 
 
 Le Jardin de George Sand 4 Nohant (George Sand’s 
 Garden at Nohant) 126 
 
 DENIS, Mavrice 
 Etude de Nu (Study of the Nude) iT 
 
 DERAIN, Annvri: 
 
 Portrait de jeune Fille (Portrait of a Young Girl) 4 
 Nu (Nude) 6 
 Groupe de Femmes (Group of Women) 14 
 Dos de Femme (4 Woman’s Back) 15 
 Etude de Nue (Nude Study) 18 
 Le Pin (The Pine) 21 
 Portrait de jeune Fille: Dessin au Crayon (Portrait of a 
 Young Girl: Pencil Drawing) 23 
 Nature morte: Verre et Fruits (Still Life: Glass and 
 Fruits) 30 
 La Route (The Road) 36 
 Roses dans un Pot (Roses in a Jug) 37 
 Portrait de Soldat (Portrait of a Soldier) 42 
 Petit Paysage (Landscape) 45 
 Vue de Cahors (View of Cahors) 46 
 Buste de Femme (Bust Portrait of a Woman) bil 
 Paysage (Landscape) 79 
 Vase de Fleurs (Vase of Flowers) 97 
 
 DUFY, Raovur 
 Nature morte (Still Life) AT 
 Paysage: S. Paul (Landscape: St. Paul) 
 
CATALOGUE 
 NUMBER 
 
 DUREY, Reni 
 
 La Ville (The Town) 69 4} 
 Le Village (The Village) TA if 
 
 FOURNIER, Gapsrier 
 
 Paysage (Landscape) 59 1 
 
 FRIESZ, Orson | 
 
 Une Rue de Honfleur 38 iI 
 Les Mats derriére les Maisons (The Masts behind the il 
 Houses) 55 | 
 
 GAUGUIN, Paun 
 Maternité (Tahiti) (Motherhood—Tahiti) 152 
 
 GOYA Y LUCIENTES, Francesco 
 Deux Tétes (T'wo Heads) 81 
 
 GUILLAUMIN, Jean Baprisrk Arwanp 
 
 Paysage: Le Matin (Landscape: Morning) 61 
 Paysage (Landscape) 67 
 
 i 
 Paysage (Landscape) 120 
 
 GUYS, Constantin Ernest Hyacinrun 
 
 La Promenade (The Promenade) 87 
 
 INGRES, Jean Avcuste DominiquE 
 
 Portrait de Paganini 10 
 Portrait de Berlioz il 
 
 LEBOURG, ALBerr 
 
 Les Bords de la Seine (The Banks of the Seine) va 
 LOTIRON 
 Le Pont Marie (The Marie Bridge) 25 
 
 MANET, Epovuarp i" 
 Chez Tortoni (At Tortoni’s) 104 ; 
 
CATALOGUE 
 
 NUMBER 
 
 MATISSE, Henri 
 Tete de Villette (Head of a Young Girl) 5 
 Femme nue (Female Figure in the Nude) i 
 Petite Fille (Granddaughter) 27 
 
 Portrait de Femme accoudée sur un Fauteuil (Portrait 
 of a Woman Leaning on her Elbow in an Armchair) 65 
 
 Téte de Femme (Woman's Head) 106 
 Quelques Fleurs dans une Vase (Mlowers in a Vase) 124 
 La Fenétre sur le Jardin (The Garden Window) 144 
 La Fenétre (The Window) 160 
 
 MILLET, Jean Francois 
 
 Les Blés murs (The Ripened Grain) 86 
 MONET, CrLaupE 
 
 Le Pont dArgenteuil (Argenteuil Bridge) 128 
 
 MORISOT, BrrruE 
 Au Bord de Kau (At the Waterside) 99 
 
 ORTIZ, Jost 
 
 Buste de Femme (Bust Portrait of a Woman) 52 
 PICASSO, Pasto 
 
 Homme assis (Man Seated) 13 
 
 Nature morte (Still Life) 32 
 
 Petite Nature morte (Still Life) 33 
 
 Téte de Femme (Woman’s Head) 39 
 
 Portrait de jeune Femme (Portrait of a Young Woman) 57 
 Grande Nature morte: Le Compotier (Still Life: The 
 
 Compote Dish) ie 
 Paysage (Landscape) 14] 
 
 PISSARRO, Caminin 
 La Seine 4 Rouen: Effet de Brouillard (The Seine at 
 
 Rouen: Fog Effect) 68 
 La Maison dans le Bois (The House in the Wood) 27 
 Le Village entre les Arbres (The Village, between the 
 
 Trees) 129 
 
 Le Sentier grimpant (The Climbing Way) 137 
 
CATALOGUE 
 NUMBER 
 
 PUVIS DE CHAVANNES, Preree 
 Concordia 143 
 
 RENOIR, Avecusrr I} 
 
 Portrait de Femme (Portrait of a Woman) 22 
 Portrait @une Fillette (Portrait of a Little Girl) 28 | 
 Fleurs (Flowers) 29 
 Bouquet de Roses (Roses) 34 
 Portrait de Mme. Paul Galimart AL: 
 Portrait de Femme en Chapeau de Paille (Portrait of a 
 Lady in a Straw Hat) 88 
 Buste de Femme (Bust Portrait of a Woman) 89 
 Portrait de Femme en Toilette de Ville (Portrait of a 
 Lady in Walking Dress) 94 
 Portrait d Homme étendu sur un Sofa (Portrait of a | 
 Man at Ease on a Sofa) 98 
 Portrait de Madame Ed. Maitre 103 
 Portrait de M. et Mme. Benjamin Godard 105 
 Tete @Enfant (ead of a Child) 123 
 Bouquet de Chrysanthémes (Bouquet of Chrysanthe- 
 MUMS ) 134 
 La Baigneuse (The Bather) 146 
 
 Tannhauser. Deux Dessus de Portes (Vannhduser. 
 Two Over-doors) 161 
 
 RIVIERE, Henri 
 
 Sous le Pont des Arts (Under the Bridge of the Arts— 
 the bridge across the Seine leading to the Louvre) 84 
 
 SEURAT, Grorcres Prerre 
 
 Femme et Enfant (Woman and Child) 12 
 Garconnet accroupi (Seated Boy) 19 
 
 Une Périssoire: La Seine a la grande Jatte (A Canoe: 
 The Seine at the Great Bowl) 24 
 Jeune Femme se poudrant (Young Woman at Her 
 5 
 Powder-bow) 154 
 
 Raabe Reged 
 
CATALOGUE 
 NUMBER 
 
 SIGNAC, Pavun 
 Marseille (Marseilles) 60 
 
 SISLEY, Atrrep 
 Dans les Vignes 4 Louveciennes, 1874 (In the Lowve- 
 ciennes Vineyards, 1874) 54 
 
 TOULOUSE-LAUTREC, Hennrr pr 
 Portrait de Cipa Godeski (Portrait of Cipa Godeski) 113 
 Portrait de Femme assise (Portrait of a Woman Seated) 114 
 
 Portrait de Femme (Portrait of a Woman) 142 
 Portrait de M. Sescaut 150 
 
 UTRILLO, Mavricn 
 
 Le Chateau (The Castle) 62 
 La Rue (The Street) 7] 
 Effet de Neige (Snow Effect) 72 
 
 VAN GOGH, Vincent 
 Portrait de P Artiste par luicméme (Self-portrait of the 
 
 Artist) 100 
 
 La Cueillette des Olives (Gathering the Olives) 1S 
 VLAMINCK 
 
 Border of the Seine 56 
 
 Dans la Forét (In the Forest) 6% 
 
 Bords de Riviere (Banks of the River) 73 
 
 VUILLARD, E. 
 
 Fille en Bleu (Girl in Blue) AA 
 Deyant la Glace (At the Mirror) 83 
 Portrait de Madame Hessél 122 
 
 WHISTLER, James MacNeini 
 Chelsea Girl 131 
 
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