NO rE rem ae see ar eR eae * ~~ re a NO By yisy ey’ st ‘ a +p, ry f ANDREW FREEDMAN SALE, Friday Evening, April 14, 1916, ok athe + | ew York City. MUMBER, BUYER. PRICE 1 Stephen Birch % 140. 2 «Jo- 30 3 D. B. Freedman 90. 4 W. W. Seaman, Agent B06 5 C. J. Sullivan 80. 6 We W. Seaman, Ager 500. 7 Otto Bernet, Agent 300. 8 T. Heckscher 310 4 A. 0. Levy 525. 10 Otto Bernet, Agent 675. li Henry Reinhardt 1300. 12 M. Knoedler & Co. 2425. 13 J. S. Van Wezel 650. 14 John Levy 1000. 15 W. W. Seaman, Agent 750. 15 Mise E.R. Wellington 2650. 17 Geo. CO. Heimerdinger 1250. 18 M. Tanesbaum 650. 19 W. W. Seaman, Agent 2100. 20 ado= 5000. 21 _ Jack Harris 1300. 22 A. 0. Levy 800. 23 Honry Reinhardt 925.6 24 W. W. Seaman, Agent 52006 25 G, J. Sullivan 1300» 26 Stephen Birch 1000. 27 Otto Bernet, Agent 1950. 28 G. Tonn, Agent 1800. 29 Otto Bernet, Agent 29006 30 Stephen Birch 21506 31 =do= 700. 32 Otto Bernet, Agent 400. 33 C. J. Sullivan 150. 34 Geo. ©. Heimerdinger 2200 4 35 W. W. Seaman, Agent 1200. 36 Clapp & Graham 3000. 37 D. B. Delavan 3300. 38 Otto Bernet, Agent 500. 39 P. A. Burns 825. 40 Henry Schultheis 2150. 4i W. W. Seaman, Agent 6200. 42 Stephen Birch 7173. 83 J. J. Julia 150. at Stephen Birch 1300. 45 R. Deutsch 175. 46 W. W. Seaman, Agent’ 4700. 47 John MeCormick 20000. 48 W. W. Seaman, Agent 8900. 49 Stephen Birch 8700. 50 Otto Bernet, Agent 10600. 51 T. E. Gilchrist 150. 82 J. G. Van Wezel 325. ‘C iakis M: any E Fine Piétures ot’ s “Nymphs Bathing” and Troy- s ‘“Néfmandy Pastures” Peat-— res of Collection To Pi “ Fitty-two- paintings penealaee the ¢ol- téction of the late Andrew Freedmann er espa on view yesterday at the “an Art Galleries, No. 6 Madison are South, preparatory to their sale . auction by Thomas HE. Kirby at c vee Hotel on next Friday evening. © ) same time three other collections were on exhibition—one of Chinese porce-| ans assembled by the late Edward Was-} xrmann; one. of old velvets and embroid-| ; pees eG by Vitall and Leopold) Benguiat, and one of engravings and| pronase consigned by Mr. Richard the greater number of the paintings in Freedman’s collection are of the Bar~, he school. There is a Corot, “Nympns Bathing,’ from the Mary. Jane Morgan lage which was dispersed in 1886. In repeat es is a lake by which oe he omen, nude or part ¥i ee Ae a elump.of large-treas,: - psig a sae: typical manner, and over- head is an early evening sky. There is a large and fine exemple. of Constant Troyon, “Normandy Pastures,’ with flat lands in the foreground. A milk- maid milks 3 cow and two other cows lie on the grass, while near by is a flock of ebeep. At one side is a wooded fhillook, By Other Masters. “Sheep and Landscape Near Fontaine= ibleau” is a typical example of Charles Jacque, with a flock, tended by a shep- herdess, grazing near.a wood. There are four examples of Harpignies. ‘La Pas- serelle du Moulin Colas” is a small but pananter by work with a footbridge crossing la stream and tall trees. ‘Paysage au Bord ide la Mer” shows a ravine near the sea, ‘covered with grass and rocks, while across ithe canvass, with the sea beyond, is a row of typical Harpignies trees, Other fine French pictures are Diaz's “In the Forest of Fontainebleau,” with a ‘road leading into a forest; Cazin’s “‘The (Mill, ” a small landscape of poetie quality, |with an early evening sky and a pale full moon; Fantin-Latour’s “The Bathers,”’ having beautiful quality; Felix Ziem’s “Venice,” with striking reds and golds; Isabey’s dramatic ‘‘La Rixe,” presenting two cavaliers, fighting with rapiers in a narrow, street of an old French town, and five fine examples of Henner, including ‘Nymph Reclining,’ a nude young woman lying by a lake; ‘‘Magdalen,” a nude re- elining in a grassy nook, and “Sleeping Wymph,” another nude reclining on the grassy bank of a pool. Of the American school there are thres Blakelecks, including. a fine example, “The Hdge of the Forest,” and an extraor. dinarily good example of Julian aitaes VSanderson’ s Creek, New Jersey.” , H BY PREEDIAN SEEN | Engravings | an@ Antique Textiles by Masters | "to Be Sold. ee PORCELAIN. TOO The paintings collected by the late 'Andrew Freedman, whith were placed on public view in the galleries of the Ameri- i'can Art Asociation yesterday, will make one of the important art sales of the winter. At the same time the rare antique Chinese porcelains of Edward | Wasserman, the great collection of en- gravings and etchings belonging to Richard Ederheimer and the Benguiat ‘collection of old velvets and embroideries, | were shown, in preparation for sales at jauction. | The Freedman ,paintings form a well balanced collection of carefully chosen |} works that finely represent the best qualities of some of the greatest names jin modern art. The pictures are land- ‘scapes for the most part, although there |are a few figure pieces. Corot, Hare pignies, Cazin, J. J. Henner, Dieterle, Ziem, Schreyer, Jacque, Troyon and Diaz leaa in interest. But. it would be difficult to decide which of the artists carries off the chief honor of the show. /It is-indeed a well balanced group. | Some of the Paintings Shown. The Corot is a large example and came from the famous Mary Jane Mor- 'gan sale. It is the “Nymphs Bathing” and the nymphs are seen in the fore-= ground, protected by a discreet shadow. Tall trees rise in a mass from a quiet ipool, the fading color from a sunset \tinting the sky- ‘back of them, It is |painted in the pearly tones familiar to | the students of Corot and the famous | “atmosphere” is in evidence. There are five characteristic works by J. J. Henner | and as this artist’s paintings have not been appearing in auctions of late with the frequency of former days, they come upon one almost with the effect of surprise. ‘The reclining “Magdalen” and |*The Sleeping Nymph” are especially typical; the flesh tints have the brilliant softness and the color has the personal qualities that are so much admired. |The turquoise blues and the gray browns | are as fresh as though the pictures were painted yesterday. The four Hanrpignies landscapes are all attractive examples of landscape painting. .The composition, while not sensational, always contains something unexpected. The color is chanming, the |trees are beautifully drawn, and the feel- \ing for nature ig genuine, The trees \dn the “Passerelle du Moulin Colas” are particularly free and interesting. The ‘sheep picture iby Jacques hangs on the wall next a Harpignies landscape, and 'there seems to be an affinity of style between the canvases; the same security ‘of design and the same coolness and sobriety. of color. = POURS ere of sparkle ‘ene sunlight — Horsemen, ” by Georges , in spite of hig name, omer ana gay need to be told that Russian. - _ Aside Wel precisely | like story by Turgenieff 3 L night party is break- elated and the guests outside ne where ave at been Te- oe, painted ¥ the road, with, snow, suggests one ies so often described novelists. The Tissot Janding from a river ve in white boating | craft, vork: an ie collection are three . an Alma~Tadema girl with i-Latours, a Kromen- ey, Netscher, Rix, Thau-" Tet and ; a Weiss, Vibert as 7 aM MGS ET spy | ests are sa feast- ——— a entire con | Freedman’s pictures in striking con- ogy of the shops to-day, we find : eho diies and vulgarities. the incertitude—and worse-—of, Cé- 4 red, and The classical design, the vibrating familiar as they ave, they neverthe- 8 Of genius. | Mr, Freedman was equally fortu- nate with his examples of Dupré type as certain books are in the traditional Pia dene pictures. OUSs There are four landscapes here by Ain bs ai + t wa as ore t co lately, has the intoveis pie 7 ated on taal oh te arg ~|ing him in an unusual “ot, For | ik eS by ate A enner Mr. Freedman ‘appears to eedinan the ¢ would seem t0| have had a cult. as five specimens — have been turned back. They yeoke the atmosphere of the Mary J: Mor- pot and George I. Seney collections, a atmosphe: ¢ of ha if the private galleries this couniry when the vogue of the Salon was cay dis- puted by that of the Barbizon | 5 school: The dealers had a great pedis to do yaa it. They had not yet janized the boom in old masters, the latter day vagaries of the market were then simply un-. cawed of. Fashionable taste was rvEative. ionable taste percnee at the mo- ment to be soun If we find Mr. trast with much that prevails in also interesting and beauti- ee serene refuge from current What pleasure it is to turn bbs zanne and his followers to the ster- ling traits of a man like Corot! It is like turning from prose—and dull prose at that—to inspired poetry. rhe “Nymphs Bathing’ of the ob biohati Collection ts an exquisite version of that romantic. lakeside ive of which the master never to which his admirers must remain as joyously faithful. ane ge, the tender light, the unob- ive but delicately eloquent fig- €s—all the familiar elements come ‘to charm us once more. And, 8 have the freshness of morning about them, the perenmal stamp Diaz, Troyon, Jacque, Isabey an Fromentin, that group as inevitable in every collection of this gentleman’s library. He was con- ventional, if you like, but he knew what he was about and got hold of The same excellent judgment is disclosed in. the. more. miscellane- aspects of his collection, Harpignies. All of them are good, and one, “Les Petits Pecheurs, is @ little jewel, which, in- But fash-j a a aia a i a testify. The speil of this profound- ~ ly sophisticated Salonnier was long ago outworn, but it is at least to be said for these manifestations of at that they are. characteristic—un- commonly good Henners. similarly representative pieces |b Cazin,. Schreyer. | Fantin-Ldateur, Thaulow, Ziem, Alma-Fadema ane our own Blakelock and: Riz, ensemble may not be. overpowe = ly brilliant, but it is vita ized. legitimately beguiling. The sale the Plaza next Friday evening | develop, we believe, some cheering | surprises. tt x ate? There are — : he fiz edman Picture § Sa. le. oe most ia eee picture sale of - future: will be that of the 52 picture ed by the late Andrew Freedman - ee ballroom - The pictures will be placed on in the American Art Galleries ay April 8. Z italog of the collection emphasizes igh quality of the comparatively sinaii_ tion as a whole. ; jamples” of the Barbizon painters and their. |contemporaries and followers, although he |secured a few modern Americans, and, for-. |tunatelv for his heirs, three exceptionally Leoal examples of the now most popular Blakelock. These are “Nymphs in the Forest,” “Moonlight” and the “Edge of the | Forest.” |\in height by 24 in width, and has as sub- is a small panel 9% in. high by 7 in. wide, the Forest” is a small but rich landscape. | The best Barbizon examples are those of | Corot, (one of which, the “Nymphs Bath- ing,” was in the Mary Jane Morgan and Al- and Diaz. These, with other examples of lat- | er French painters were, with few excep- tions, purchased from Koendler & Co. Good also, exceptionally so, are the examples of Fantin, Latour (2), Cazin (3), Fromentin, | Vibert, Charelemont, Gerome, -Thaulow, | Ziem, Tissot, Alma-Tadema, Schreyer and one American ulian Rix. eS ee £ Co | Ley, a a . ( tAhaf VRE. ; Bi san Rita eres Rie tee eB rt le re os ae, Pa ee ee : “FREEDMAN PICTURE SALE. | The auction sale of the 52 modern pic- =o. Hate Andrew Freedman held in the Plaza ‘Ballroom April 14, resulted in a total of 3115, 850, while two records were broken— ne by the fine ‘“Cattue in Pasture” by the | Marie Dieterle, which sold for $8,900 to | Mr. Seaman as agent, and the second by the | rich virile landscape, “Sanderson’s Creek— |New Jersey” by the late Julian Rix, the | American, and which sold to Mr. S. Birch ior $1,300. - Ain. hued, The bidding was good throug rout and at | times spirited, and Mr. Thomas E. Katbye | the auctioneer was in: his best form. The ‘| good figures brought by the examples of | Corot, Isabey, Ziem, Thaulow, Dieterle and ee gratified collectors and dealers [in modern foreign pictures of the schools of | these painters, as they disproved some pes- -|simistic opinions of late uttered that the _ | work of these men and their fellows was | declining in value. fee 46 | The highest figure of the sale, $20,000, {was paid by Mr. John M. McCormack, the tenor, for the large and fine landscape by Corot, “Nymphs Bathing.” This canvas of Corot’s middle period—before he began to produce what is known as his “silvery” landscapes, was purchased at the Mary Jane Morgan sale in 1886 by Knoedler and Co. ' for $9,000, who sold it to the late Alexander | Blumensteil. A iter his Beath it broumiaay ee ii Aa, eh ‘riday evening, April |exander Blumensteil sales), Dupre, Troyon (i i z Freedman’s taste was for the ex- Lhe; age of these is an oblong, 16 ge a : ject a group of six small ‘nude women in ay. *.‘ forest glade with a pool in the centre—a | Monticelli motif. The second, “Moonlight,” |very rich in color, and the third, “Edge of e |Isabey, Pasini, Harpignies (4), Henner (5), jtures which formed the collection of the| — {Pitted daughter of Emile Van Marcke, | only $7,700 at the sale o : 1906 where it was again purchased by} | Knoedler and Co., who sold it to Mr. Freed-| | man. | somewhat disappointing prices, considering ! the recent “boom” in his works. —| “Moonlight,” of the same title at the Lambert sale] brought $1,300, the large landscape $2,500 from Mrs. Isabella Freedman, and the small |“Nymphs in the Forest” only $310. |lector, through Mr. Bernet as agent. Troyon sold comparatively low, but were |for the early and not impressive Troyon | i jby Mr. Stephen Birch was a good one for , jits value. AIS “pie The three examples of Blakelock brought |, The al a study for his $20,000 canvas | The large “Venice” by Ziem, an excep-| — |tionally fine example, brought $6,200 from |e |Seaman as agent, and the large Thaulow] — $4,700, also from Seaman as agent, prob-; — ably a record auction price for works by the hide dead Norwegian master. es The: large and spirited Schreyer, “Arabs|”~ ” en Route,” one of the most brilliant ex- The examples of Jacque, Dupre andl not notable examples, although $8,700 given ae a The following is a list of the pictures sold a April -14,.-2with® “the” numbers, artists’ Wiggs |} names, titles, sizes in inches, first height and | then width, the names of the buyers, where | obtainable andthe prices. 1—Printzenfried, H., “A Cardinal’ (Panel), 434x534, Stephen Birchwy. 0: 2.0%: «3s $140 2—Scheuerer, J., ‘‘Chickens” (Panel), 7x9¥Y%, f Stephen y Bitch ismeraakeye yt ee aac 3—Walker, J. A., “A Cavalty Bugler” (Panel), 914x74, D. B. Freedman. 4—-Reinfuss, H., The ne Market” (Panel), 8x10%, Seaman.) CASith ei see 80 5—Brendel, F., “In Pasture” (Panel), 10%- he x13%, Cc. eS Via timer ie scale oaceanetnee 8C 6—Pasini, .A., ““Le Marchand D’ftoffes,”’ 1034x834, SeanranteA ctye Sasi act 50¢ 7—Constable, J., “A Passing Shower” (Can- vas, backed by a wood panel), 5x12, Bernet, PAE Bes epel steierane tester oue ORS eabete sah eeoNs 20 (rr 8—Blakelock, R. A., “‘Nymphs in the For- Pee est” (Panel), 534x 814, T. Heckscher.. 31 eee o=Cazin, 2 Ce, “The Cottage on the Moor”’ (Panel), 514x834, A é TOMA tee ae te a 524 ene, iT ies *Fexine Fille” (Panel), LO Toa eee DO LILGl sm cA Site ts fas sh uae hu cece ofa. e 57% 11—Blakelock, R, A., ‘Me onlight” (Panel), QIZs, Ebenry aeimbardt, «seni cats. he ois 1,306 12—Fromentin, E., “The Falconers” (Panel), te 1334x1034, Knoedler sign Gro RE Rs Legere 2,424 ay 13—Netscher, C., “Two Ladies with Fruit : im and Flowers” (Panel), 1334x11, J. Wiese: “Wel eae ts cpl re ott oa al he 1,65C 14—Fantin-Latour, H., ‘““The Bathers,”’ 14x- Glee Olina GE V7 vale ws svete creas alsioiessers ters "oie 1,000 15—Gérame, J. L., “The Caravan,” 1034x- AREA SRA Certs 08 Obs taancre anette store v.49 se 750 16—Almia- Tadema, ee “The lag of Lruce,”’ 1714x8%, A. Rudert, DNL EM Nets os js Sate 2,650 17—Vibert, J. °G., ““The Cardinal” (Panel), 16x11%, Geo. C. Heimerdinger Wares ek 1,250 18—Harpignies, H., “The Willows’ (Panel), 16%4x11%, Moses Tannenbaum........ 650 19—Diaz, N. “Pool in the Forest” (Pan- el), 1214x16%4, Seaman, Ast. EAT GEREAF 2,100 20-—Cazin, jee Ge, Moulin,’ ~1oxl45Sea- MICRA Of, Seema tists, «Sinai susiearacks peal alate 5,000 21—Henner, J. j., “Tete de Jeune Femme” GRanel)etexis. “hack: rElairis i... sins 1,300 22—Hanpignies, H., “Les Petits Pécheurs,”’ PSUS) RIAN LS ONY: coe ase otc s hace aes ‘aller st 800 23—Fantin-Latour, H., ‘“‘Nymph at Water- side,” 18x14, Henry HVeUt RatG pets ars» ale 925 24—Diaz, N. V., “Rorest of Font ainebleau,” (Panel), 1474x1834, Seaman, Agt..... 5,200 25—Cazin, 1; Ce. ee avec Grandes Herbes,”’ 1854x1574, J. Sullivan. 1,300 26— Charlemont, Ex, NebIe African,’ 1914x13, Stephen Birch 0 3a. oe 1,000 | 27—Harpignies, H., “Paysage au Bord de la Mer. 2 (1496x2074, Bernet, Apt ee 1,9503 ar ay Se uals x 5 wai. sau, luk 28—Henner, J. J., Pat Cre OWDAEeOts” scl. aise elite. as" 1,800 - 29—Blakelock, ite fw OTe Edge of the For- est,” 16x24, Mrs. Isabella Freedman. . 2,500 30—Dunré, hes “Petite Riviére Ombragée,” 15x22, Stephen Birch Rg see pis oem 2,150 3i—Isabey, | eed De ag eT ae i Ea Ben 16%, PITCH ig wos ov ae pte ha cee 700 2—Weiss, J., “The Old Bridge,” 11x23%, ee Mrs: Isabella reedmannaneaies sss. « 400. 3—Ferré, G., “Returning from Ane Wash- iiweelace, . 2ex13. Cs}. Sullivan: :.... 150. (34—Henner, Ue al Ge “Magdalen,” 18x2534, eon Ger eimerdinger?. .. 6k eee es 2,200: 35—Hanpignies, H., “La Passerelle du Mou- lin Colas,” 24x20, A oReeert, WAST. . 1,200 936—Jacque, C. E.,, “Sheep and Landscape, near Fontainebleau,” 26x21¥Y, Clapp i sl a 3,000: 53 7-_Ziem. F., “Sunset in Venice,” 28x22, ( Mrs; D. B. Delavan Mis te, fae haie epee eee 3,300 _38—Beyschlag, ie RA Nymph of. Diana’ Canvas, oval), 244x334, Bernet, Agt. 500: '39—Koester, A., “Swimming Ducks,” 22x38, ORL sl UE a en 825 '40—Henner, J. J., “Nymph Reclining,” 20- x36, Henry Schultheiss (Gropsg: ames Seating 2,150 i41—Ziem, F., ‘Venice’ (Panel), 28x36, : NEGLI aE t IN Ra le gn rm 6,200 —42—Washington, G., “‘Arab Horsemen,” 30- x38, Stephen Bastia eaters Dears ete ns «2 775: _43—Evans, Spel icking » Roses,” 43x24, oe Julia nM Rr nic Loe sos-5 he ST oe 150 '44—Rix, J., “‘Sanderson’s Creek, New hors sey,” 32x42, ee Bitie..... 1,300 Be aener: Belleuse, P “‘Confidences’”” (Pas- : tel), 34x45, R. Deutsch - Sasareecie rcs. fo, « 175 -46—Thaulow, oe . Lie Red Daois. 2 32x40, if Seaman, Agt. 4s—Corot, us B. C., “Nymphs Bathing,” ; 40x30, Jobe GG CE UtaR sis. eens se <=» 20,000 “Sleeping Nymph,” 15x- > | 48—Diéterle, M., “Cattle in Pasture,” 41x32, Seaman, Agt. FR Ge as ee ea 8,900 | 49—Troyon, Cs oN ee eamady ae 4 34x46, } Stephen ae. 5... jade. ke. 8,700 50—Schreyer, A., “Arabs en Rote”. 35x48, Sf PAE ET ESS te TENTS shay). 0 NI re en ana i aa 10,606 _ 51—Tissot, - J., “On the Thames, ” 57IAx- 40, Ree eh. os a. ss 150 _ 52—Cheimonski, rlesyiudne Morning after the Soirée,” 22x56, -J. S. Van Wezel..,... 325. TE Cg acetre. ip) SAR ne $115,850 tak . ; f { “Marie Dioterie's cattle In Past re" ‘Fetches $8,900, a ‘Record Auction | Price | for This Artist. There’ was a tacze! iting spirited bidding on many of the pictures _ : good prices at the sale of the e tion of paintings of the | ate Freedman, — ander the auspices American Art Association, Thom i Kirby, in the auctioneer’ Ss Sei i a - “Plaza leat Lan dinlge eed ir N gna “Bathing,” catalogue, by John M Irish tenor, $20, ie was. given. "Oe a ‘charming, he picture. AO: Ag Diéterle, ta Pasture,” JING, . 48, eaten: ¢ n | to Seaman, | ‘Agent, for. $8, 900. fats is was the highest price ever paid at pub- “Me auction for a painting by this. artist. ‘There was a $5,000 first bid for Tro- yon’s ‘* Normandy Pastures,’’ No. 49, which | went to Stephen Birch for $8, 700 and the same first bid, $5,000, for ek Schreyer of the collection, ‘‘ Arabs Route,’ which went to Bernet, Keone for § $10,600, Mrs. Isabella Freedman bought: "Blakelock’s aan a! Hdge of the Forest,’’ “No. 29, for: $2,500, vand Jose weiss Ine Old Bridge.” No. 32, for There was. ‘applause. when the: first Blakelock was sold, going’ to H. Rein- hardt for $1,300, It was a aaa picture, a@ panel, No. Ti, ‘ Moonlight,”’ and sald to have been a study > f6r “the big? ib Moonlight,”’ which ight er eas: the pecOrG price of $20,000, . The Pictures and Petes” be Following is a full list: of the pictures with names of artists, buyers and. prices: ; A Cardinal, (panel) y Bin Printzenfried; Stephen PROD Oe COREL La a ad eg fee w, $140 Chickehs, (panel)—J. ‘Bcheurerer; ‘Ste-. phen Bieen ies dcdeakechiews Vain 50 A Cavalry Bugier, (panel)--J. A; Walk: ft er, D. W, Freedman... epee eee eat 60 The Horse Market, (panel)—-H. Rein: fuss; Seaman, Bat Jini Mudsuluveabioes &0 In Pasture, perry Brendel; C. a tf a TVENG eh RRO Reser DIE te Rear hou ey eras $0 Le Marchand "q@’Mtoffes—Alberto Pasini; Seaman, ATONt yc ed ese eee desadeges 500 A Passing Shower, (canvas, backed by wood panel)—John Constable; Bernet, OME Fy dis GiRA eg Male ieteielnae ain 6 weal Aare weld 800 Wymphs in the Forest, (panel)--Ralph Albert Blakelock; T. Heoksher....s. ++ 510 The Cottage on! the Moor, (panel) —Jean Charles Cazin; Aw O. Levy... se ee. §25 Jeune Fille, (panel)—Jdean acques, Hen- pie ner; Bernet, ABSNY. vive seve euranaes 5 Moonlight, (panel vilakelor ks HH, Rein~ 1,300 REP AG Sak ai cee Sp ala eiglel wis cine she a 8 eae yo to 0 She Falconers, (panel)-—Bugene Fro- §ple mentin: Knoedlar & QOL sleek. see 2,425 ¥ ne ia) » o> yee? de, » li a ei ; ‘ % ‘ a a eel Tae 2 7. Sia hey — pm” * weer: - a ? a - ma oY Hd 4 aus 4. : r : " aoa a i (ew te als. . bee oe Se eee . . . . ‘ o> ES eee ee ie ise: hae vaos oe z= Her ee ed 7 ee 2,150 lem; secant lee sarge . 6,200 ae Wash ington; De Scott Evans; J. J.) Mies |g alt mig = << leye +0 rae ee ee ee oR eh ES ES, i ees ee ee es f ns : Baas 7 uiscr pasesececossesee ie 127 he, nt % op ate ape td’ fas eee 4,700 ; i wee weer reeee tephen Birch para edie Ae ai " $700 i o: Boule -Adcit Schreyer; Ber- we. ae es ach eecs $145,850 é sale he by tise direction of Wal- | Oakman, Samuel Untermyer, and ‘Guar, nty ust Company of New ernasdeaceh ss 1,050 gi Beam os COROT FOR $20,000 reeatioae Collection Brings «$115,850 in Liveliest | ) __ Sale of Season. ID x ae , THE BLAKELOCKS ATTEND | Mrs. Ralph Biakelock, her daughter “Ruth and her seventeen-year-old son Douglass attended the sale of the Freed- 'man collection by the American Art Association in the ballroom of the Hotel Plaza last night. They participated in one of the liveliest art sales of the sea- Son, and incidentally saw three of Mr. | |Blakelock’s paintings change ownership, | ‘one of them fetching $2,500. Whether ‘they had been promised in advance that _they would see a landscape sold for $20,- 000, just as Mr. Blakelock’s “Moonlight” “Was, cannot ‘be told, but certainly they ‘had that pleasure, for Corot’s “Nymphs, Bathing” brought that impressive figure. . It sold to John McCormack, the tenor, | who purchased only a short time ago} @ Blakelock landscape for a price said | to be in the neighborhood of $10,000. | The Corot is not only the largest, but j the finest, that has appeared in the auc- tion rooms for some time, It is in the characteristic pearly tones of the master and came from the celebrated Mary Jane Morgan collection. The room was crowded by an inter- ested audience and the opinion was gen- ‘erally expressed that the good prices achieved last night would have an ap- preciable effect upon the remainder of ‘the art season. The cattle painting by Marie Dieterle sold to W. W. Seaman, agent, for $8,900, the highest price so far paid for one of her works at auction. Other pictures to command high prices were ‘Schreyer’s “Arabs en Route,” which sold for $10,600, and Troyon’s “Normandy Pas- tures,” $8,700. The total realized for the fifty-two paintings was $115,850. The list of paintings, with buyers and prices, follows: 6—Alberto Pasini, “Le Marchand oe W. j.W. Seaman, ! , nie Peseta | chataele “A Passing : Shower,’ Otto Bernet, agent.. 360 8—R, A. Blakelock, “Nymphs in the | Forest,” .T. Hecksher.......+.. 310 §—J. C. Cazin, “The Cottage on the Moor,’’ A. -O. Levy ; 10—J. J. Henner, ‘Jeune Fille,’ O. Beret, “ASSN s se ae oop oso Sisral sis 675 . 11—R. stated on misinformation. that the appraisal 2 Sh Y was made by the firm of M. Knoedler & Co. The Art News is informed by the firm, that an examination of its books, shows no record of any such appraisal. SSS t. ON FREE PUBLIC VIEW _ THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK BEGINNING SATURDAY, APRIL 8th, 1916 AND CONTINUING UNTIL THE MORNING OF THE DATE OF SALE, INCLUSIVE THE PRIVATE COLLECTION OF THE LATE ANDREW FREEDMAN OF NEW YORK CITY — TO BE SOLD AT UNRESTRICTED PUBLIC SALE IN THE GRAND BALLROOM OF THE PLAZA HOTEL FIFTH AVENUE, 58th TO 59th STREET, NEW YORK ON FRIDAY EVENING, APRIL 14th, 1916 BEGINNING PROMPTLY AT 8.30 O’CLOCK ) Fee aoe te ‘ “4 teh r aa 2 ¢ a ‘ . Yr, a F . A> ” ’ es ¥ ‘ 5 f we , a OF (it ae + - a i i. Pm » a ‘ i. x — nm. a “<2 4 4 - “sr < = hy BS ‘ a i re = 2 ; ‘ r Fr yh ow, t ater Op : ieee * bog Fi Va ( 5 Mi ue ay i 4) ? 4 a pe y r i J { ‘ ‘ My \ < " & L y x i | e - ri » : a R Fs r ¥ : y a » I Js — j s q i ‘ t * ‘ i ® ¢ : . ILLUSTRATED CATALOGUE OF THE VALUABLE PAINTINGS BY FOREIGN AND AMERICAN MASTERS COLLECTED BY THE LATE ANDREW FREEDMAN OF NEW YORK CITY TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF WALTER G. OAKMAN, SAMUEL UNTERMYER AND THE GUARANTY TRUST COMPANY OF NEW YORK, EXECUTORS ON THE EVENING HEREIN STATED CATALOGUE WRITTEN BY WILLIAM A. COFFIN, N.A. THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY, OF THE AMERICAN ART ASSOCIATION, MANAGERS MADISON SQUARE SOUTH, NEW YORK 1916 ALL DETAILS OF ILLUSTRATION — TEXT AND TYPOGRAPHY Me ts, t - x , it. = a - * SN F : 1 7" * 7 i- - * fi < - ° ¥ e ~ CONDITIONS OF SALE 1, Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the pur- chasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. = Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement, of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon payment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P.M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on pre- senting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. ‘The 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 its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the pur- chaser. Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 7. Guarantee is not made either by the owner or the Association of the correctness of the description, genuineness or authenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold ‘“‘as is” and without recourse. The Association exercises great care to catalogue every lot cor- rectly, and will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. gece? 4 a Gy, ~ - 2 af se poe t SALE FRIDAY EVENING — APRIL 14, 1916 IN THE GRAND BALLROOM OF THE PLAZA FirTH AVENUE, 58TH TO 59TH STREET BEGINNING AT 8.30 0’CLOCK : eee No. 1 / H. PRINTZENFRIED f 4 : GERMAN: CONTEMPORARY A CARDINAL (Panel) Height, 434 inches; width, 3°/, inches Siedin Buel, A sust picture, in profile view, of a cardinal, in red, reading a JAN O+ book, which he holds in his right hand, and smiling as he reads. | Signed at the upper left. No. 2 Jf ; ate a J. SCHEUERER | 4 0 GERMAN: CONTEMPORARY CHICKENS (Panel) LO hiiotly sald Height, 7 inches; length, 91% inches A ruock of chickens, with a gigantic black and red rooster in the center, in a meadow near a house, which is seen at the left. Signed at the lower left. a No. 8 J. A. WALKER Frencu: ContTEMPORARY aa A CAVALRY BUGLER - | FO, a at YW, butting . Height, 91 inches; width, 714 inches | ap A Frencu cuirassier, holding his bugle at his side with his right oe hand, is depicted standing beside his fine white horse and look- q ing fixedly forward, ready to give the signal to advance to a party of cavalrymen, at the right, below the hillock on which he is posted. Signed at the lower right. | No. 4 H. REINFUSS HuNGARIAN: CONTEMPORARY THE HORSE MARKET (Panel) do, | 4b. 4b Samar AG Height, 8 inches; length, 1014 inches A scENE in a horse market in a Hungarian town. Several horses, one with harness, eating grass from a cart, are seen in the fore- ground, and scattered about among the animals are dealers and purchasers. Signed, with “Budapest,” at the lower left. yo | No. 5 F. BRENDEL GERMAN: CONTEMPORARY dO, | IN PASTURE (Panel) of dullwnno Height, 101/, inches; length, 131, inches A WHITE cow pasturing in a field with .a peasant girl holding her tie-rope while she grazes. At the left, following the girl and the cow, are two sheep. Farm buildings, enclosed by a wall, are seen in the distance, on the right, and above is a sky of gray clouds. Signed at the lower left. No. 6 ALBERTO PASINI Irattan: 1826—1899 f e b Q bo LE MARCHAND D’ETOFFES 4 Height, 1034 inches; width, 8° inches Ba Ao : 4 Ar the doorway of a Turkish house, with rich facade and over- hanging second story, a dealer in draperies has taken his seat with a basket of his wares beside him, while a woman standing between the partly opened green doors is chaffering with him. The peddler’s two horses, with panniers, are seen standing at the left. Signed at the lower right. From Messrs. M. Knoedler & Co., New York, 1906. 108 7b Senet Salaidiro leo, Varin Nf27Jo5' Jes MNMX: AX _ 44a ptcdman 11s] 06 - SEMS- No. 7 Y JOHN CONSTABLE ™ ’ . : nee ; Me EncusH: 1776—1837 ie A PASSING SHOWER S é) 0 ) (Canvas, backed by a wood panel) | a0O0- Height, 5 inches; length, 12 inches blo hep y : Tue foreground is composed of fields and diversified country, with a windmill on a hillock, at the right, and hills in the dis- tance. Overhead is a sky with clouds of blackish gray and white. In the left center a storm cloud is passing with heavy rain descending. From Charles Sedelmeyer, Paris, 1906. meee - - é wd No. 8 RALPH ALBERT BLAKELOCK, A.N.A. AMERICAN: 1847— NYMPHS IN THE FOREST — (Panel) Height, 51% inches; length, 81, wg A A p ? A party of six small nude female figures, in a glade of a forest, in various attitudes, grouped about a pool. One young woman, in full face to the spectator, with arms held forward as if about to dive, is in the center of the group. The foreground is in shadow and the foliage, in the middle distance, is illumined by soft sunshine. Signed at the lower left. No. 9 JEAN CHARLES CAZIN Frencu: 1840—1900 THE COTTAGE ON THE MOOR (Panel) h fi | 053 Height, 514 inches; length, 8°4 inches is 0, A WHITE-WALLED cottage with roof of red tiles standing dlone in the plains of the Pas de Calais country of Northern France. On the right is a small haystack, and a sandy roadway passes in the foreground in front of the cottage. The sky is of pearly gray and is enveloped in a misty atmosphere. Signed at the lower right. From the Alexander Blumenstiel Collection, 1906, who purchased it from the artist. Mes S/$00- y ae-@ | JEAN JACQUES HENNER “7 No. 10 JEAN JACQUES HENNER FreNcH: 1829—1905 JEUNE FILLE ys ist (Panel) Yi ¢ Height, 101, inches; width, 714, inches Gh Month, The head in profile, to the left, of a young girl, with auburn hair, and a blue blouse, showing on her shoulders. Signed at the left. Purchased from Félix Gérard, fils, Paris, 1906. ed an, or ve Aira No. 11 RALPH ALBERT BLAKELOCK, A.N.A. AMERICAN: 1847— MOONLIGHT (Panel) SIOO Height, 914 inches; width, 7 inches VIP ST s__. In the foreground, at the right, is a taller tree, its lfmbs in the upper part bearing masses of foliage and the blue ae sky seen through the open spaces. = SIR LAURENS ALMA-TADEMA, R.A. Eneuisuo: 18386—1912 i THE FLA T E hbbo, G OF TRUC Height, 1714 inches; width, 81%, inches yy Lh be ls ee A HALF-LENGTH figure of a lady in dress of black with pattern of gray and green trimming at neck and wrists, holding up a tall glass flower vase filled with lilies and narcissus blossoms. . The background shows the circular walls, in Pompeian red, of a ro- tunda with a bench, on the front of which is the inscription: “LL. Alma-Tadema, op. cccivin, artist; War Fund 1900.” Purchased from Messrs. Arthur Tooth & Sons, New York, 1905. ag BY _ JEHAN GEORGES VIBERT “ DINAL zy im HE CAR ay ene ae 4 | r 3 x . | : | | : pe ts : 7 I t f ni o,'% = ii : | } F x 7 — = ‘ t ~ ‘ cu . t Ge * a ' ‘ y _ oy : a si 4 fits BARE Entel Mie eain No. 17 3 Gd 5 SHAN -CHORGES! VIBERT , FRENCH: 1840—1902 7 Was 6 ne : Ras: \ SEO REE CARDINAL ae (Panel) ns [2800 = A FULL-LENGTH figure of a cardinal, in red robes and bi Hag his. Sriches, an Aiie 1 eae Vio. b- Z seated in an armchair. He is reading from a volume of Rab and his expression shows keen appreciation. The setting for figure is simple, showing a polished hardwood floor and a gr curtain. : en See at ey lower e} M KK (uf O- yi Messrs. M. “Knoedler & Co., New York; 1877. oe Saree R. Butler Collection, New York, 1910. Fe/~ $e00, : 17 _ HENRI HARPIGNIES, | | 7 y oe. "a \ — ee 5 No. 18 : C0 (HENRI HARPIGNIES = » pr rare er | THE WILLOWS (Panel) nS =! Ln ; upper hart éf:the picture except where, nen a openings pss :) in the central portion of the composition, a blue sky with white clouds and a sandy hill, in the sunlight, are visible. Signed at the pence and dated Purchased from Félix Gérard, fils, Paris, 1906. me a DIAZ DE LA PENA \ aos xe “y 2 ae ae oe ee y 4. ' y\ a 4 No. 19 \ x \\ NARCISSE VIRGILE DIAZ DE LA PENA FrencH: 1807—1876 ““° . - A POOL IN THE FOREST (Panel) 4/00~ Height, 121, inches; length, 161, inches UH, dy Laman , AN open space, with a pool, in the central Lad scattered forest trees on the right and on the left, and a woman with a sack of charcoal on her back, in the middle distance. In the central portion of the canvas sunlight illumines the foliage and the ground, in contrast to the shadows of the foreground. High up amid the branches of the trees is a bit of blue sky. Signed at the lower left, and dated ’76 From the J. 8. Forbes Collection, London. Purchased from Messrs. Obach § Co., London, 1906. ULI. Ss = easy ee ll 5 | i | No. 20 4 @) Ae z | 3 JEAN CHARLES CAZIN Frencu: 1840—1900 = Xe LE MOULIN L000 1 Height, 16 inches; width, 14 inches KS 44. ONAN lf4 Own a mound, at the side of a road which crosses the foreground Z of the picture, stands a windmill, its four arms at rest and one of them reaching up to the top of the canvas. At the right is a cottage with red-tiled roof and a fence of rustic palings extendin to the left. Over this barrier is seen a stretch of farming coun- try and the whole is relieved by an early evening sky of lght gray-blue with the full moon appearing, as it rises, above a group of trees. . Signed at the lower right. Purchased from Félix Gérard, fils, Paris, 1906. + ¥v : £. ~ : ; : toa as. = ," we a ‘ aes “7 = a | TETE DE JEUNE FEMME eee Bye ae i ' JACQUES HENNER- a EAN J ACQUE Ss. , Frencu: 1829—1905 | : ‘TETE DE JEUNE FEMMI j sg 1300+ ee See Height, 18 inches; width, 13 inches Tue head, in profile, to the left, of a young woma 5 auburn hair falling over her right shoulder, and bl Purchased from Félix Gérard, fils, Paris, 1906. a NM AA > *. ey F } 2 a ; b00- Height, 12 inches; length, 15 inches ab @L is Oe : A a oe ee <3) Oe oe ae “aie | eA ee | No. 22 We HENRI HARPIGNIES Frencu: 1819— LES PETITS PECHEURS In the forepart of the picture a creek flows between steep, bare, et irregular-shaped banks. In the middle distance are a field and | trees, with a house with high-pitched roof and some other build- ings beyond. ‘Two little boys are fishing from the bank of the creek in the foreground, and overhead is a fine gray sky. Signed at the lower left. Purchased from Félix Gérard, fils, Paris, 1906. ~ ie be 2,0) vert 4 oe Perey } “NYMPH aT THE “WATERSIDE BPH ae PANTIN-LATO UR Bat phe o4 pus A 45 Woes No. 23 HENRI FANTIN-LATOUR pet Frencu: 18386—1905 ante i NYMPH AT THE WATERSIDE — Ga54 Height, 18 inches; width, 14 inches eo Le ; a UA A FULL-LENGTH nude figure of a young woman, lan on the greensward of the shores of a lake, which is seen at the left, and lifting from her head, with her right hand, voluminous white draperies, which she holds at her left hip with the other. Behind the figure is the summer foliage of a group of trees. Signed at the lower right. Purchased from Félix Gérard, fils, Paris, 1906. pW meen ve | yi V J] yer af No. 24 NARCISSE VIRGILE DIAZ DE LA PENA Frencu: 1807—1876 IN THE FOREST OF FONTAINEBLEAU (Panel) re ae SOO 4 Height, 141%, inches; length, 1834 inches MHS. <3 A 5 Litt, : \ A roap leads straight from the middle foreground into the dis- tance through the forest. Trees, one with white bark being prominent in the left center of the composition, line the road at irregular intervals. On the extreme left is a large tree with black trunk and a boulder at its foot, balancing another, with its trunk in the sunshine, at the extreme right. Above the mass of woods is a glimpse of blue sky. Signed at the lower left, and dated °71. on Purchased from Messrs. Boussod, Valadon & Co., Paris. From the W. G. Oakman Collection, New York, 1914. Yoh un 2ato 9825, - Biauraeds balun ti.0 Carus Ya ho? fo hIKXKK. a Se A . : : S A: “ee ar } » { , ee fs i AVEC GRANDES HERBES ’ BY ’ ~ ‘ya ‘'- a ST 7 . JEAN CHARLES CAZIN Sto iy ult —_— ; 4 No. 25 noe Tee. JEAN CHARLES CAZIN G nv ? Frencu: 1840—1900 colored grasses. wooded, and over all is a sky of tender gray. eg * Signed at the lower left. & ; Purchased from Félix Gérard, fils, Paris, 1906. ag pee ea te i whoa AFRICAN : t ji * BLE ARD CHARLEMONT Fo Wea NO -EDOUARD CHARLEMONT Austrian: 1848—1906 =a ei A NOBLE AFRI CAN Height, 191, inches; width, 18 aoe J /0004 room in an Oriental palace. The head is turned to t ae tace shows a igs of SN ee” ” : pA, (ie oA 2 «< ae 3 ¥ | ye . » { No. 27 \A HENRI HARPIGNIES Frencu: 1819— PAYSAGE AU BORD DE LA MER - j GSO ~+ Height, 1434 inches; lenges 2014 wsrullle Bieetich, Lagewsh, 4 A RAVINE, covered with grass and rocks, fills the foreground with bushes on the rising ground at both the left and right. Across the canvas is a line of half a dozen trees with branches and foliage high up on the trunks, between which appears the sea tumbling in white caps under a brisk wind. The sky, seen through the openings in the foliage of the trees, reveals an expanse of finely moderated blue with white clouds. Signed at the lower left. Purchased from Messrs. M. Knoedler & Co., 1906. 107 bb + Kngpb Aandd - she fe 1919054 Geo IKXK 4. 4 Iutdman Ch 15/906, PAU KX SS a a ai a hs ” ‘ No. 28 q JEAN JACQUES HENNER \ hs fo Frencn: 1829—1905 Bae SLEEPING NYMPH J F004 Height, 15 inches; length, 24 inches / - i - i f f a NN rer meee No. 29 RALPH ALBERT BLAKELOCK, A.N.A. | AMERICAN: 1847— THE EDGE OF THE FOREST 4 4 yy 46004 Height, 16 inches; length, 24 inches th Musuh yok THE composition includes a flat meadow in the foreground, two large trees at the left, and trees standing alone at intervals across 5 the middle distance. The foliage throughout is painted with sober , tints of mellow greens and light browns, producing an agreeable ensemble, and the sky is of tempered blue with warm tints in the middle portion. Signed at the lower left. " 7 sy 8 eS ] L 7. No. 30 } oe | 3 | Jr = JULES DUPRE a XS ; Frencu: 1812—1889 ‘y PETITE RIVIERE OMBRAGEE A1dbOs Height, 15 inches; length, 22 inches pl buth A sMALL river, with quiet waters, occupies the foreground ex- cept for a piece of its shore at the left. Reeds line the opposite bank in the middle of the composition where are seen a cottage, with thatched roof, clumps of high bushes and the yellow-gray line \ q\ that marks the place of a field of grain. This peaceful scene has for a background a forest of tall trees, reaching up high on the right. Over all is a beautiful sky of light and atmospheric gray and white clouds, with spaces of blue. The river, lying in shadows, gives the title to the picture, which is a landscape of masterly design and fine character. Signed at the lower left. Purchased from Messrs. Obach § Co., London, 1906. Pe Se ah WR Co = No. 31 4 ra EUGENE LOUIS GABRIEL ISABEY | ve? FreNcH: 1804—1886 | LA RIXE Vi. o Height, 26 inches; width, 1614 inches dil Burch a Tuer scene shows the narrow street of a French town, dark in the shadows of evening, with houses and a high church tower in perspective on the left, and, on the right, the facade of a house with projecting cornice at the top of the canvas. In the fore- ground, on the left, before the porch of a tavern, two cavaliers are fighting with rapiers while others are standing by and two maids are seen in the lighted doorway. The cause of the quarrel is seen at an open window in the second story, in the shape of a lady leaning out in alarm. Signed at the lower left, and dated ’54. No. 82 2 TO . JOSE WEISS LY 4 EnciisHo: CONTEMPORARY THE OLD BRIDGE Height, 11 inches; length, 231/, inches Wh loro digh f _ A stone bridge, of several arches, crossing a river. At the far- ther end of the bridge are a house and trees. The sky is filled with gray clouds. AO0O-1 Signed at the lower right. Purchased from Julius Oehme, New York, 1906. No. 33 rs aor Cal GEORGES FERRE uy) O FRENCH: CONTEMPORARY RETURNING FROM THE WASHING PLACE SSO 1 Height, 22 inches; width, 18 inches A. , stilliwato A FULL-LENGTH figure of a sturdy, wholesome looKing French woman, carrying a big bundle of clothes, wrapped in a brown blanket, with her right arm, and with her left hand a pail con- taining her bottle of washing fluid, paddle and other things used in doing the household washing. She is depicted advancing in full face view on a path leading from a stream in the middle dis- tance, beyond which is a belt of trees. Overhead is a luminous sky of gray. Signed at the lower right ‘y oF 4400 4 \ we JEAN JACQUES HENNER Frencu: 1829—1905 MAGDALEN Height, 18 inches ; length, 2534 inches Yn AY A nupe figure of a young woman, lying, in front view, on her right side in a grassy nook, with blue drapery about her hip bi — and thigh. The setting is composed of somber-tinted foliage, the grass of subdued green, and a bit of blue sky at the upper right. Signed at the iene Be | Purchased from Julius Oehme, New York, 1905. se a 7 ; i ~ Aes i Ne Af : n Pes pr al rr 3 ae oe rs = iG an » ae oT “ ." ? i ¢ iy "| ae + *_ * 2 . 2 | = 7 + x F an 5 7! ». tr he % Vie rai Pia id w ‘ \ ‘ Oy, i E 2 « x1 HARPIGNIES ¥ . t i | : } j No. 385 HENRI HARPIGNIES Frencu: 1819— LA PASSERELLE DU MOULIN COLAS 1400 4 Height, 24 inches; width, 20 inches HU. Stamwaw, Gok In the foreground of this masterly landscape from a bank, on the right, with tall trees reaching up to the top of the canvas, a foot-bridge crosses a stream where the mill-race flows into it. — Neither Colas nor his mill is included in the picture, but there is a boy on the bridge with his fishing line hanging down to the water. Beyond the bridge and the farther shore of the stream are fields and houses in the afternoon sun and above is a remarkably fine sky of summer blue. yscie: = Signed at the lower left, and dated 91. a Purchased from Messrs. Obach § Co., London, 1906. : eee RON er : FONTAINEBLEAU ¢ F a HY wr be c ARLES PMILE JACQUE Se See # jf q . / No. 36 a ef CHARLES EMILE JACQUE iN . a Frencu: 1818—1894 SHEEP AND LANDSCAPE, NEAR FONTAINEBLEAU Height, 26 inches, width, 211, inches apfe i, 3 % A FiLock of sheep grazing over the sloping pasture in the fore- ground, with a shepherdess, holding a houlette, watching them as she stands on the higher ground in the middle distance. At the top of the slopes, on the right, are trees with dense foliage and between their trunks is seen a sky of gray clouds. 3 POOO, Signed at the lower left. Collection Solomon Mehrbach, New York, 1906. 652% + highh Aedlenderr bounds Xoritler aly ippbgo« dee ONXX~ Sold Mi. Headley rte Sale 1895 XMS- 96, | Ena % ae Sage \ihibath Salo 1901 Kits 1 P2807 ie ‘ hy ” yer FELIX ZIEM > ees Q — aA@WOO - ie al No. 87 Ma ’ Frencu: 1812—1911 SUNSET IN VENICE Height, 28 inches; width, 22 inches SE, h, | A view of Venice at the mouth of the Grand Canal, the buildings a . on either side framing a high sky in sunset glow. Amid the ruddy | a tints in the lower portion the sun is seen, still well above the hori- _ a zon, and looking upward there is a gradual melting of yellows a a into blue. A gondola in the foreground waters makes a dark effecr tive note in the general scheme of color. Signed at the lower right. Alexander Blumenstiel Collection, New York, 1906. .I//4 a BIJ 00, Week Lite ube ke ers a Page tt te Ae tae xy uae ‘ . ae ULIUS ROBERT BEYSCHLAG _ ae be Bah A veg a AE ee ee ee 5 c + = 7 - LD al 5 , JULIUS ROBERT BEYSCHLAG ~ GERMAN 1838— A NYMPH OF DIANA (Canvas, oval) 00, Height, 2414 inches; length, 331/, inches lp Aaroh he ty VEL, ‘a A sEATED Eaten of a young woman with draperies of red and white enveloping her below the waist. The figure is seen in side view and on the grassy bank beside lies her quiver of arrows. Amid the foliage on the left is a faun playing the pipes and the nymph shows by her attitude, as she leans forward, with her hands folded on her knees, that she is listening to his notes with | pleasure. Collection of William Salomon, New York,-1906. tib- $907 ane ‘KOESTER GERMAN : CONTEMPORARY e SWIMMING DUCKS: Heighs, 22 inches; ae 38 inches he. luawo Signed at the lower left. $ oe No. 40 4 JEAN JACQUES HENNER Frencu: 1829—1905 NYMPH RECLINING AE O+4 | Height, 20 inches; length, 361, by dae A NuDE figure of a one woman, in back view, lying on her left a side on the bank of a lake, her auburn hair spread out on the - — grass. On the left is a mass of dark foliage; at the rien a lake 3 mirroring a blue sky. Signed at the indeeteenee Purchased from Félix Gérard, fils, Paris, 1906. | l | . No. 41 | ee FELIX ZIEM FrencuH: 1812—1911 VENICE (Panel) Height, 28 inches; length, 36 inches Wf fF aa A scene in Venice differing from most pictures by this celebrated () artist in that it has a sky in which gray clouds fill the greater 5 ye 6200-4 part of its expanse. The effect is one of morning sunlight. On either side of a canal, the waters of which occupy the central fore- ground, are palaces and other buildings and in the distance a bridge crosses the watery highway. = Signed at the lower right. ie wr Oe 7 ‘ 4 »_ ‘ Mi GES WASHINGTON . aoe ts 2 ‘ ~ x vo * No. 42 @ GEORGES WASHINGTON Frencu: 1827— a 2 ‘ - ij . B ARAB HORSEMEN TTS A croup of Arab horsemen, some of whom have dismounted, Height, 30 inches; length, 381, inches gathered at the foot of a fine old tree, with wide-spreading branches, amid the plains and mountains of north Africa. At the right, on the farther side of a stream, is another group of chieftains and retainers. Above the blue mountains, which are seen in the distance, is a sky of sun-burnt blue with a few white clouds. Signed at the lower left. i SCOTT EVANS ou 4 No. 438 0 | DE SCOTT EVANS AMERICAN: 184'7— ‘PICKING ROSES 150, f Height, 43 inches; width, 24 inches Uf julie A FULL-LENGTH figure of a young woman, in side view, wearing a gown of white satin with train, reaching up her right hand to pluck a rose from a rose-tree trained on the stone wall of a house that forms the background of the picture. In her left hand she holds a bunch of the flowers. Signed at the lower left, and dated "87. ' a + 7 bs Spe hy pee aa te fe ops. os aay i ae - ay eee an 7 a aie a - 7 ze v, . . ee é No. 44. | : JULIAN RIX a ‘ie | AMERICAN: 1851—1903 & SANDERSON’S CREEK, NEW JERSEY a /3004 Height, 32 inches; length, 42 inches Lilla banth) | a A sunseET landscape of impressive aspect. On the right, in the foreground is a hill with great trees; in the middle distance a sheet of water, and beyond a view of country with farm buildings and hills. The sky, above, shows golden yellow tone in the lower por- tion gradating up to blue, where there are clouds illumined by the setting sun. ; 4 . Signed at the lower right. From the William Schaus Galleries, New York, 1905. , a ree a eet ee er ee, oe! ee a) ge ee as | . 3 , Bs = ric A i “ . Ue: a r; = ay - a ey os a a y Ms ? . ‘ es LEUSE > He R-BEL ae OE le ih rt Os a Tone a = ee 7 Sepa THING = 5 ’ * pk ee a = T - : : , =" J on ee ee ane Me i JEAN BAPTISTE CAMILLE COROT Frencu: 1796—1875 ’ “ NYMPHS BATHING oa A 0000 . Height, 40 inches; width, 30 wa lle? Meb-eonuch, ‘THE composition shows a lake in the foreground, its waters com- ing close to the bottom of the picture, where, on a grassy bank, are three young women, nude or partly draped. On the shore, at the left, rise great, full-foliaged trees and on the right is a tree, close to the edge of the canvas. These groups of trees frame in a vista of the lake and. hills beyond, while overhead is an ‘early evening sky, in the west, blue in the upper portion with white clouds and rosy tints near the horizon. Signed at the lower left. Mary Jane Morgan Collection, New York, 1886. Alexander Blumenstiel Collection, New York, 1906. Ihary fSargass bald She wtb See fem be, balan - Loheiw sso Hiadler Ipiin 4 Slant fam 2y//fly J SAKK b2i/_ Sold. S It. byes Vnarduo bS Db-ujprd3g, 184% Yullc Uhehivuma Salo S991 Bb fSI00 V/s Wemunthit | A Wlunniil Satu 1Y0b-1 MSs P00 Aadus ase - Pe i | ie . —_— : ' | ; CS RI ER ee Ee Tete 2 Sn ar No. 48 MARIE DIETERLE h Frencu: 1860— CATTLE IN PASTURE WL q Height, 41 inches; width, 32 inches bony Ay, In the foreground a whitecow © standing with her black yearling ¢ calf, and at the right, lying down, is another cow, sorrel and, i ¥ white. Back of the cow and calf tall trees are seen, with Ey spreading, leafy branches reaching to the top of the picture. - In the middle distance are other cattle and masses of trees. Over- | head is the sky of a summer day, blue with clouds of gray and white. Signed at the lower left. Purchased from the William Schaus Galleries, New York, 1904. « t oy ASTURES ik pie? ow 3 6 : CONSTANT TROYON * fei / No. 49 CONSTANT TROYON eh A) Frencu: 1810—1865 Wi Y\ yi, NORMANDY PASTURES | 007 Height, 34 inches; length, 46 inches ipl hth A WELL-KNowN, important and fine example of Troyon. The forepart of the picture shows flat pasture lands, with a hillock and trees at the right. In the middle foreground a sorrel and white cow and a dark red bull, both lying down, form a group of prime interest, and immediately on the right of them is a white cow, standing while a maid is milking her. On the left is a flock of sheep with three ewes in front and a lamb springing about on the grass. The flat, green plains extend away beyond into the distance, where a range of hills is seen at the horizon. Above is a fine sky with gray and white clouds and spaces of blue in the upper portion... PP Georges TA La hug My fhbo » Geo SSXXKGued at the lower left. MK. Z8G3-Messrs. M. Knoedler & Co., New York, 1880. Och 222 AOXXK rs Theron R. Butler Collection, New York, 1910, -¥ 8b -KF/00 ADOLF SCHREYER 4 iv We x at oy ~ er id WP a Sap ee Dy eae ae / No. 50 h ete | ADOLF SCHREYER. | | GERMAN: 1828—1899 ARABS EN ROUTE 0600. EN 35 inches; length, 48 inches bo Manth, WY, As A LARGE party of Peay horsemen, the two foremost figures, the brink of a stream in the foreground, forming the central point ) of interest in the picture. Their rich garments and the trap- oe pings of their splendid horses show their high station. One is = mounted on a white horse and the other on a black, the latter eagerly stretching his head forward in his desire to drink at the stream. The mass of the numerous cavalcade is seen, both on the right and the left, beyond the central group, and overhead is a sky of gray clouds with a space of blue above. Signed at the lower right. Painted to order in 1886. Purchased from Julius Oehme, New York, 1904. ‘THAMES © » ON THE ae anaes ae & | No. 51 JAMES J. TISSOT Frencu: 1836—1902 ON THE THAMES Height, 571, inches; width, 40 inches SEG , wh Tuis picture belongs to the Raehith series of subjects of which — Tissot painted a number, introducing usually his favorite model, /IO who is the principal figure in On the Thames. The scene is at a boat landing, where a young woman, in a gown of écru with flower pattern of red and green and with a bonnet of black, the rib- bons tied under her chin, is standing after alighting from a pleasure boat manned by two young men in rowing suits of white and white and blue caps. Behind these personages is the river, reflecting a gray sky and overhead is the foliage of a tree on the bank in the foreground. Signed at the lower right. Pie sti A eae hag co er eee ie ate a? bf «f 7h Ss MORNING AFTER THE SOIREE - ra << - BY \JOSEF CHELMONSKI <> oe 7 Bast x) No. 52 rae A JOSEF CHELMONSKI Russian: 1850— S : mV MORNING AFTER THE SOIREE E54 Height, 22 inches; lena 56 wore 8 Sari Migel A scENE at dawn after a party that has lasted all night, and is still continuing, in a long, low house, seen at the left of the pic- ture, with some of the guests departing and carriages and dros- kies filling the broad snow and mud covered road which fills the foreground. Guests are leaving from the doorway of a pavilion at the farther end of the building, near the center of the composi- tion, and attendants and a white-robed cook are seen at the door of the kitchen, at the left. Through the windows of the house, where the lights are still burning, figures are seen at the tables eating and drinking. Signed at the lower left, and dated, “Paris, 1877.” AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEER. : ND THEIR WORKS = a eee Vee a oe ee a ae eee Y eee . ofl : DA ‘ ‘ LIST OF ARTISTS REPRESENTED AND THEIR WORKS ta eae % ALMA-TADEMA, Sir Laurens, F.A. The Flag of Truce 16 | BEYSCHLAG, Jurius Ropert i A Nymph of Diana 38 BLAKELOCK, Ratpu Arsert, A.N.A. Nymphs in the Forest 8 Moonlight iu The Edge of the Forest 29 BRENDEL, F. In Pasture . 5 CARRIER-BELLEUSE, Prerre Confidences AD CAZIN, Jean CHarues The Cottage on the Moor 9 Le Moulin 20 Paysage avee Grandes Herbes 25 ‘CHARLEMONT, Epovarp A Noble African 26 CHELMONSKI, Joser Morning after the Soirée 52 CONSTABLE, Joun A Passing Shower i" CATALOGUE NUMBER COROT, Jean Baptiste CAMILLE Nymphs Bathing _ | AT DIAZ DE LA PENA, NarcissE VIRGILE A Pool in the Forest 5. 19 In the Forest of Fontainebleau ; 24 DIETERLE, Marte Cattle in Pasture : 48 DUPRE, JULES te y 3 Petite Riviére Ombragée 30 EVANS, De Scortr Picking Roses 43 FANTIN-LATOUR, HeEnrt The Bathers 14. Nymph at the Waterside 23 FERRE, GEORGES Returning from the Washing Place 3 38 FROMENTIN, Evcrtne The Falconers | {BY GEROME, JEAN Lton The Caravan 15 HARPIGNIES, Henrt The Willows | 18 Les Petits Pécheurs 22 Paysage au Bord de la Mer 27 La Passerelle du Moulin Colas apes is CATALOGUE NUMBER HENNER, Jean Jacques Jeune Fille 10 Tete de Jeune Femme 21 Sleeping Nymph 28 Magdalen 34 Nymph Reclining 40) ISABEY, Evetne Louis Garrieri La Rixe 31 JACQUE, CrHarres Emie Sheep and Landscape, near Fontainebleau 36 KOESTER, A Swimming Ducks 39 NETSCHER, ConsrantTInE Two Ladies with Fruit and Flowers 13 PASINI, Arserro Le Marchand d’Etoffes 6 PRINTZENFRIED, H. A Cardinal al ~REINFUSS, H. The Horse Market 4 RIX, Jurran Sanderson’s Creek, New Jersey 4A SCHEUERER, J. Chickens © 2 SCHREYER, Avo.r Arabs en Route 50 THAULOW, Farrz The Red Roofs. TISSOT, James J. On the Thames TROYON, Constant Normandy Pastures VIBERT, Jenan Georces The Cardinal — | WALKER, J. A. A Cavalry Bugler WASHINGTON, Grorcers Arab Horsemen WEISS, Jost The Old Bridge ZIEM, Fruix Sunset in Venice Venice FOR INHERITANCE TAX — AND OTHER PURPOSES THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH INTELLIGENT APPRAISEMENTS OF ART AND-.LITERARY PROPERTY Teva NI) PERSONAL EFFECTS OF EVERY DESCRIPTION IN CASES WHERE Peo SALES ARE EFFECTED me MrN AL CHARGE ONLY WILL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY COMPOSITION, PRESSWORK AND BINDING BY v } ' { j t i i —S aw a ESEARCH INSTITUTE 4 ae — hl eel ie aha kad + ee eyo Ae Bie cas ee aetS Et ere—eatsecte prsniges eee sare aoe i Hine Pr petier Petses aed + cart haters " Sata te seng St es Tatene te ant Seerstess Sis betrsezt a ITS 4 zt rig htop eps tinier aa BiSespsteeeeteeeseee eats 3 aot +. : Sectstetrtsstoere opr Spl settits tee = ~ : 33: eee erent Stores ta mba teRwreitstiystisaniee : = ppetessties : reeetrteressaeneset SES erees rhs i See Steiea tends