ON VIEW DAY AND EVENING AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK, FROM SATURDAY, APRIL 21st, 1906, UNTIL THE DAY OF SALE, INCLUSIVE THE VALUABLE PAINTINGS COLLECTED BY THE LATE JOSEPH JEFFERSON TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF HIS EXECUTORS AT MENDELSSOHN HALL FoRTIETH STREET, East oF Broapway, ON FRIDAY EVENING, APRIL 277TH, secinnine promptty at 8.30 0’ ciock CATALOGUE OF THE VALUABLE PAINTINGS COLLECTED BY THE LATE JOSEPH JEFFERSON TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF MRS. JOSEPH JEFFERSON AND EDWARD G. BLACK, ESQ., EXECUTORS, ON THE DATE HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF : THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK: 1906 ill COMPILED AND ARRANGED BY - MR. THOMAS E. KIRBY . MR. C. A.WALKER Press of J. J. Little & Co. Astor Place, New York CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or Sractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Eapense and Risk within twenty- four hours from the conclusion of the Sale, and the remainder of the purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authenticity of, or any fault or defect in, any Lot, and make no warranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; failing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof, for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited ; all Lots uncleared within one day from conclusion of Sale shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for employing careful carriers and packers, they will not hold themselves responsible for the acts and charges of the parties engaged for such services. THe AMERICAN ART ASSOCIATION, ManacGers. THOMAS E. KIRBY, AucrioneErr. THE COLLECTION OF JOSEPH JEFFERSON Ir is a rare mind that is endowed with the double sensibilities of appreciation and knowledge of art. Add to these enthusiasm and an intense love of nature, with the ability to paint, and you have a combination of qualities given only to a few. Joseph Jefferson’s personality possessed all these, and it would hardly be possible to find another collector of pictures who drew more deep pleasure and true happi- ness out of his paintings. Art was a part of his daily life, and became so interwoven with his character that I doubt if he would have lived to such a ripe old age and have kept so fresh and joyous had it not been for the constant stimulus he received from this source. He used to say: ‘‘ No man is fit to live without a hobby; if it be for pictures, he’s a happy man, but he will find it an expensive one.’’ He com- menced in early life to paint, and when financial success came to him in his pro- fession, he began to buy pictures. His first purchase was an early example of Corot; thus he set a high standard for himself in the beginning. After a series of years he gathered together his first collection of about eighty works, which contained many rare examples of the Barbizon School and the modern Dutch painters. These were installed in his first house at Buzzards Bay, Mass. There he built a gallery to ex- hibit them in, as an addition to his home. Upon its completion he personally superintended the hanging of the entire group. He had worked hard for many months to finish this work to his satisfaction. On Friday, the next day after the task was finished, he went to New York. On the following morning, after his arrival there, he received a telegram that his home and entire collection had been con- sumed by fire. On the following Monday I saw him at the old gallery of Messrs. Knoedler & Co., where we met by appointment to greet our common friend, Mr. L. F: Roos. We were listening to his ‘sad rehearsal of the details of the fire, when a telegram was handed to him, He hastily tore it open and read: ‘‘ Mauve ‘ Sheep,’ Israéls, Daubigny ‘ Dieppe,’ and small Corot saved.’’ With his face lit up with joy and his eyes filled with tears, he exclaimed: ‘‘ Thank God! My great works are spared. I can now build up another collection.’’ Addressing Mr. Roos, he said: **Tf it had not been for you, dear fellow, these paintings would have been burned with the others.’’ At the latter’s urgent request, ‘‘The Return of the Flock,’’ ‘*The Madonna of the Cottage’’ and ‘‘The Port of Dieppe’’ had been sent to a loan exhibition in New York City. They had been returned to Buzzards Bay the night before the fire, and placed in the hall on the first floor until such time as they could be rehung. When the fire broke out they were hastily taken to a place of safety, together with the Corot, his first purchase. All the other pictures, however, and the entire house and furnishings were consumed in about twenty minutes. This collection may therefore be said to be founded upon a high standard, beginning with the masterpieces of Mauve and Israéls. With a catholic taste and excellent judgment guided by a cultivated instinct, he gradually built up the new group. His independent mind and enthusiasm possibly led to the buying of some pictures which are not of the highest standard; yet, like most collectors, he was continually culling and weeding out and adding better material. He would often say: ‘‘I cannot have all the good things, neither will my purse allow me to indulge largely in the examples of the Barbizon School. I must be content with a few master works and leave to the millionaires the ownership of the others. ”’ His experience with his first gallery led him to abandon the systematic display of paintings arrayed side by side. He remarked: ‘‘I will hereafter distribute my pictures on the walls of the living rooms of my home, where I can see them daily and enjoy them with my friends.”’ It may be said of this collection that its foundation rests upon the modern Dutch School, more especially Mauve, as it contains eleven examples, including his two greatest efforts. His love of this master was little short of worship, and he lived to see the appreciation and world recognition of the Millet of Holland. Nearly as many more Mauves were burned in the fire, his former collection being represented by seven examples. Next in appreciation came Israéls, Jacob Maris, Neuhuys, Blommers and Kever, painters of the human character and the poetry of peasant life. ‘“The Madonna of the Cottage, ’’ full of tenderness and spirituality, stands alone in its dignity and simplicity. It is a splendid example of this famous school. Corot appealed to the heart of Mr. Jefferson as the highest in landscape art. He never ceased to praise his work, calling him the king of landscape painters. His own early works were largely influenced by the style of this master. He was captivated by the magic poetry of the painter of the dawn and the evening, justly styled the Mozart of landscape art and the Beethoven composer of symphonies of classic compositions. He was charmed with the idyllic loveliness of the dewy meadow scenes, and ponds with willows and birches fringing their banks. From the fascinating series of landscapes painted of the village of Ville d’ Avray he selected ‘‘The Horseman’’ as a typical representative of this period, for its poetic quality and delicate color-sense. Daubigny was also in great favor. Of the two remaining landscapes, ‘‘'The Evening on the Oise ’’ seems to be the most complete and sparkling. It is moist and fresh and full of vitality. The other, a village scene, entirely different, is cool and refreshing. It is full of movement, and, with a deep consciousness of nature, the artist has recorded a scene of rural loveliness. Daubigny, in this mood impetu- ously passionate, always appeals to the painter. The example of Troyon antedates his cattle subjects, and is representative of the landscape period. It is large and spacious and highly finished. The other example is broader, more forcible in brush-work, and is bolder in style and color. It is of the cattle period, and more sketchy than the former. One of the features of the collection is the great work of Van Marcke, ‘‘ The Cattle on the Plains,’’ a veritable masterpiece. It is without question the most brilliant and showy of all his efforts. This is one of the great modern works. The composition is grand and dignified, representing great space; the cattle are finely grouped and the color is opulent. No cattle painter has ever reached a higher level except his master Troyon. The other example is mellow and warm and pastoral in motive. The artist has unconsciously forgotten convention and fascinates us with a scene direct from nature. Mr. Jefferson had a passionate fondness for rich color, and always demanded cheer- ful furnishings around him. He gathered together in his European tours quantities of old silver, brass, Oriental stuffs and rugs. This passion for decorative objects and brilliant color led him to be an ardent admirer of Monticelli, the magician of the palette, a dreamer of the Orient, a sensuous painter of fairy grottoes, enchanted gardens and beautiful women in silks, satins and brocades. Five examples of this artist appear in the catalogue. The largest and most important work is of his earlier decorative style; the others are representative examples of his ripest period. Such luxurious color is found in no other painter’s work, save possibly Diaz’s, who, it is said, had hidden Monticelli for several years, in order to discover for himself the secret of his wonderful imagination and the marvellous tints of his palette. The example of Vollon was selected for its brilliant arrangement of silver, glass, fruits and flowers: a rare specimen of the skill, craftsmanship and fine decorative qualities of this master without a peer as a painter of still-life. The gem of the collection, and the rarest work, is the portrait of ‘‘ Petronella Buys,’’ the burgomaster’s wife: a splendid achievement by the great master Rem-— brandt. This choice example, full of the tenderness of feminine grace, is dis- tinguished in style and characteristic of the aristocracy of the old Dutch. There is genuine life expressed in this portrait. The quaint costume of the times, with the broad ruff and strings of jewels, are suggestive of opulence. The golden color from the magic brush of Rembrandt pervades the work. This is a rare opportunity for the collector, as such examples of the great master of portraiture are seldom presented for public sale. ; The old Dutch School is further represented by two examples of Rem- brandt’s famous pupil, Nicholaas Maes. The larger work, a two-thirds length portrait of a gentleman of the Court of France, is especially noteworthy for the graceful arrangement of drapery and picturesque costume, as well as the golden glow of the canvas. This work shows the influence of Van Dyck in pose and the painting of the hands. The small portrait of a Court lady, very similar in treat- ment, is highly finished and agreeable in color. It is sincere in workmanship and carefully executed. While not representing the famous early period of Maes, when most influenced by his master, these pictures are finely conceived and hand- some in color. In the selection of portraits, Mr. Jefferson may be said to have had a decided preference for the English School, as shown in the examples of Reynolds and Lawrence. These artists are represented by distinguished works. The portraits of Sir Joshua, by himself, are extremely interesting and highly original. One, in the prime of life, is a brilliant achievement from his facile hand, and is especially effective in chiaroscuro, and its color sense is rich and Rembrandtesque. The other, less dramatic, represents the kindly old gentleman. The portrait is conspicuous for its fine tone, broad, simple style and gracious presence. The smaller example, ‘*The Death of Dido,’’ is the subject motive of the famous work in the British National Gallery. It is especially effective in its Venetian-like color and fanciful design, directly inspired by the Old Masters. Of Lawrence we have an important work, ‘‘ The Angestein Children’’: a beautiful example of this celebrated painter. Charming in style, distinguished in composition, it represents a group of lovely children at play under the shade of noble trees. Among the many figure subjects of Lawrence this large canvas commands attention, and is especially notable for its grace and ideal treatment. ‘*The Portrait of Canova’’ ranks high among the choice works of the English School. It is a graceful and noble example of the master. The carriage of the head, with the character of the sitter strongly depicted, added to brilliancy of style and rare color scheme, with the superior quality of draughtsmanship, makes this a fas- cinating picture ; and the ideal head of ‘‘ Bacchante,’’ a distinct Lawrence type of beauty, is full of youth and feminine grace. There are three interesting portraits of especial value to the dramatic profession: A head of Macready as William Tell, by Inman; the portrait of Richard Brinsley Sheridan, by Gainsborough; and of Kemble, by Harlow. This group was highly valued from historic association by Joseph Jefferson, and it is hoped they will find a place on the walls of some institution, where they can be enjoyed by the dra- matic profession. “The Harvest Queen,’’ by Hoppner, and ‘‘ The Gypsy Girl,’’ by Inskipp, are fanciful subjects and representative examples of the Old English school of genre painters, both in design and color. There is a single example of the Italian School by Simonetti—an allegory on peace and war. This is a popular canvas, painted with a careful brush and excuted with academic fidelity. The subject is both interesting and pleasing. De Goyer, of the Spanish School, is represented by a vivid and forcible impression of a bull-fight. Jeannin, the famous painter of flowers and still-life, is represénted by a large composition. This artist has won many medals and honors, and is recognized as one of the greatest flower painters in France. Has not the acquisition of these -pictures been a potent factor in the delicate refinement and subtle quality expressed in Mr. Jefferson’s stage career? Was not the spirit of Corot, Mauve and Israéls echoed in the exquisite poetry of his own art? To those who shall become the fortunate owners of these paintings there will be an added value—the feeling of love and deep reverence that inspired the bring- ing together of this famous group and the association of Mr. Jefferson’s name with each and every work. The collection bears testimony of his deep love of Nature and Art. CHARLES A. WALKER. SALE FRIDAY EVENING APRIL 27rx, 1906 AT MENDELSSOHN HALL BEGINNING PROMPTLY AT 8.30 O'CLOCK No. 1 P JOHN CONSTABLE, R.A. AS v \ (ATTRIBUTED ) LANDSCAPE A SMALL upright view of a roadway disappearing through groups of tall trees, with a glimpse of blue sky. Height, 1714 inches; width, 14 inches. ADOLPHE MONTICELLI wv : FRENCH 1826—1872 ee. /1tyer, fz ees THE WOOD NYMPH ground, and a loose, Grea robe of brilliant colors covers the lower part of | ; figure. ee Signed at the right, MonticEvu. No. 3 if 0) ROBERT L. NEWMAN AMERICAN Y. Jllac noo 1827— VIRGIN AND CHILD A DECORATIVE work with a brilliant color scheme. Newman’s paintings are gener- ally fanciful conceptions. He worked with Millet for many years and drew inspira- tion from his master’s early period, when, like Diaz, he painted for color’s sake. Height, 8 inches; width, 64 inches. \o" eee No. 4 — E Mearotela. oo- UNKNOWN : —_ LANDSCAPE AND OLD MILL A. view of a picturesque moss-covered mill, showing a dam upon the right, wi water-chute and overshot wheel. A road winds out of view behind the mill an heavily wooded steep bank rises in the background. Huge boulders are ] in the foreground and the stream runs over a rocky bed on the right of the Pp Height, 12 inches; length, Bi hes. ~ ae aa No. 5 0 | vi JEAN BAPTISTE GREUZE (ArrrisuTep) on ee cine py a ds PORTRAIT OF A YOUNG GIRL Tuis shows a side view of a young girl with reddish hair and large eyes that look through heavy lashes. The flush of youth tinges the lips and cheeks. It is painted in a transparent, thin manner and in a light key. It is characterized by freedom and refinement of treatment. Height, 16 inches; width, 1234 inches. No. 6 au ADOLPHE MONTICELLI 4 FRENCH , : 1826—1872 Cootlier re 3 30 — | a PORTRAIT OF HIMSELF : 7 ORS ae TREATED in a broad style, it is principally interesting as being his own impres- sion of himself. It is painted in profile, and the aquiline nose and the high, rounded forehead, suggest a man of force and creative power. B Tae Height, 1234, inches; width, 83/, inches. No. 7 O l, ADOLPHE MONTICELLI v FRENCH 1826—1872 — oo 60> MEPHISTOPHELES A FANCIFUL figure suggestive of the title, dressed in a scarlet costume, with a pointed cap, and playing a guitar. The background is a forest with rich green and yellow foliage. Signed at the right, MonTIcELLI. Height, 19 inches; width, 10 inches. STUDIES BY ANTON MAUVE Ear -y in his life Mauve became a close student of nature, making a large num- ber of pencil and charcoal drawings in the field. He also worked out of doors for years, making careful anatomical studies of horses, cattle and sheep in color. Of the latter series, many were however completed pictures. A year before his death, Mauve mounted these studies upon mahogany panels, finished, revarnished and signed them. After his decease Mr. Jefferson obtained them from his widow. No. 8 ? ANTON MAUVE < ee DUTCH ru 1838—1888 SF eee (cee ON THE DUNES < LS nn Tus little study was made at Laren, Holland, near the seashore, where the light \ green marsh grass grows up in patches through the white sand. It was, with the addition of a flock of sheep in the foreground, used as the motive of a large oil painting, an important work now owned ae E. B. Greenshields, Esq., Montreal, Canada. Signed at the right, A. Mauve. = a ty Height, 61 inches; length, 10 inches. No. 9 ANTON MAUVE yr a 1838—1888 Bort. La L-OG — THE OLD RED HORSE A Horse, bearing prominent marks of hard usage and a laborious existence, stands in three-quarters view, back to the spectator, facing the left. The sunlight strikes full upon the animal, strongly accentuating the forms, and casting a deep shadow upon the ground. Signed at the right, A. M. Height, 1214 inches; length, 174 mches. No. 10 a ANTON MAUVE DUTCH ihe LK. Si ef WN THE OLD DUN COW STANDING in an open field, chewing her cud, this old dun-colored cow is a picture of kindliness and patience. Slightly foreshortened, she stands with the light coming from behind. The play of shadows and the subtle gray tone of this study are char- acteristic of Mauve. It was a favorite of Mr. Jefferson’s on account of the delicacy of its color. He used to say: ‘‘This is a kindly old cow. One never is afraid of being hooked by her.’’ The effect is of morning sunlight through a hazy atmosphere. Signed at the right, A. Mauve. Height, 12 inches; length, 18 inches. 7.4 a ea). eae ee oe eS eee ee eee ee : 7 No. 11 ANTON MAUVE Bf Looe ies DUTCH 1838—1888 “THE PENSIONER” “¢@¢ — An old white farm-horse, which has apparently been turned out to spend the remaining days of his life in pleasant repose in a pasture, stands in three-quarters view, facing the left, near a fence which divides a broad field. The sunlight strikes upon the animal from the upper right, casting deep shadows upon the bars of the fence, and in the distance a line of trees extends across the picture in the horizon, and on the right is a suggestion of farm buildings overhung by trees. This picture, which was named by Mr. Jefferson ‘‘ The Pensioner,’’ appealed strongly to his love of animals, and he often spoke of it as an example of exalted sentiment and poetical rendering of a subject which, if otherwise treated, would be commonplace. Signed at the right, A, Mavve. Height, 13 inches; length, 17 inches. No. 12 ANTON MAUVE \ DUTCH BAe Pelee (0 tg esse Be GROUP OF CATTLE A stupy from nature of a group of cattle, some standing in the water and others _ upon the bank of a stream, with trees on the opposite side in the distance. This | sketch shows a rare perception of values and a unity of tone for which qualities — the works of Mauve are highly esteemed. it Signed at the right, A. Mauve. ee Height, 111% inches; length, 2114 inches. — 4 No. 13 \ ANTON MAUVE DUTCH 1838—1888 fre CHatunwe 4M — INTERIOR OF THE BARN A BARN, with open door through which a glimpse of landscape is seen. From this opening the light shines upon a figure of a peasant, with pitchfork, stirring up the bedding in the cattle tie-up. There is a big round tub of water in the foreground and a well-filled hayloft overhead. Signed at the right, A. Mavve. Height, 14 mches; length, 17 imches. ANTON MAUVE — ay DUTCH eo " Vi WpBes 690 ) 18381888 : RED AND WHITE cow een Tuts study is one of the most complete of the series. It is painted ii in s ees : light, with a vigorous effect of light and shadow. The play of sunligh = back of the cow, and the shadows of blue and violet, contrasting with she of marking, are typical of Mauve’s brush. ; | ae Inscribed at the right, ArELiER Mauve. - ‘ os | Height, Ai inichan length, 18 a. cae | ANTON MAUVE DUTCH | pe Cu rtrxre -67/— egg 1888 STUDY OF AN OLD MILL A wnote from nature of a moss-covered mill, with water-chute and wheel. The ground slopes down from the level of the pond above. Behind the pond is a back- ground of green trees against a gray sky. Shadows from hidden trees play over the grassy surface of the ground. Signed at the right, A. Mauve. No. | 16 \\° y? NARCISSE VIRGILE DIAZ FRENCH Le pas 1809-1876 : TWO PANELS—FIGURES THESE two little panels represent fanciful groups of figures, p ‘surrounding. They represent the earlier period of Diaz’s work. » Each, height, 5 inches; le : (y | i) o : Fg at Vs | No. 17 CHARLES FRANCOIS DAUBIGNY Mr CZ Glorer, Plo6 — a ep EVENING ON THE OISE DavuBiGny was a lover of the river and seashore, and a born enthusiast. Filled with the inspiration of nature, he loved to float down the calm surface of the River Oise in his houseboat, rising early to catch the mists of morning, or viewing the villages by twilight and lingering to catch the shimmering rays of the pale moon- light. It was this spirit that gave us his beautiful landscapes, with rich, green grass and skies full of moving clouds. A bend in the river is shown in the composition, with a rich mass of towering trees. The river bank forms the foreground, and around the bend of the river a boat lies near the shore, while blue hills are seen in the distance. The sky is full of movement and luminous light, warm and mellow, suggestive of approach- ing evening. The outline of the trees forms a beautiful silhouette and the picture gives one the feeling of great space and distance. It belongs to the period of the ** Oise and Seine ’’ landscapes, which are among the best of the artist’s works. Signed at the right, Dauzieny. Height, 17 inches; length, 251% ches. = yt ae als ie ; : i Ao ? ‘ emi a Seg 7 Hy Ne’ | uf yy No. 18 yy Oo — = 4 y : CONSTANT TROYON _ FRENCH A — | A yh OF tapgerhaen Nee ie 57 LANDSCAPE | ; hy a e _ Troyon painted in his early and middle period landscapes pure and simple, with — small figures for notes of color. During this time his works, finely finished, closely resembled those of Rousseau in treatment of foliage and general technique. Both | painted their subject from the same forest. This example shows towering oaks in rich | greens and autumn tints, against a blue sky of great depth. A rider on a white ya ‘horse is about to enter the woodland road. Two small figures in brilliant scarlet dress i are in the immediate foreground. | . mek | ” No. 19 EMILE VAN MARCKE | FRENCH Dp. A Tetugiler 1827—1891 43 0L — LANDSCAPE AND CATTLE Tuis picture represents a wooded pasture, with a group of oaks in mass which rise on the left of the composition. A patch of open green forms the foreground. From under the trees and bushes two cows are being driven by a milkmaid. A white cow with red spots, in the foreground, head down, is browsing the grass. The sun- light is shining upon her back, making a brilliant spot of light. On the right of the composition a path leads up over a rocky knoll, and through an opening is vis- ible a bit of distant trees and sky. Signed at the right, Em.Vawn Mancke. Height, 191 inches; length, 28 inches. E XxX — rH hy mt . SS, No. 20 Lois won JEAN BAPTISTE meray 9 ROT ne ok Vee ott” iad wld FRENCH oie id re a Conf 1796—1874 ge. 4 \ WA ete ee ‘_- ath WO “THE HORSEMAN ”—LANDSCAPE AT VILLE D’AVRAY yes Tus painting is of the famous ‘‘ Ville d’Avray ’’ series. Upon the right of the composition is a large group of trees, with wide-spreading branches. A road, start- ing from the foreground, winds around the borders of a pond. A horseman is seen in the middle distance, a mother, with a child in her arms and a little one by her side, is walking in the road, while a fourth figure is seated on the edge of the pond, contemplating the village of white houses on the opposite bank, a portion of these showing through the branches of the trees. The wooded hill beyond fades into the distance against a sky partly covered by floating clouds. It is an interesting fact to note, in connection with this collection, which contains a single example of Corot, that Joseph Jefferson’s inspiration in art dated from the purchase of a charming landscape by this master. This Corot was the founda- tion of his love for art, and the beginning of the two collections which he after- wards made. It was one of the four paintings saved from the fire which entirely consumed his first group. These facts, and the associations connected with its pur- chase, have led Mrs. Jefferson to retain this early example. Signed at the left, Coror. Height, 1934 inches; length, 2534 imches. 7 } FRENCH 1810—1865 a f cattle ce. at noonday, with one of the number standing near a ‘- i Sf | on the left, Venrz Troyon. ® Sa . Height, 181% inches; length, 211% inches. No. 22 g THOMAS COUTURE FRENCH flrors Layne M hee 1815—1879 THE FUGITIVE In the foreground of a desolate landscape is ane ite: of a man cedtehne on. all ‘ fe ' fours on rough and rocky ground, apparently searching for water to quench his a thirst. The figure is unclad except for a cloth around the loins, and the flesh, in strong sunlight, comes out in vivid contrast against a rough, rocky hillside beyond, over the crest of which is seen a turbulent sky with small patches of strong light. Signed at the left, TC, % es Height, 2534 inches; length, 3314, inches. ” Seite itt ite ee ee ag No. 28 CHARLES FRANCOIS DAUBIGN Y FRENCH 1817—1878 gpk oe AMierla- 6 Jia — THE ENVIRONS OF A FRENCH VILLAGE Tuis picture, while not so representative in type as the former, possesses the qualities of direct work from nature. It shows a French village, with thatched and red-tiled roofs against a gray sky. The shower has just passed over, and the rolling clouds are breaking into light. In the foreground is a vegetable garden, in which the cool greens of the cabbage plants are contrasted with the warmer notes of green grass in the middle distance. A grove of trees upon the left, with patches of sky showing through them, gives height to the composition. Signed at the left, Dausicny, 1877. Height, 20 mches; length, 3134 inches. No. 24 \ | ADOLPHE MONTICELLI FRENCH — 1826—1872 COURT LADIES IN THE GARDEN Two ladies of the court, possibly the Empress Eugénie, with a companion, in the garden of the Tuileries. The attitudes are those of ladies of high court in con- versation. They are gorgeously arrayed in velvet, silks, satins and laces. Monticelli was fond of painting the Empress, and represented her in many canvases. Signed at the left, MonticEu. Height, 1614 inches; width, 1034 mches. No. 25 ADOLPHE MONTICELLI FRENCH fo, FO — 1826—1872 ane VENT GARDEN — ue _— re Beents two nuns walking under a bower of vines in a convent ich is ereglor with yellows, and rich transparent greens. It is more Height, 1334 inches; width, 1034 inches. rf | No. 26 (s JEAN BAPTISTE GREUZE FRENCH “Y 4 Jb 2s VI25—1805 Pre Uy Oates PORTRAIT OF MIRABEAU Portrait of the famous French statesman in his youth. It is in nearly front view, with the face turned toward the left shoulder. The eyelids are slightly drooping, the brows highly arched, and the lips of the delicately formed mouth are slightly parted. The coat is of a yellowish brown tone and has a velvet collar. The neck is ornamented with a band of lace, tied in a simple knot underneath the chin. Height, 25 inches; width, 21 inches. NCE K. EARLE, A.N.A. AMERICAN 1845— - of a sun-burned, wrinkled fisherman, of the type found on husetts. No. 28 FRANCISCO JOSE DE GOYER SPANISH V 1746—1828 \ FH: Shoo tley, TOC THE BULL FIGHT TuE incident of the fight illustrated is when the matador is impaled upon the horns of a furious bull. The distant outline of the arena is shown. A crowd of frantic bull-fighters, with uplifted hands and horror-stricken faces, are following up the infuriated bull. A large hound is jumping at the beast. The color of the bull is steel- gray blue, and the head and shoulders are black. The struggling matador has dropped his scarlet blanket, which lies in the foreground. His left hand grasps the bull’s horn, his right is extended in agony, and his head is thrown back as if writhing in pain while being borne aloft by the bull. A ray of sunlight shines through an opening in the canopy overhead and illumines the picture with a rich glow. Height, 14°24 inches; length, 21% inches. No. 29 y \' HENRY INMAN AMERICAN 1802—1846 ee fe 7/2 PORTRAIT OF MACREADY TuHis is a portrait of Macready as William Tell. The head is turned slightly to the right, the neck is bare, a white tunic shows above the folds of a garment of dark material, and a heavy fur robe is draped over the left shoulder. The hair is arranged in a loose, free manner. The color scheme is warm and agreeable, and the whole effect harmonious. This portrait was also greatly prized by Mr. Jefferson, and hung in a prominent position in the reception room at ‘‘ Crows’ Nest.’’ = #4 CCS a re \° No. 30 \ a ae oe" ENGLISH SCHOOL / bo— LANDSCAPE On arugged bank in the left foreground is seated a peasant woman with a child, and nearby stands a man with a shaggy pony. The reds and blues of the costumes, strongly illuminated by sunlight, are in vigorous contrast against a rocky slope in the middle distance, which is crowned by a group of steep-roofed houses. On the right, at the foot of the eminence, a broad beach sweeps around to an expanse of water which, extending to the far distance in a soft summer mist, shows here and there a few vessels. On the beach are seen people at work and at the foot of the hill a peasant man and woman are engaged in loading a cart drawn by a white horse. The sky is nearly covered by soft, drifting clouds, the light being concentrated on a mass of vapor near the upper left. Height, 19 inches; length, 2714 inches. No. 3l vil NICHOLAAS MAES % DUTCH } Gia x 1632—1693 I WW eu atttw S/o — 6 69 PORTRAIT OF A COURT LADY A SMALL portrait painted with an oval border. It is of the same period as the larger work. The dress is of dark purple velvet, with folds of loose lace crossing the bodice and winding about the arms; and the hair, curling loosely upon the fore- head and worn over the ears, falls in two graceful tresses over the shoulders. She wears a necklace and earrings of pearls. This work, which is evidently the portrait of some prominent lady of the Court, was taken from the panel of an ancient carved sideboard, where it had remained for many years. Signed, N. M. Height, 18 inches; width, 14 inches. No. 82 \ "x ~ SIR BENJAMIN WEST, P.R.A. (ATTRIBUTED ) AMERICAN Ue Yh Sree b0- 1738—1820 ST. JOHN TuE half-length figure of the infant St. John, in an attitude of adoration or suppli- cation. With both hands clasped and his head raised, he turns his eyes heavenward as if in prayer. The figure is partly draped in a fur mantle of irregular shape, lined with blue. On his right a small wooden cross lies on the rock against which he is eaning, and on the left of the figure is shown the head of a lamb. Height, 22 inches; width, 174% inches. No. 33 NICHOLAAS MAES DUTCH ~ 1632—1693 OF A COURTIER the late period of Maes, when he painted for the Court of France. wig of long curly hair are typical of the Louis Quatorze régime. t Van Dyck in character. ; Height, 281% inches; width, 231 inches. No. 34 SIR JOSHUA REYNOLDS, P.R.A. ENGLISH ; i Vv fp //ao— 1723—1792 THE DEATH OF DIDO THE original study for his famous masterpiece in the British National Gallery. This popular subject of the romantic series has been reproduced in mezzotint, and it is classed among his greatest achievements. The prostrate form of the dying Dido is lying on the funeral pyre, which is partly concealed by a mass of red dra- pery. Her form is wrapped in a flowing white robe, only the breast being bared. — A dagger lying in the folds of the robe suggests the manner of death. A female figure with outstretched arms and open hands is looking into the agonized face. Behind the group rises a column of dark smoke from the newly kindled fire. In the upper left corner is seen the figure of an angel. The sky is of a dark, deep blue tone, with a gleam of light showing on the horizon. Height, 14 mches; length, 171% inches. EXx — UXxx No. 35 BERNARDUS JOHANNES BLOMMERS DUTCH — | 1844— 3 | ie 2 OE a Orie el: S/OCO = THE HAPPY FAMILY ARowunpD a table, in a cottage interior, before the open window, are seen a little girl standing, a small boy leaning upon the opposite side, a chubby-faced little child at his side, and the mother with her baby in the cradle. The mother is peeling pota- toes and the children are rolling them about on the table. The simple room, with a single chair and a few delft plates over the curtained door of the chamber, sug- gests a humble home. The sunshine streaming through the window is echoed in the happy faces of the children and of the contented young mother. In the summer of 1904 Mr. Blommers and family visited Buzzards Bay to meet Mr. Jefferson, and see his collection. When I notified him of their coming, he telegraphed for this picture, which was in the writer’s studio at the time, to be sent to him at once. On their arrival they were heartily greeted and ushered into the dining room, where Mr. Jefferson had the picture prominently hung. It caught the eye of the author as he took his seat at the table directly in front of his own painting. The pretty com- pliment was in keeping with the life of Mr. Jefferson, who was always doing some act to make those about him happy. This episode made the entire company merry and the day a joyous one. Signed at the right, BLommeErs. Height, 15% imches; length, 19 inches. : No. 36 THOMAS GAINSBOROUGH, R.A. Ty ENGLISH GS Ce ee Jap OM 1727—1788 PORTRAIT OF RICHARD BRINSLEY SHERIDAN Tuts portrait of Sheridan was held in especial favor by Mr. Jefferson as his ideal of the young and famous English playwright whose comedies above all others he en- joyed acting. His character of Bob Acres in ‘‘'The Rivals’’ will remain in the memory of the public as one of his great successes. He used to speak of the beauty of this young frank face, with bushy hair, large, expressive eyes, finely formed Grecian nose and cupid-bow mouth. The head is in three-quarters view, to the left. A white scarf, with lace edge, around the neck loosely falls over the lapels of a dark collar of velvet. The coat is of gray-green broadcloth. A bit of foliage is suggested in the background, contrasted against a blue sky. No. 37 JOHN HOPPNER, R.A. a P ENGLISH ‘ iG (Ket Be 551810 1 * - x i] ie ee 4 HE HARVEST QUEEN i A FANCIFUL portrait of a maiden beauty, panied against a mass of foliage, with a ~ touch of blue sky showing through. The seated figure is in side view, with face _ turning to the front. She holds a broad hat in her right hand and a sheaf of wheat ae rests in her lap. Over the canvas is diffused the warm glow of golden autumn tints. << a ; ‘ fj. ? ; . Height, 30 inches; width, 24% inches. 7, No. 38 FRANK S. EUGENE AMERICAN Contemporary re J arrkAas /40— THE MANDOLIN PLAYER (Copy of Franz Hats) WHuiLeE in Holland Mr. Eugene made a copy of Franz Hals’s famous work, ‘‘The Mandolin Player.’’ It is especially LOTSA for its freedom, which is the principal charm of the original. Height, 20 imches; length, 30 imches. No. 39 . Sa UNKNOWN eee ae, 270— KNIGHT IN ARMOR TT the portrait of a handsome young knight, clad in steel armor, showing the ~ head and shoulders. The face, full of vitality and character, with upturned mous- — >t che, imperial beard and curly hair, rests against a high neck-ruff. The head is m turned slightly to the left, with the eyes looking to the right. A broad band of ooh drapery crosses the breastplate from shoulder to waist. 4 ee ae | -Height, 814 inches; width, 22 inches. | No. 40 f ALBERT NEUHUYS DUTCH yt VA nm SK (LCL ae THE YOUNG FISHERMEN Nervuuuys, besides his views of domestic interiors, has painted many out-of-door scenes. ‘‘ The Young Fishermen ”’ represents brother and sister angling by the canal bank, under overhanging willows. This picture was selected from the Chicago Exposition as a note opposite to the sombre interior of the Dutch cottage. Signed at the upper right, NevuHuys. Height, 1534 inches; length, 194% imches. Y a” No. 41 JACOB SIMON HENDRIK KEVER DUTCH leer LEARNING TO WRITE A younG boy student pondering over his slate, learning his first lessons in writing. His hands rest upon his slate, his elbows upon the table. There are brilliant notes of color in the tablecloth and in the vase of flowers. Signed at the left, Krver. Height, 18 inches; length, 2034 mches. ss No. 42 q ‘ 5‘) 4 / JACOB MARIS vi - DUTCH 1838—1899 : ATC Hlorrerig 6/00 — CANAL—AMSTERDAM Tuis canal view in Amsterdam is a typical example of the artist’s ripest period. The tops of the buildings of the town are seen above the trees. Upon the right of the composition a windmill towers into the soft gray sky of rolling clouds, and these are reflected in the water. The sky-line is skilfully handled, and the notes of blue and red canal boats add to the charm of the color scheme. Maris may be said to be the strongest painter of the modern Dutch School. He was a pupil of Couture, and after occasional periods of figure painting devoted him- self to the landscape of his country, and has left a wonderful group of paintings behind him. He ranks with the greatest in Europe. His landscape work is charac- terized not so much for poetry as for vigor, robustness and tone. His wonderful studies of rolling clouds laden with moisture, his views of Dutch towns, canals and windmills, are large in treatment and always dignified. His strength of mind and body is ever evident in the largeness and breadth shown in the execution of his canvases, and his individuality is marked. Intimate with nature in early life, he knew its moods and forms so well that he could carry into the studio impres- sions and render them upon canvas with fidelity and beauty. He might be styled the Constable of Holland, for his works represent space and largeness. He loved to depict the morning clouds before the rain, the bursting rays of sunlight after the storm, over sea and land. He gave great dignity to his town views by suggest- ing detail only in grand masses, combined with rich tones and color. Signed at the left, Manis. Height, 1644 inches; length, 1914 mcehes. No. 43 ANTON MAUVE ai” “} DUTCH 1838— yo PLOUGH HORSES RESTING MAUVE was especially fond of painting horses. He never chose sleek and well- groomed animals, but preferred the work-horse, the farmer’s companion, rough and rugged, patient and kindly. The two tired horses have been driven up into the shade of the trees, away from the noonday sun, and patiently wait to be freed from their traces. A sorrel horse stands with his white mate, close to a line of trees on the edge of the field. The ploughman is seen over the back of the white horse, busy with the harness, and in the near foreground is the plough of the primitive kind still in use in Holland. The sunlight casts strong shadows beneath the animals. This picture was painted at the beginning of his Laren period, and was shown at the Comparative Exhibition in 1904 in New York. Signed at the right, A. Mauve. Height, 17 mches; length, 29 wmches. ™m XX ae Ae. No. 44 ur ede ae q? ALBERT NEUHUYS uv DUTCH 1" eee ce e Gor th Sime JIVE Ue MOTHER AND CHILD A coMELY young Dutch mother, seated peacefully in her comfortable little cottage, is busily engaged in cutting out a new garment for her little girl, who stands at her knee attempting to attract the mother’s attention. On a rude low table near the group sits a cat which, pausing from its game with the sewing materials, watches intently the action of the woman as she runs the scissors through the cloth. The little domestic scene is illuminated by the concentrated light from a small window on the left of the composition, which vigorously accentuates the flesh and the drapery, and fills the broad shadows with warm reflections. Signed at the right, Aun. NeuHvyYs. Height, 2514 inches; width, 21 inches. 6 No. 45 On JACOB SIMON HENDRIK KEVER DUTCH Pe dw ie ae Re A CUP OF TEA Aw old Dutch peasant woman, wearing a tidy white cap and coarse garments, is seated at a table in a simple cottage interior, holding a small Bible in one hand, while she pours herself a cup of tea with the other. The figure is in strong light from the upper left. In the background are a few characteristic articles of furniture. Almost one of the last acts the writer had to perform for Mr. Jefferson was to purchase this work for his collection. Although very ill, he could not refrain from looking at and buying new pictures. This fine, crisp example of Kever’s appealed to him on account of the fresh vigor of its touch and its directness of painting, and the quaint severity of character expressed by the old Dutch lady enjoying her favorite beverage. The color scheme is rich, and entirely the opposite of ‘‘ The Sewing School.’”’ Signed at the right, Krver. Height, 20 inches; width, 1834 inches. No. 46 MISS WALLY MOES DUTCH ey se AFFECTION 1857— : Tus artist was a pupil of Mauve and painted with him at Laren. She follows — +7 closely the master, particularly in subtlety of tone. The elder sister, seated in ave . chair, is holding the little sleeping brother with hands clasped around his waists) ° Signed at the upper right, Watty Moss, 93. & a yy, : . Height, 30 inches; width, 2114 pe) nl ae No. 47 H. BELLIS STILL LIFE ’ A sornr of uncooked beef, two cut steaks, an apple, celery, a cabbage and lettuce, and various other vegetables are grouped on a kitchen table in a modified light from the upper left. The background is a graded tone of gray. | Signed at the lower left, H. Brvus. Height, 231% inches; length, 29 inches. No. 48 io, © LUDWIG MEIXNER GERMAN ee Mergomeg en le THE MOON In the left foreground is a bit of irregular sandy beach, and a rustic ferryboat with several occupants is being pushed from the shallow water to cross a little inlet to a landing place on the opposite shore. The rippling surface of the inlet twinkles with the reflected light from the full moon, which breaks through a stormy sky near the zenith. In the middle distance a point of land projects into the picture from the right, and on this point stands a large chateau surrounded by a high wall overhung by large trees. In the distance on the left is an open expanse of water, flooded by the moonlight, and beyond, in the horizon, is a lofty hill, partly concealed by drift- ing veils of rain from the storm clouds above. Signed at the lower left, Lupwic MEIXNER. Height, 23 inches; length, 30% inches. No. 49 ny “y? ATTILIO SIMONETTI ITALIAN Contemporary PEACE AND WAR Tue scene is laid at the corner of a Roman street, and represents a blacksmith shop with door open wide. A helmet hangs outside, and guns and a wheel rest against the wall. A defiant warrior, with top boots and jaunty hat, is standing in front of an out-door forge. The smith, stripped to the waist, is repairing the warriors broken armor. Pincers and hammer lie upon the pavement. In con- trast with the significant occupation of the maker of warlike weapons and armor is the little baby girl seated in the open door of the workshop, with a dove by her side. A few feet away is a group of doves feeding on the crumbs thrown out for the amusement of the child. The artist has evidently intended to draw the parallel of innocence and youth, and the doves as emblems of peace, with the occupation of the father, who toils in the manufacture and repair of weapons. Signed at the left, Art1Li0o SIMONETTI, 1875. Height, 22 inches; length, 23 inches. AR XXX oY ye \ 0 No. 50 © * he 20,008 7. [heyer, REMBRANDT VAN RYN f : ete | DUTCH 1606—1669 NK 773. yo ASK PORTRAIT OF PETRONELLA BUYS, WIFE OF BURGOMASTER OF CARDON (Oval Panel) The ‘‘ Portrait of Petronella Buys’’ was brought to this country by Messrs. Knoedler & Co., of New York, who procured it from Charles Sedelmeyer, of Paris, in 1894, and was purchased of the former house by Mr. Joseph Jefferson shortly after this date. The following inscription is on the back of the panel: ‘*Tonker Petronella Buys seyne Hurjsor naes dato gelrout sen de H* Borgem' Cardon.’’ Signed and dated 18385 (sic). Described in Smith’s Catalogue Raisonné, Vol. VII, p. 160, No. 497: ‘*A lady about thirty-seven years of age, having an oval face, represented in nearly a front view. She has on a white cap, and wears a very large full ruff, edged with lace, and a black silk dress, and is adorned with a cluster of gold chains suspended round the neck, and reaching down to the bodice.’’ Dated 1633. Height, 3114 inches; width, 234 inches. Collection of Dz Hzrr Roos in 1836. Bis anata Collection of Apr1an Horr, London, 1894. $ Woe Dacha hese breurel (7 Vol ipa, plate FW s, No. 51— SIR JOSHUA REYNOLDS, P.R.A. AL. Ae ENGLISH Bree ee 1723—1792 PORTRAIT OF HIMSELF THERE are three examples of Sir Joshua Reynolds’s work in this collection. The most important is the ‘‘ Portrait of Himself’’ in middle life. Sir Joshua was fond of painting his own portrait, arrayed in fanciful costumes; and there are several of this description in existence, painted at different periods of his life. This work is a replica of the large well-known example in the British National Gallery, with the exception that it shows less of the figure. It is one-third length, with the head in three-quarters view to the right and the eyes turned towards the spectator. He wears a broad velvet cap, a dark reddish brown coat with velvet collar, and a white collar and lace ruff. The hair, brushed back of the ears, falls in a loose curly mass upon the shoulders. This portrait was loaned for a season to the Museum of Fine Arts, Boston, for the benefit of students. Dated 1770. Height, 30 inches; width, 2434 imches. RP pon No. SIR JOSHUA REYNOLDS, P.R.A. ENGLISH 17238—1792 PORTRAIT OF HIMSELF AT SEVENTY YEARS > ee wig ANOTHER portrait, painted in old age and of striking cones tO! ire other 7 the prime of life. The great artist has grown gray; his eyesight has dimmed, sitating the wearing of glasses. The head is in full face. The mouth is drawn, : Ry the expression is dignified and kindly. : é ae i 4 Height, 30Y inches; width, 25 inches. No. 538 § y/\ ANTON RAPHAEL MENGS GERMAN [ta aa 1728—1779 ie Va) Celle , 27/-— PORTRAIT OF AN UNKNOWN GENTLEMAN Tuis is a half-length figure of a middle-aged gentleman in full-bottomed white wig, brown velvet coat and breeches, and figured waistcoat. A broad band of red ribbon crosses his chest from the right shoulder and full ruffles fall over his wrists. He is seated at atable on which stands a metal inkstand with quills, and, holding a sheet of manuscript in his left hand, extends his right with a gesture of emphasis, while he turns his head over his right shoulder as if about to read from the paper. The background is a graded tone of gray, showing a green curtain on the right. Height, 42% inches; width, 331% inches. a \ GEORGE HENRY HARLOW pV ENGLISH 1787—1819 fe id Bas = rage. aa ‘ a ae - a 5 ae . 7 di r) aes Rt eh 45 Poe peie. AP ho : : oe bow a fy \e No. 54 Moro od PORTRAIT OF KEMBLE> shirt shows . his neck and wrist. Height, 30 inches; width, 2484 imches. re, Eee = No. 55 GEORGE MORLAND ENGLISH ee ., [a ESEO— 1%68—1804 THE BELL INN Two horsemen have halted for refreshment under the cool shadow of a thatched- roof English inn. One has dismounted and is sitting upon the ground, with a Bp By) mug of ale in his hand. His dark chestnut-red horse stands in front of the door. His companion sits in the saddle directly behind, upon a white horse. He has a Y | 34° bowl in his hand, just received from the barmaid, who, dressed in apron and snow-white cap, stands looking at him. Two setter dogs are seated in the doorway, oi anxiously watching their master for food. A large pump, with a pail, stands on the left of the picture. Over the roof hang the branches of a large tree, and the sign of the inn is seen at the end of the courtyard, together with a glimpse of the distant landscape and blue sky. Signed at the left, G. Moruanp. Height, 27 inches; length, 35 inches. (0 No. 56 | ‘ ag SIR THOMAS LAWRENCE, R.A. eae ENGLISH 1 bu Pete lw, JU 1169—1830 A Tt J PORTRAIT OF CANOVA THE head is nearly in profile, turned to the left, and the eyes look in the same direction. He wears a velvet jacket, trimmed with fur, over a loose waistcoat, and a white shirt with a soft rolling collar. Canova had a picturesque head like Byron, with florid complexion and dark hair, and for the distinction of his type has been painted in several positions by Lawrence. This portrait formerly belonged to Henri Rochefort, of Paris, was imported by Messrs. Durand-Ruel, and was purchased for the Jefferson collection in 1896. It has been shown in New York at several loan exhibitions. Height, 38 inches; width, 30 imches. oa No. Biv JAMES INSKIPP ENGLISH cE SS me 1790—1868 ss Fog THE GYPSY GIRL A YOUNG woman of gypsy type, seated, with her hands resting in her lap. A red cloak hangs loosely over her shoulders. She wears a high-crown hat with a broad brim. On the right is seen a landscape with a luminous sky. Height, 40 inches; width, 30 inches. rl a ri | : No 5a a ae a a | \ : SIR THOMAS LAWRENCE, RA. ae | | ie: * ENGLISH — = " : 1769—1880 . " be: wae visi rety ros aie ai a eehg ara | LawRENCE was fond of painting fancy heads, and left a nenbee of this ace dis- pn tinguished for their beauty of type. The ‘‘Bacchante’’ is one of the best examples ~ of this period. In this head the blush of youth is given with a purity of tone ar id oo delicacy in keeping with the subject. The curly hair interwoven with Hie leave Ae of the vine suggests the title of the picture. fi bok: in mg a Height, 201 inches ; width, nye heen if or ie: Fa No. 59 » Y H. GUILMARD FRENCH ps i Mat 0 ee Contemporary CHARTRES THE motive of this picture is found in the old town of Chartres, and the view is taken from the middle of a canal leading back of the great cathedral, which rises high above a mass of houses in the middle distance on the left. The canal extends out of the picture and nearly covers the foreground. On either side are rows of old houses, some of them half timbered, and all of them with steep thatched or tiled roofs. The sky is covered with masses of cumuli, and the strong light is echoed on the quiet waters of the canal. Signed at the lower left, H. Guitmarp, 1875, CHartres. Height, 211% inches; length, 32 inches. No. 60 f | 6 FRANK 8. EUGENE V AMERICAN PORTRAIT OF CALVE IN “CARMEN” A HALF-LENGTH portrait of the famous singer in her most successful role. She stands erect with her head thrown back over her right shoulder, her left hand upon her hip, and her right raised to her neck. Her face is in three-quarters view to the left, and is framed by a mass of wavy hair which falls in large tresses upon either shoul- der. The eyes are turned directly toward the spectator. Mr. Jefferson commissioned Kugene to paint this portrait after he became acquainted with Calvé, in order that he might have a recollection of the famous artist in ‘* Carmen.’’ Signed at the right, F. Evczne. Height, 40 inches; width, 28 mches. 0 No. 61 \ ADOLPHE MONTICELLI FRENCH pa : Vie. 1826—1872 Prawece So — CUTTING HER LOVER'S NAME Tuis is a fanciful composition of five maidens grouped together in a forest environs ment. It was executed at the time when Monticelli painted a series of decorative panels and more carefully executed works. The central figure of this group is seated, looking downward, and a second figure upon the left is looking upward, as if ad- miring her beauty. Another, with head covered with a broad hat, forms the right of the central group. Two other figures stand behind these. The one in front appears to be carving upon the bark of the tree the name of her lover. Another maiden, with hand upon her shoulder, is watching the inscription. The amber-colored background, suggestive of the glow of autumn, forms a harmonious setting for the fascinating group of maidens, sumptuously clad in silks and laces. Signed at the right, MonricEttui. Height, 61 inches; width, 391% imches. No. 62 ANTOINE VOLLON FRENCH : (a s o Mowuger Cis 1833— a ( Ww + wort 9p f ae STILL LIFE oa A TALL silver beaker, a teapot, a glass vase with roses, a porcelain dish with fruits, afford the artist an opportunity to display his consummate skill in the imitation of textures and rich colors. | Mr. Jefferson had a fondness for rich and decorative objects in bric-a-brac, hangings and furniture. In his European tours he gathered together many objects in china, old silver and embroideries, which were arranged with taste in his former homes in Hohokus, N. J., and his first house at Buzzards Bay, Mass. Almost all of these precious relics were destroyed in the fire that consumed the latter place. Notwith- standing this great and irreparable loss, he could not refrain from adding to his newly built home at Buzzards Bay fresh notes of interior decoration and new paint- ings. He often said: ‘‘ The eye should always rest upon bright and cheerful objects. ”’ The writer spoke to him one day.of Vollon’s work and described the fine example which is reproduced upon the opposite page. Upon first sight he bought it. He said of Vollon: ‘‘ He is a master craftsman and a born painter. ’”’ Signed at the left, A. Votton. Height, 35 inches; width, 24 inches. \ No. 63 ALEXANDRE LOUIS BOUCHE FRENCH aS ea ee, S35 SO _— (Puri or Coror) Contemporary LANDSCAPE WITH SHEEP—TWILIGHT A LARGE farmhouse with thatched outbuildings stands in a village street on a broad sandy road, and through the wide-open doorway of the barnyard a peasant woman, accompanied by a dog, is herding a large flock of sheep into the enclosure. On the right the road winds away between scattered: houses and disappears in the middle distance. The horizon is formed by a line of wooded hills against a brilliant sunset sky, and large, threatening storm-clouds drift up toward the zenith. Bouché has received many inspiring letters upon the quality of his work from the leaders of art in France. William Bouguereau writes: ‘‘I am happy to bear testimony of the high esteem in which I hold the talent of Mr. A. Bouché. The very interesting paint- - ings that he has exhibited in the different Salons and at the universal exhibitions have given him a rank among the first landscape painters of France. ’’ J. J. Henner’s words of praise: ‘‘I have said of Mr. Bouché he is one of our greatest landscape painters. For more than twenty years I have followed him in our Salons with admiration. He puts in his paintings the poetry of evening as no one else does, and I am happy to be able to pay him this tribute. ’’ T. Robert Fleury: ‘‘I have the highest esteem for the talent and personality of Mr. A. L. Bouché. He is an artist of the greatest quality and his paintings are certain some day to bring a very large price. . . . His paintings have the admi- rable manner and qualities of the school of 1830. I cannot say too much that is good for this great painter.’’ -Léon Lhermitte: ‘‘ What works I saw during my last visit in June were so vigorous and fresh, and executed with that powerful strength of which you nearly alone to-day possess the secret, that I look forward to our next meeting for a royal treat for my eyes.’’ ** Paris, December 16th, 1904. **Sir: I am happy to tell you I have known Mr. Bouché for a long time, and am a great admirer of his talent. He is one of our first landscape painters. Receive my sincere salutations.’’—H. Harpignies. Signed at the right, Boucuk, 1902. Height, 39 inches; length, 46 inches. No. 64 JACOB SIMON HENDRIK KEVER DUTCH 1854— THE SEWING SCHOOL Six little Dutch maidens in a sewing class are seated with their teacher in front of an old thatched cottage, busily engaged in their allotted tasks. It is a warm day of early spring, and, intent upon their work, they are all unconscious of their surroundings. One of the little girls has been isolated from the others, apparently as a punishment, and sits apart near the open door of the cottage. On the right of the composition, beyond the row of busy children, is a vista over a cheerful spring landscape to a mysterious distance, where luminous clouds are gathered near the horizon. Signed at the right, Krver. Height, 2314, inches; length, 3334 inches. : 7 : : i ASXX No. 65 THEOPHILE DE BOCK DUTCH 1851—1904 | f.,. dW). Atrauchaar, ¢3 voc LANDSCAPE—EVENING In the foreground is a small area of rough pasture, where patches of sand alternate with coarsely growing grass, weeds and small bushes, and two white goats browse upon a patch of rank verdure. On the right, growing in the edge of a large forest in full foliage, is an old birch with few leaves and many dead branches. On the left, in the middle distance, a low, irregular hill, crowned by a few stunted trees, is seen in silhouette against an evening sky filled with luminous clouds. A few birds hover around the tree-tops, seeking shelter for the night. De Bock received his instruction from Jacob Maris. While he was to a certain extent reminiscent of this painter, he had sufficient individuality to command rank in the modern Dutch School. He painted skies with rolling clouds similar to those seen in Jacob Maris’s works. This work, and another by Bouché, were the last purchases made by Mr. Jeffer- son, and were procured as he passed through New York on his way south. When asked why he wished to buy additional works of art while he was so ill, he replied: ‘*They give me so much pleasure, now that I have given up my acting. Is it not fortunate that I have left to me my paintings and my love of nature? Please pur- chase these paintings for me and forward them to Palm Beach, Florida, where I can have the enjoyment of them during the winter. ’’ Signed at the left, Tu. pz Bock. Height, 30 inches; length, 45 inches. AS XXX No. 66 JOSEF ISRAELS DUTCH 3 POG gy s0- 1824— THE MADONNA OF THE COTTAGE Tuis artist has found themes in the lowly life of the fisher-folk of his own country, and, while he was also a painter of landscape, he made use of it only as a setting for his figures. His early work was labored and overwrought, somewhat prosaic in composition and often violent in: color when compared with his middle and later - periods. His work then became more sensitive and full of atmospheric charm, with luminous shadows, large, free and vigorous brush-work. To-day, at eighty-one, he looks out over a harvest of ripened years and reviews a life-work of marvellous success. His energy and indefatigable industry have been rewarded by countless med- als and honors. He has lived, like few other artists, to reap the benefit of his own efforts in life. At eighty years of age he received national honors from his Queen, his countrymen, contemporary artists and friends from two continents. In 1892 Mr. Jefferson selected out of the many great works from Israéls’ brush ‘‘ The Madonna of the Cottage’’ as representative of the best period of his painting. The title is suggested by the picture of the ‘‘ Madonna’’ which hangs upon the wall of the lowly fisherman’s cottage, in the dim light. The artist compares the Virgin and Christ Child with the young Dutch mother bathing the first-born infant. The fond mother bending over the fat, chubby babe, tenderly held in her lap, is gently dry- ing the little one after the bath. An arm hangs loosely over her hand, and the little foot and leg are drawn up as if in fear of the water. The mother wears a loose white cap, a pale blue homespun dress, a coarse apron, and clumsy wooden shoes. One foot rests upon the red-tile floor; the other is firmly planted upon a low stool. Close by her side is a chair, with a towel thrown over the back, and a bowl of water upon the seat. The figures are lighted by the glow of a fire in the open hearth, and also by a window which does not appear in the picture. Except for a few simple orna- ments and a clock on the mantel, the room is otherwise empty. Joseph Jefferson corresponded with Josef Israéls upon the merits of this work, and received as a gift an autograph copy of his *‘’Travels in Spain.’’ Upon the fly- leaf Mr. Jefferson wrote of his appreciation of the Madonna picture. Signed at the right, Jos. IsraEts. Height, 501% wmches; width, 4134 mcehes. a SE Reser eye mer ees oer tne ae * 2 a vy wesw yy yee ss is MXXXX so ff gt No. 67 ~ fy ANTON MAUVE DUTCH ote Gree fur 2 THE RETURN OF THE FLOCK A LOVER of Millet and Corot, and inspired by the quiet scenes of nature, Mauve holds a high rank among modern artists. He was fascinated with the charmed brush of the Barbizon painter of the springtime, and his silvery gray tones find an echo on his palette. He admired the simplicity and quiet dignity of subject in the pictures of the great painter of peasant life; and his own works have much the same repose. In early life he was influenced by Troyon, as is seen in his cattle subjects, which show a similarity of motive and treatment. Like Millet he changed his methods and style, and, leaving the influence of these masters behind him, he located his studio in the quiet village of Laren in Holland, not far from the sea. Here he became Mauve, and, under the inspiration of the simple land- scape which surrounded him, he began to paint his own ideals. As a sensitive colorist he may be compared to Corot, and while his pictures do not possess the statuesque dignity of Millet, they are distinguished for unity, delicacy and beauty of composition. He died at fifty years of age, at the height of his reputation, and to-day his name is honored on both ‘sides of the Atlantic. With the exception of Corot, no other artist’s works have risen so rapidly in value after death. It would scarcely be possible for any one to receive more happiness from a work of art than Joseph Jefferson did from ‘‘The Return of the Flock.’’? It was his constant companion in later years, and he always refused to sell it, although he received many offers. He placed it in a panel at the end of his dining room in his new home. This space was specially arranged for the painting, and it was lighted by day from a large window, and at night by electricity. When at home he sat before it at every meal, and daily enjoyed its simple beauty. Every guest who visited *‘Crows’ Nest’’ was introduced to this important treasure as to a mem- ber of the household. I well remember how he remarked, when planning the building of his new house after the fire: ‘‘I shall construct my new home to receive my Mauve, and shall make it fire-proof.”’ **The Return of the Flock ’’ was purchased at the sale of the collection of Dr. Gerardus H. Wynkoop, of New York City, in 1890. It was given the place of honor in the centre of the south wall of Room No. 10 in the Paris Salon of 1887, and was awarded a medal. In the fall of 1886 Mr. William H. Howe, the noted cattle painter, made a visit to Mauve’s home in Laren. He writes: ‘‘ I was walking with Mauve one morn- ing when he got the first impression and motive of this masterpiece [a black and white charcoal and crayon drawing, since sent to the writer by Madame Mauve, after his death]. When we returned from the walk, Mauve was greatly interested with the motive and said he could make a greater work from it than the subject he had mapped out, which was then sketched upon canvas and tacked up on his studio wall.’’ A second charcoal drawing made of this subject was owned by the late Mr. L. F. Roos. Mr. Bastert, an artist friend, and Madame Hugenholtz, of Laren, his pupil, who now lives in the old studio, both affirm that the medal was always considered by Mauve to have been awarded for his ‘‘ Return of the Flock,’’ and this is the opinion of other artists in Holland. Mauve himself cared little for the honor, and never even sent for the medal, which remained in Paris for several months afterward, and only received his certificate. The secretary wrote to Mr. Bastert, asking him to take charge of the medal. A festival was secretly planned by Mr. Bastert and Madame Hugenholtz, and the Laren villagers, bedecked in gar- lands and flowers, assembled in a barn. The shepherd who had been Mauve’s model in the field for many years was dressed in a fancy costume and given the honor of making the presentation speech. Mauve was led, unsuspecting, into the midst of the assembly of his friends, who showered him with flowers and placed a wreath upon his head. The old shepherd then stepped forward and timidly presented the medal. The sensitive, modest artist received the same in silence, so overwhelmed was he with the ovation. This charming episode ended with music and a dance. All present at this festival knew that the medal had been awarded to Mauve for his masterpiece and last important work. He died in 1880, after an illness of many months. The picture represents an undulating stretch of open pasture with a low knoll rising on the right. It is covered with a heavy growth of heath, ripened and browned by the autumn frosts. Patches of white sand are seen here and there. On the hill-top, on the horizon, groups of bushes and a lone tree are relieved against a simple gray sky. A low line of hills is faintly discernible in the distance. A flock of sheep, with strong light playing upon their backs, casting deep shadows, are moy- ing across the pasture, following the lead of the shepherd. The main flock is closely huddled together, a few sheep are scattered to the right and left, and four lambs trot along behind; and one, weaker than the rest, in the immediate foreground finds it difficult to keep up with the flock. Signed at the right, A. Mauve. Height, 40 inches; length, 64 inches. ASA No. 68 ANTON MAUVE th : DUTCH a F aN: 1838—1888 \G Le ee ay Ce Po yee gees THE LOGGERS THE motive of this picture was found at Laren, the home of the artist in Hol- land, and it represents a group of workmen who have finished cutting down several large trees. Two are engaged in securing a log to a pair of wheels for transportation. The third, with uplifted axe, is trimming off the branches from the other logs. A pair of dark red horses, with a light sorrel red leader, are hitched to the wheels. They are at rest, with loose trace chains hanging from their collars. The leader has his ears pointed backward as if to catch the master’s word. The winter coats of the animals are ruffled with the cold, and the breath from their nostrils is congealed. The fallen logs, with moss-covered bark, show the ends of the new-cut wood, from which the sap seems to flow. A few chips and a stray branch lie in the foreground on the rough, frozen ground, which is covered with patches of dead grass. The men and horses are relieved against a background of distant trees. Over all is a cold gray sky, laden with the morning mist. Long before Mauve became known to the world of picture buyers, Daniel- Cottier purchased this vigorous canvas. He was commissioned to decorate the interior of the home of the late Bartol Schlesinger, of Boston; and “‘ The Loggers’’ was given a place of honor in the large reception hall of his mansion. Through the courtesy of Mr. J. H. Englis, the business partner and successor of Mr. Cottier, the writer had the pleasure of viewing this painting. It appealed to him so strongly that he asked of the host the privilege of bringing to see it Mr. Jefferson, who had for several years owned ‘‘The Return of the Flock,’’ and had become an ardent admirer of Mauve’s works. As he stood before it for the first time, with upraised hands he said, ‘‘ What a marvellous work of sobriety and strength!’’ He asked again, the following summer, to see the work, and made a third visit on the succeeding season. He then laughingly remarked to Mrs. Schlesinger, ‘‘If this picture is ever offered for sale, let me know.’ He little thought his request would be granted. After the decease of her husband, Mrs. Schlesinger wrote and offered him ‘‘ The Loggers.’’ He immediately sent his check, and became the fortu- nate owner. It was sent to Buzzards Bay, and hung in the music room. It was his custom to introduce his guests to his home by placing them in a position in the reception room, fronting the open arches leading to the dining room, at the end of which hung ‘‘ The Return of the Flock.’’ He would then turn them right-about- face and introduce ‘‘ The Loggers,’’ with a smile of satisfaction upon his face. Signed at the right, A. Mauve, 777. Height, 44 inches; length, 83 inches. No. 69 ALBERT NEUHUYS [ DUTCH 1844— bw kGaricek , fir 02 — FEEDING THE BABY A youncG mother, dressed in the simple costume of a Dutch peasant, is seated in a rude chair near a table, holding in her lap a small child whom she is feeding with a spoon. On the table stand a small dish and an earthen jug. The Dutch mother, with chubby baby, has been a theme upon which this painter’s brush has told many a story on canvas. There are true motherhood and sympathetic love depicted in his rendering of the various phases of maternity. He may be said to be of brighter humor and lighter in subject motive, and generally his palette is fuller in color than Israéls’. His pictures are always harmonious in tone and agree- able in composition. Like Israéls, he claims to touch the heart, and while the former may be more dignified and grander in conception, Neuhuys is a worthy follower and now takes foremost rank in Holland. He is always simple and broad in his art, and never trivial. He sent to the Chicago Exposition this important work, which was one of the most prominent of the Dutch exhibit. After leaving the Exposition at Chicago this picture was shown at the Boston Art Museum at a loan exhibition of a collection of paintings by Israéls and other contemporary Dutch artists. When Mr. Jefferson’s attention was called to this sturdy work of Neuhuys’, he commissioned the writer to purchase it, together with a smaller work entitled ‘‘ The Young Fishermen. ’’ While in Boston, in 1894, Mr. Neuhuys visited Mr. Jefferson’s home and had the pleasure of seeing this picture there. He then said that it was of his best period and was one of the most successful efforts of his life. Signed at the right, A. Nrvuvys. Height, 53% inches; width, 401% inches. No. 7O SIkh THOMAS LAWRENCE, R.A. ENGLISH 1769—1830 Wi. Vis horttex f.f000 toa ¢e* THE ANGESTEIN CHILDREN THis portrait group, owned formerly by the Aneestad family, in England, for whom it was painted by Lawrence, is one of the largest works from his brush, and is thoroughly characteristic of the artist. It represents a group of children under the spreading branches of trees upon a side-hill slope, with a winding path leading out into the sunlight. A handsome type of boy, in velvet costume with white collar, stands near a tree-trunk on the right, with a besom in his hand. On the opposite side, facing him and seated upon the ground, is a little girl partly in light and shade, with uplifted face looking at her brother. In the middle, to the right, is seated the older sister, and supported by her arm is a chubby, golden- haired boy, holding a shovel which he is attempting to use. The two central figures are in full light against the shadowy background of the trees. The pervading notes of mellow golden browns and reds are united into a warm and harmonious whole. Height, 72 inches; width, 58 inches. No. 71 © \ ~~ EMILE VAN MARCKE \ ve » FRENCH 1827—1891 eS. Glove fisqoce ie CATTLE ON THE PLAINS A THOROUGHLY representative picture by the famous cattle painter and foremost pupilof Troyon. During his life Van Marcke produced several large and important canvases which might be styled museum pieces. This example ranks high among his other great works and in some respects is perhaps the most dramatic and bril- liant in effect as well as the largest in subject motive. In it he rises to the dig- nity and power of his master, and has given us that feeling of grandeur and space which distinguish the productions of Troyon. The composition represents the flat pasture-land of Normandy. On the left the vista extends to distant hills and lines of trees, and in the middle distance on the right rise thin, high trees, with loose foliage. Beyond, a grove of trees is dimly outlined against a stormy gray sky, full of moving clouds clearing after a storm. A large herd of cattle is scat- tered in a graceful line from the foreground to the middle distance, principally in a mass on the left, where are seen two cows, dark reddish brown with white spots, and a third one, which is light red with a white face. The ground, covered with grass and herbage, is marked by the shadows cast by the cattle, which a herdsman seated upon a white horse is rounding up. The season is autumn, and the sunlight plays through the broken clouds upon the golden and yellow foliage or flashes over the plain, shining on the backs of the cattle. The cattle are admirably drawn and the work is painted with a vigorous brush in Van Marcke’s best spirit. Charles Coutry executed a brilliant etching of this painting. Signed at the left, E. Van Marcxe. Height, 55 inches; length, 79 inches. way 37 a ee i wien | Noel 00 GUSTAVE DORE Be as PEE oe _ FRENCH 1833—1883 DON QUIXOTE AND SANCHO PANZA THe doughty champion and his faithful attendant are seen in a shallow marshy swale, the former mounted on Rosinante and the latter on a wooden hobby horse. A few birds flutter over the heads of the pair, and just beyond them extends across the picture a rank of trees in sparse autumn foliage, showing between them the crest of a lofty mountain with a soft summer sky beyond. The glow from the sunset illuminates the landscape, casting long shadows in the direction of the fore- ground. Signed at the lower right, GY® Dor. Height, 431% inches; width, 33 inches. es | z ug lae/C: VICTOR CASIMIR ZIER — wi i eS ; MAGDALENE we sF Mi iS es ; “a POLISH 1822— ee ‘ps : nr Pax: kneeling figure of a woman is relieved against a background of gray cliffs, and e the sombre garments with which she is partly draped still further accentuate the tones of the flesh. She kneels upon her right knee, with both arms slightly extended on either side, and her head, with upturned eyes, is raised and turned toward the left shoulder. Her fair hair falls down her back and upon the ground, and a gold halo floats just above her head. On the foreground near the figure is a skull, and just beyond it a small rude cross is planted in the earth. Signed at the lower left, V. Zier, 1876. Height, 361% inches; width, 281% inches. ny, Oats ‘" GEORGES Jd E ANNIN oe ie it 3 ‘Contemporary © BOUQUETS FOR THE FLOWER MARKET f . peg a Tuis represents a mass of large bouquets prepared for the flower market. bunch of blooms is arrayed in stiff bouquet form, bound up in a white paper : : Signed at the left, G. Jeannin. Sikh ast Height, 52 inches; length, 64 in AMERICAN ART ASSOCIATION, oa "Masao THOMAS E. KIRBY, | | AUCTIONEER. | a Aee e ; Leper, LLG JESS MERS, ‘Berwanpus JOHANNES |The e Happy ay re i oS Horseman A ada e7 at Ville Avra ~ covrurs, THomas re cos The Fugitive Fi _DAUBIGNY, Cuartzs Francois Evening on the Oise The Environs of a French Village e DE GOYER, Francisco José a ~The Bull Fight DIAZ, Naxcisse Vircire Two Panels—Figures CATALOGUE NUMBERS AT 35 65 63 20 22 23 28 16 _ DORE, Gustave EARLE, Lawaence Ky ANA.) 25 0m } The Fishermen | ie ENGLISH SCHOOL : | Delhi eS IaaaRe Saa 4 . Landscape ; . Becher ieee = ‘ : P EUGENE, Franx S. é