esbneeseestatentiabasas peatseepseseesteeatas fenstiars rat seccareie heh tebas ahaasas tuahense Seareeserssteee cabana phabodetered eeeririttetrt doperet@driepere ereteiebe * sth Tere att : eh : het ite : ins $41 ; a beh ee Hr piohriet "i bho he Ht rt. pebepstereiehpiereterere go3oe nt betede bes ron : : +338 kph b an a ere ess ase PIELER Ph Ta SE HF rh + 2 ; i saatetehtatats . Te eietrert eieieerigiesstat att ; ’ Hats FI at tH dist it | ue ; = + ci ther eae che}; : : om rh i + hed renee seerthss papesare rhe eisiticiss eaoaeneet i piebebel rf ” ti | ; SHEE ees ‘ ; Thea ee ehareees : f +) ‘ icietels a ; rinheinieiedy seh Saar aie Sibel ahd a Sitieh peat : 34 4 | : : | See i : en i ania : 7 i ae ~ +. ae oat ++ tts oaks ot ait jails psistenen on els bpase sage sane st at “4 put Siehetenteteieh aeishseaveasananats piste?! wes es giiasiamenyttateai eat a rae Tes sea iseltiaiae i ae Se: hides args ! ae4 %- i tebe Sask 23433 ra sect * tt itis +H sade 1404 ts tte Eh shakers fara scien : ° aate siehetel. ; didartamentnsr ae 3 i i a st * Rat a bohe : t aeat’ af 7 net sietesett tebe e ee ye C8 ees aunt 3 aisle 4 ; bas ; M me ek ip rigie ia - a | _ . yea : ; pereher sa i ‘ ; . Sele an ‘ eriet ve * habe de ~ ie eg aes tS, . =CENT PICTURE SALES. 4 Cottier-Inglis Sale. First Session, 9-7/7 sr-color by Mauve, “Returning asture,” brought one of the best it the first evening’s sale of the ings of Cottier & Co., “sold to facili- settlement of the estate of the late, ies S. Inglis,” at Mendelssohn Hall, arch 11. It went for $1,275, through o Burnet, agent. , ‘The good names in the collection, upre, Rousseau, Berne-Bellecour, etc., +d not sufficiently interesting exam- ves to bring high prices. The well- nown large Corot, “Dante and Vir- il,” brought the highest price of the ening, $2,200, going to John Keresey. Uhe pictures brought $15,205. _ Potteries and porcelains of the same +state sold at the afternoon sale, at No. 6 =. 23d Street, brought $5,971. 4 Second Session. » Better and larger prices were ob- tained at the second and final session of the sale of paintings of the late James 5. Inglis, March 12. Fifty-eight pictures were sold for $70,345, which made a to- al of $102,270 realized from the disper- ‘sal of the artistic property of the col- ‘lector, including furniture and rugs, which had been sold in the association’s ‘galleries in the afternoon for $11,283. | The highest price, $9,200, was paid for a portrait of Donna Giovannina Che- _vara and her son, by Bronzino. C. E. Graham, after keen competition with George A. Hearn, bought “A Girl and Her Dog,” by Diaz, for $9,000. , Other noteworthy sales were as fol- lows: ’ Freight Boats on the Seine, J. H. Twachtman; i MET Ean els ss oe Keene ess $480 Venetian Fishing Boats, W. G. Bunce; J. R. RM Dk 2S. etwas cache ees 470 'The Smugglers’ Cove, A. P. Ryder; Bryson ek acy pein are)s es oc aes 300 | Boats on the Scheid, P. J. Clays; Tooth & Sons 500 The Fan, Antonio Mancini; A. G. Andrews.... 475 Scheveningen in Winter, H. W. Mesdag; Bera teetee GAMCLICS Siri. ss ets teen eee 420 PAn Old Farm, Michel; C. E. Graham........ oe Rift in the Storm Clouds, Michel; C. E. Gra- ree oa, vi ceiks renee cess ek dbs 1,350 The Bridge, A. P. Ryder; George A. Hearn 52 Italian Peasant Girl, Th. Ribot; Scott & SSS 4s ee ic Le Recurage, L. Mettling; Ralph G. Hall.... 600 The Curfew Hour, A. P. Ryder; B. Burroughs 560 Outskirts of a French Village, I. Pokitonow; C. NNT SSS, 5 foe wy. 6m we Pein Wiens bre eee 400 Shore Scene, A. P. Ryder; A. Morton........ 430 Moonrise, A. P. Ryder; A. A. Healy........ 1,000 Study in Black, Whistler; R. T. McKee ...... 400 St. Roche, Tiepolo; C. E. Graham ............ 300 Return from the Chase, Roybet; Ralph G. Hall £28 The Abduction, A. Monticelli; J. R. Andrews 370 Landscape, with Figures, A. Monticelli; F. 128 PN PG Oe i al pih on hin ee ¥ oan es 60m 's bes 1,050 La Clairiere, A. Monticelli; Otto Bernet PHREDE eins oslo voces sen eecse ees penseess 700 Entree de Village, A. Monticelli; C. W. Krau- 2 nt. AS eae yore ee ete 75 In the Wood, M. Monticelli; A. A. Healy.... 725 In the Garden, M. Monticelli; Blakeslee Gal- 730\ ROSES ees ba one as hes necpeanesenaenrs' Unloading the Boat, Raffaelli; W. W. Seaman awl (agent) ++ -+eeee reer eescres : Language of Galleries A. Waterfall, Van Ruysdael; F. G. Wait.... Venetian Senator, Tintoretto; J. T. Pratt...... Portrait Isabella d’ Este, Marchioness of Man tua, Marmigiano; Knoedler & Co.......... A Dutch Cattle Market, Offermans; O. Bernet TEST DST CHG Sing seca tapi OO ey Oa eg a Triumph of Flora, A. Monticelli; George eee le} s{gabelia 5a "Pai “Girl and. Base “Trlumph onfore s Mo abe pale Biaders in nicely. gol carry ca Dian be Lp soRteotare Up to BO, 0 ele t al i ‘Modern baa vied. with the a of * 1e of the Ing a dorusbe A Mendaiage sol, eee ae ae ce th foe oe nich of Ts fair value: oe gh ie ‘Ryder’ proved pretty well when AY AN $1,000 f roe the litde panel’ Bs or rise,’ that was ‘only § by 10 in The other Ryders brought fair ses # uDhe ively. bidding, that began. withthe first picture offered reached its elim in’ a’ duel between GC: ‘E) Graham sid Gearge..A.-Fearn for the ‘possession of Diaz’s “Girl-and Her Dog.’ After star-) dng at $2,000 it. went up to $5,800, and. on) being knocked down at that figure was. disputed by the two men, whereupen it was taken back to the easel and Hearn worked it up to $8,900. Graham then of- fered $100’ more, getting the big canvas for $9,000. Previous to this James Brews er and another bidder hada prolonged Sarre for.the possession of Gericault’s “Study of Horses,’ Brewster eventually getting. it. fob $3,750. el The Monticellis went for $750,: $725, $676, | $700, $1,050 and $370 respectively, "while Hearn obtained the mural gecoration, *“bhe | Triumph of Flora,’’ for $2,000. Among the other important sales were the ‘Isabell: D'Este” by Parrmigiano to- for. $6,000: Bronzino’s “Donna Gliovannina Chevara"’ to Larkin for $9,200; Van ae dael's’‘Watertall”’ to F. Ss. Wait for $2, Millais's “Mrs, Heugh’’ to James Brewster ‘for $8,500, and another picture by the same ‘artist to Knoedler & Co. for $6,200. Hearn ‘gave $1,150 for Daubigny’s “The Ocean.” 'R. 8. Hall got two of the Rousseaus for | $750 each, awhile the thirdvone went to A. \s. Andrews for $425. F. Bo Pratt, paid $1,000 for Combet’ $ ‘The Wave " and . gE Graham $1,250: for Michel's t in the Storm Clouds. '. “The total’ obtained at the | session was $70,845. . At the -dfterneon sale of the art objects pang furniture the chief pieces were two vrand pianofortes in elaborately decorated {Asab.: The one inlaid with tortoiseshell jana mother-of-pearl went te John BE. Pea- \body for $750, and the’ other for $600 iy | John Duveen, Among the antique ry i Savalan went to Chapman for ‘Pratt paid aia for a) Fiemish tape wate: Lorenz, agent, for’ an. ebony net; | ‘a dressing table sold for $360 bad: ras up- holstered arm-chairs to J. d. ‘Bekert,Jr., “for $430.. The: total for the entire Role was, 5202, 804. a Aine Beh >t there are’ ot § of jeven be said tt at se@ {jority, which, admit iY ) ‘es in gro + (owner's tendency mind. here } mnected y tly, ak. superb Rousseaus and lovely Da line ae e twists |there is an excellent peoyon. ana a Dae ws jy “Aap ak i rae ke a bright thread t h the id ,}which combines all his porcelain cha ; ~ \glades Pie Haots, f “and its poetry |with few of his irritatin panalities : nt be t-te: the Jéast $) tig (form; there is a magnificent dog : The sul Cole observer. Altogether, the group of M - \dwarf by Roybet, there ,are Michels Opn ie in iteelt worth a day's journey jgenuinely dramatic power to behold and. a. Teasonable fortune to (2 little Raffaelli pworthy of heiteton i possess. It ranges from his almost con- [the special groyp signifying an untram< ventional but dainty and enticing repre- imeled taste. iThere is a handsome lsentations of women as nymphs or god- |Dupré, and there are & Pintores n a subs There is also.a oup of L bey in dreams and nourished on imaginings eres and there tre dhe face *“tias in ** A Garden Party.” d land house decorations of pure style: : Among the painters most obviously op- \fine quality. 1 iponea to Monticelli in character of vis- é " aS ce fuser ek of Het i ph | j gs oy i aa rhet, who is represente by “ : Xq) Poacher,” a “ Coast Scene,” and one of | $1 02,804 A psc Rig aay Neretons. ot 2 The Wave” sub-| tiie Se ins. (ject, the last a noble and dramatic com- y tear water Gnd shy leas synthetlc Higher Prices Obtained at Final nae ‘Taste. - ~ \desses, quite simply drawn and fr |‘Bronzino, and a Mae i : ir : s exceptio i jpainted, as in The Triumph of Flora,” ect and execution. yrs j ‘to eanvases expressive of a mind sunk + COTTIER SALE. erect 7 | ean Whestler s also famous “Wave,” but | Session. | giving superbly the sense of the weight | vy tag [and tovement of the element. | There was a marked difference in the | 510% | Whistler himself is seen in one ex- isecond evening’s sales of the Cottier ¢ 4 ‘e Lg ) rty ber | ample, “A Study in Black,’ a full-lengvn | ict lad ‘‘t facilitat: th ettlin eee p i fisure of a young woman standi ty (PIOLOres ist Je ops uate bis or a “James 8. Inglis, on nding with — = the estate of the late James S. Inglis,” dae clasped har.ds, dressed in black, against American Art Galleries PPro background. A panel of slightly which was concluded at Mendelssohn Hall on afternoons and. erent value from the rest of the back- eA last evening uhder the auspices of the ‘ground is directly behind her, and | pari t| x4 my Cee tate es S'american Art Galleries, The hall was ‘rarest quality. Mr. In- of the canvas, the head making a lumi- well filled last night, the bidding spirited, and 12, contains! placed with great precision in the centre - of independen nous spot in a general mist of tone. The, Mt ly was sate iene comnposition is interesting ‘and Caniitis ooo a number of well-known mén WESs _ ‘ously considered as in all of Whistler’s buyers. | A Diaz, which was sold twice, the sec- i by his business associa- | pictures. . | opportunities. Many of the, At the opposite pole from Whistler, min ond ims ie nee, pee bi ee ogre acquired bv him in his career John Millais is represented by his “Little made one of t e interesting incidents 6 Pee PY : | Miss Gemp,” a characteristic child picture the sale. The picture was an unusual ‘of Cottier & Co. were bought! of the eighties, and one ar the best works |one, 80 inches by #8. the figure of a fair the artists. themselves, and repre- of his middle years, the ‘* Portrait of paired girl standing beside 4@ vase of ‘a personal expression € that taste,| MS: Heugh,” an old Welsh lady whose flowers, piaying with a dog, and with 4 islet 9 ‘nationality and individual temperament slimpse of iandscape in the background anges of the school of | are embalmed in this minutely faithful sting one Heat eae re. oe eee so-called - anti intera, | C2nVvas. she wears a black silk dress) i ec, wort ee rece et Sy Potter @ thought, ne bad bougt sen only one Bid os ; }ereen-covered chair with a white anti-| 2°: - tel 20. 8 Re. ae! ‘schools. It is sald in| macassar. The transparent strings of her| der, Mr. Hearn, and his representative the sale of the cole car ive spread pompously over her velvet, calling the bids below, had seen only Mr lati th 4 ; ga shoulders, her hair is neatly brushed in|Graham. , Hach thought the picture hac cot the ab inuanee Of | smooth pands on her forehead, Her paro- gone to his man. When the mistake was Cottier & Co., put. d#| quct sits contemplative on his perch be-| discovered the picture was brought back 5 the settlement of the side her, It is a domestic scene such asjand Mr, Hearn gave Mr. Graham a ho 5 I Ai ( ; | Millais “was perfectly adapted to paint contest for it, the latter finally gettin: Mr, Inglis. + | without imagination or malice, and may|it for $9,000, the second highest price © f the most important pictures in be regarded as one of his.few master-| the evening. ition is the “ Dante and Virgil,” pieces. in portraiture. ‘| The total returns for the evening wer 3 yurning back to the sub ective paint-|$70,345. Here are the names of pictures . of which the- S : | of w tiejarecr version | ors there are a number of invaluabla|artlats, buyers, and prices in the orde in the Boston Museum. With ali | examples of the work of Albert P. Ryder. sold: i, this artist)Freight Boats on the Seine—Twachtman; Ss ol feeling an 1 tion, |AS in the case of Monticell 1h sea Di irtoss Rai ap ar ip Pies | is shown in his most poetic and least) W. T. Hvans...-+-ss:-snesaee OEE eI $4& of the airy eedom, puzzling side. His little long panels,| Early Morning, Veniee—w,. G. Bunce; G | lity distinguish- | “‘ The Smuggler’s Cove,” ‘' The Bridge,| A. Hearn .-..-+- +41 is ele vino sin Reverie 2§ bias many & ne “ Shore Scene,” ore cay aah is : ao pee of Charles V.—Roybey; C- EB. ps In some re- | lacauared surfaces, thelr depths 0 vory|.- BY ote cr oe tS cit ane hit plete y J ers in @ | and ahegen g cary and wer Srey Javon inarews es c4 Boats—Bunce; J. RB, - over layer of faint tones until @ arkness ne a sige os Baie as ees Mee es en kine that has almost no relation to color 0 eet ay Paver | RE a achieved, and are also as delicately clear posts on the ‘Séherat--Clays; Tooth & in their reasonable significance as a SONS “osc n oss He ee cree 4 9s ry fore hae coe 5! part in the fore- Daubigny landscape. In the little cam-|;he Option: Alsace After the Franco- his habitual attle vas called “Moonlight,” in spite of the) Prussian War—Bacon: Spencer.-«++e.08 8 nd the clear-|'The Kimono—W, M. Chase; W. T, Brady, 2! tangible forms of the sheen a lis are two of that cut profile of the trees against an evening| Dead Game, Fish and Still Life—Jan Fyt; ant ig that of mysticism, G, H. Ainsley... ++ OTN ticat ey e pal i lartist’s most rioto sky, the sentim< otous creations, de in sky, Py ne Fan—A, Mancini; A. F. Andrews, >< akes- ‘éolor and as richly modeled as tho ii expresses in color what Bla igment were clay to be sculptur ice by some sorcery to convey in his draw-| Scheveningen tn Winter—Mesdag;, ; he desired forms, although none of ag for Philips's:‘‘ Helogue,” the srand= Raha! moar aay siichel: G30, Gaee Show the excessive. In the “ Landsca: eur and peace and elemental beauty of} + a. arm—George 4 el, © 6 pwith Figures’ we get his characteristio- @ rural landscape by night. The * Curfew) , Hitt in the legion, ‘Gidhas_G. Michel; ; lally jeweled color in a charming and in- Hour’ is more suave, but has not quitel ~~ 4 ae er nga ik ern ALF ae ek +) tricate pattern, but very little distinguish the same. touch of wildness peneath it8\ppé Briage—A. BP. Ryder; G. A, Hearn... & ‘apie form. In ‘‘ La Clariére,”’ however, surface charm. An Italian Peasant Girl—Ribot; Seott & ‘the tone is quieter, the color less feverish, Among the water colors and pastels ar@) Powles ....--crreesew ste cr ses tte 4 ‘the forms more delicately discriminated, two. that claim attention for their ores Lea Recourage—Louls Mettling; R..S. @nd the whole sentiment that of the paint- inality of invention and mastery, of tech~| Hall ...++--2+: claus ee pee ee sents { ler’s graver and saner mood. nique, . John La Farge’s ‘Swimmer, aiThe Evening Star~Etty; Mr. Spencer... In the ‘Entrée de Village” there ig @ )man pushing with a powerful thrust of The Corsatr—Btty; Blakesley Galleries... ¢ mild serenity of composition with ample jthe arm erorer deep Pile ysceind eee adel i fiour--A. P, Ryder; B. Bur- | air and movement and a b illi f \** Loge des Dunseuses,’ by Degas, tu A Uikag 8g che ht 6018 LAE aks » tee ee 7 ‘of Ught. This, in fact, is fee eg ‘expressive of the, painter's eereet 4 OURS Eat, ataaa tah Seana. } in craftsmanship and guore “Scene—A. P. Ryder; Alexander of sincerity the warmer and more snectacular light- These are, perhaps, the pictures that Moonrise--A. P: Ryder; A, A. Healy. 7.- 1, ing of the scene there is not a little In differentiate the collection from other fine A Study in Black—Whistler; R. T. Me- ‘its architectonic arrangement of line and collections, that put upen it the stamp Kee ....- peeteneers setneres citerecssae eee : {ts délicate sense of motion to suggest the ef an elevated and strongly marked iIn- St, Roche—Tiepolo; C. Graham. ....+ i greater master. Two other pictures aro Si bayer ae tte prptecy Te eth SH the work of Monticelli and Matthias little outside the current of the te ADs ani : : Maris jointly. _ yet seeks only the goal of the bast. here Tie Abduction, -Mentiol” J. BR. An- A very unusual example of Monticelli's 22s seldom been offered a collec ON SOpanascape with OI Raabe 4 perp DRE, 1 middle period, yet one that is highly char- stirring to the imagination, or so designe ae Soe migaten on ona. 1, acteristic, is ‘‘La Fontaine,” in whieh to spur collectors toward the formationra Clairlere—Monticelli; Mr. Bernot, we have again a structure of line that fs of pe rsonal standards, agent sess Ueiwengecsarergessesnseshecdiae inelined toward severity, and a pearliness. ‘shows Monticelli at the moment of his ideal nearest approach to Corot, In spite of | V!5-0n- _ SARC aweeses ok cae Pit he eS Rls 750 bce the Boat—Faffael Sy? Ww. seeeesivesrsacseveresecs 120 age "an Algiers” Camel —'Broiscatin As AL ore -.S Goatnerd and His Hoe ve. Camps; | McKee pers Bekipers Seema etsy . Strauss, wae BBO Pra cr ad Wench inseate -Detailler N. | ote @ Wave—G. F. Courbet: F. «a» 1,000 Member of the Reape cutee Blakes- Bey Galleries. ee ced ane ss veenteetavess 420 | Cattle—Troyon; A. B. Meyers......-+4.- Se PUAMAMUITANG SS ScsS)000 LG) e das 5 ma sco Seweiwae hi Sent The Pee eaassans R. 8: ook LapPita wee: \ 1100 In the Pyrenees—Rousseau; R, 8, Hall... 750: On the River Below Dordrech (—Daubigny; a MPMRIEINT As: (1500 oh 1811-5 aly irae ade ae 2,050) The Ocean—Daubigny; George A. Hearn,. 1,150) The Language of the Fan—Lefebvre; Hol- ato BN AROS RACY a (Tea ae 460) Study of Horses—Gericault; James Brew- ] CERES TEN, Soest ts siete mata car bis fails pr a'a Sree Paea 8,750) in the Convent—Francois Bonvin; H, ms MEME iT AUT Ni dcig Poy ae as ce > 476 The Housemaid—Bonvin: J. R. Wilson. 625) Littlé Mrs. Gamp—Millais; M. Knoedler | PEER P ERS ate a) 5 Day 94-6 k Peis s wig tag Eee 6,200 The Satyr and the Peasant’s. Family— Nicholas Maes; I. Gleanzer & Co, ..... 460) | Portrait of. Mrs. ba eae se, James MRE VCRTOG Cy Saas isle wp tialk cb doves a stete aia a 8,100) | "Phe Sisters Lady Ranelagh | ‘and Lady | '| “Brereton—Kneller; Blakesley Galleries. 875) | A Waterfall—Van Ruysdael; F. S. Wait. 2,800) A Venetian a Race upanees a ia . ROME SOE Ok Cui Wicha yas ng di choles a Mack ou a= 625) kin, (lawyer of New York)........., - 9,200) EMIT LON ir ON v0 5 vs Wea bd occ Hace Race 6,000 A Giri and Her Dog—Diaz; C. E. Gra- RAMEE es SCs crite seth hd lp ek cook Bates oes 9,000 A Dutch Cattle Market—Offermans; Ber- RMRIIRIEMGM GK S, Ay The Language of the. Fan Latent: Holiand Art Galleries ....... Study of Horses, Géridy In the Convent, Bon ; AW The Housemald, ‘foavit: ‘IR y ; Little Miss Gamp, Millais; Knoedler & Ge. Peeks The Satyr and the Peasant’s Family, Nicholas Maes; Bugene Glaenzer ........ Sash be arena Portrait of Mrs. Heugh, Millals;. James Brewater, . The Sisters; Lady Ranelagh and Lady Breton, Bir Godfrey Kneller; Blakeslee Galleries... ....+.+.6+6 = i ey ee ok werere ane He A Waterfall, Van Ruysdael; F, g. Mate Sosy wince ‘A Venetian Senator, Tintoretto: J. 'T. Pratt........ Portrait of sere wccaiat a Marchioness of Mae Parmigiano er Oia pales aSyane ely a.aloa PROT MS &, ne poder Cattle Market, - Offermans; 0. Bernet ; ager Che cena dos +o coos wane slp PO 6 Cate Oe 4s wom yee bah The Triumph of Flora, Adolphe Monticelli; Georgs VAs PAGO PTE) Sioa eens Se aoe The highest price of the afternoon—$750—was paid by John E. Peabody for a concert grand piano and bench, the case inlaid with tortoise shell, mother- of-pearl, mahogany and golden ebony. Mr. Peabody also paid $300 for a large cabinet inlaid with rare. woods and mab theror Paar ad aa eclvimiee te 6 mga ¥ eae d : AND OTHER ART PROPERTY 7" 3 be a . \ in ORES BELONGING TO ry V° _ COTTIER AND COMPANY American Art Galleries Madison Square South : New York UABLE PAINTINGS iit ial it i | ii ‘al Bi ii ON VIEW DAY AND EVENING AT THE AMERICAN ART GALLERIES From Saturpay, Marcu SixtH, UNTIL THE MorNING OF THE Day oF SALE, INCLUSIVE THE VALUABLE PAINTINGS AND OTHER ART PROPERTY TO BE SOLD TO FACILITATE THE SETTLEMENT OF THE ESTATE OF THE LATE JAMES §. INGLIS COTTIER AND COMPANY NEW YORK UNRESTRICTED PUBLIC SALE AT MENDELSSOHN HALL Fortieth Street, East of Broadway On Thursday and Friday Evenings, March 11th and 12th, 1909 BEGINNING PROMPTLY AT 8.30 0’ CLOCK AND AT THE AMERICAN ART GALLERIES On Thursday and Friday Afternoons, March 11th and 12th AND VIRGIL Ww ae ve < fa) ILLUSTRATED CATALOGUE OF PAINTINGS AND WATER COLORS OF THE ITALIAN, FRENCH, DUTCH AND AMERICAN SCHOOLS BY Old and Modern Masters AND OTHER ART PROPERTY ' TO BE SOLD TO FACILITATE THE SETTLEMENT OF THE ESTATE OF THE LATE JAMES S$. INGLIS COTTIER AN I D COMPANY NEW YORK TO BE DISPOSED OF AT UNRESTRICTED PUBLIC SALE ON THE DATES HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1909 ee, Pressof J.J Little & Ives ‘Cae 425-435 East Twenty-fourth Street, New . atin ‘ i * . | v Pa , y & . “ INTRODUCTION The house of Cottier & Co. has stood for whatever was highest in the fine arts and in artistic decorations from the time when Daniel Cottier in 1873, appreciating the wonderful understanding of the American people for art, established in New York City a branch of his English house. The late James S. Inglis, who was then associated with Mr. Cottier, became the manager of the New York branch, later a partner, and finally the owner of the business, with its headquarters in New York and a branch in London. ‘The wisdom of the two men in establishing themselves in New York City was thus proved. The collection of pictures and works of art now offered for sale has been gathered during the past thirty years, many of the paintings having been purchased directly from the artists. ‘They represent not only the rare discernment and appre- ciation of art of the late Mr. Inglis, but also his “courage and independence in recognizing artistic work wherever found. They are not merely an aggregation of canvases, but a personal expression of taste, and as such gain additional importance. Here may be seen a number of canvases by the men of 1830, of whose merits Daniel Cottier was one of the earliest and staunchest supporters. Of Corot’s exquisite art there are several noble examples, representing the highest consummation of his powers. Of Daubigny there are also examples of first importance, as well as of Diaz, of Michel, Troyon, Rousseau and of Dupré, while their successors, Roy- bet, Ribot, Mettling and Bonvin should not be overlooked. The Romantic painters, representing that awakening which stirred the middle of the nineteenth century against the conventionality of classic painting, are repre- sented by Decamps, Géricault, Fromentin, Couture and Courbet. The critical visitor will be interested in the wide range shown, which includes Tintoretto, Bronzino, Parmigiano and Tiepolo of the old Italians, hanging with works by men of to-day; Rembrandt, Ruysdael, Maes and Fyt are contrasted with Mauve, Bosboom, Mesdag and Oftermans, and Ribot and Bonvin with Degas and other men of his school. The American school is also represented, including works by Chase, Twachtman, Ryder and La Farge. Then there are a number of the denationalized painters such as Bacon, Whistler, Doré, Gegerfeldt and Mancini. The sale of the collection will not affect the continuance of the business of Cottier & Company, but is made merely to facilitate the settlement of the estate of the late Mr. Inglis, who was not only the president of, but also held a large financial interest in, the house. The sale will be absolute and without reserve. 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 immedi- ately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judg- ment, 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 Expense and Risk within twenty-four hours from the conclusion of the Sale, unless otherwise specified by the Auctioneer or Managers previous to or at the time of Sale, and the remainder of the Purchase-money to be abso- lutely paid, or othernise settled for to the satisfaction of the Auc- tioneer, 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. 15. 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. T'o prevent inaccuracy in delivery, and inconvenience in the settle- ment of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited ; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The undersigned are in no manner connected mith 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. Tue AMERICAN ART ASSOCIATION, Manacers. THOMAS E. KIRBY, AvcrioneeEr. ARTISTS REPRESENTED AND THEIR WORKS CATALOGUE NUMBER ALLORI, Ancioto (cattep BRONZINO), Donna Giovannina Chevara, Wife of Don Antonio Ramirez di Montalvo, and her Son 108 BACON, Henry, The Option: Alsace after the Franco-Prussian War 61 BASTERT, NicHonas, Winter in Holland 8 BERNE-BELLECOUR, Erienxe Prosven, The Prisoner 41 BONVIN, Francois, Still Life 26 In the Convent 100 The Housemaid 101 BOSBOOM, JoHANNNES, ~ At Communion 15 Interior of a Gothic Church 16 BUNCE, Witu1am GEDNEY, Bessie Watt’s Meadow 20 Early Morning—Venice 56 Venetian Fishing Boats 58 CASANOVA Y ESTORACH, Anrronio, Stolen Sweets 34 CHASE, Wiviu1am M., A Young Egyptian 25 62 The Kimono CHIFFLARD, Francois Nicouwas, Nymphs Bathing Bacchanalian Revels CLAYS, Pau JEan, Boats on the Scheldt COROT; Tran BarristE CaMmILue, Girl Picking Wild Flowers Dante and Virgil COURBET, Gusrave, The Poacher Coast Scene The Wave COUTURE, Tuomas, A- Member of the Guard DAUBIGNY, Cuartes Francors, Landscape Landscape On the River below Dordrecht The Ocean DE BOCK, Tutornte, Landscape at Twilight The Edge of the Forest DECAMPS, Atexanpre Gar IEL, A Goatherd and his Dog DEGAS, Hinatrre Germain Epear, Loge des Danseuses DELPY, Camirir Hip POLYTE, On the River Oise CATALOGUE NUMBER 22 23 60 46 54 28 29 90 91 31 96 39 88 18 21 CATALOGUE NUMBER DETAILLE, Epovarp JEAN Baptiste, French Hussars 89 DIAZ DE LA PENA, Narcisse Vircite, A Girl and her Dog TE DORE, GUSTAVE, The Mocking of Christ 50 DUCHATTEL, Frepvericx J., The Towing Path 4 DUPRE, JULES, Chaumiéres pres Cayeux 48 ETTY, Wim, The Evening Star 71 The Corsair 2 FROMENTIN, Evcene, In Algiers—Camels 87 FYT, Jan, Dead Game, Fish and Still Life 63 GERICAULT, Jean Lovis THeopore, Study of Horses 99 KNELLER, Sir Goprrey, The Sisters Lady Ranelagh and Lady Brereton 105 LA FARGE, Joun, The Swimmer Li LANCON, AvucGuwsrtT, Lioness and Cubs 10 A Tiger Resting it LEFEBVRE, Juves Joseru, The Language of the Fan 98 LESSORE, Ju tes, The Abbey of St. Denis The Lower End of Manhattan Island View of New York a Few Years Later MAES, NicHo.was, The Satyr and the Peasant’s Family MANCINI, Anronto, The Fan MARILHAT, Prosper, On the Nile MARIS (Maruias )—MONTICELLI In the Wood In the Garden MAUVE, Anron, Returning from Pasture MAZZUOLTI, Francesco (cattep PARMIGIANO), Portrait of Isabella d’Este, Marchioness of Mantua MESDAG, Henprix WILLEM, The Lighthouse Scheveningen in Winter METTLING, Louis, The Evening Meal Le Récurage MICHEL, Georges, Landscape and Sheep—A Passing Storm An Old Farm A Rift in the Storm Clouds CATALOGUE NUMBER vt 13 14 103 64 w© -2 19 109 65 36 70 CATALOGUE NUMBER MILLAIS, Sm Jonun Everert, Little Mrs. Gamp 102 Portrait of Mrs. Heugh 104 MOLLINGER, Gérarpv ALEXANDRE, The Flax Dressers 51 MONTICELLI, Avotrue, La Fontaine 42 A Garden Party 43 Matinée de Printemps 4b The Abduction 80 Landscape, with Figures 81 La Clairiére 82 Entrée de Village 83 The Triumph of Flora 113 MULLER, Anron, The Old Clock Mender 32 OFFERMANS, Towy, A Dutch Cattle Market 112 POKITONOW, Ivan, The Outskirts of a French Village rc: RAEBURN, Sm Henry, Portrait of a Lady 45 RAFFAELLI, Jean FRAnNcIsQueE, Unloading the Boat 86 REMBRANDT (Scuoou or), Portrait of a Young Man 49 RIBOT, THtopvute, An Italian Peasant Girl 69 CATALOGUE NUMBER RICHTER, porno: The New Gown 38 ROBIE, Jean Baptiste, Flowers and Still Life 37 ROBUSTI, Jacoro (cattep TINTORETTO), : A Venetian Senator 107 ROUSSEAU, THeopore, Edge of the Forest AT The Church in the Valley 93 The Pond . 94 In the Pyrenees 95 ROYBET, Fererpranp, A Dwarf of Charles V. 57 Return from the Chase 19 RYDER, Axvzerr P., The Smugglers’ Cove 59 The Bridge 68 The Curfew Hour 73 Shore Scene 75 Landscape, with Sheep 716 SCHUCH, Werner, The Retreat 33 SIMONS, Pinckney Marcius, The Chariot of the Sun 40 SPANISH SCHOOL The Young St. John 52 STACQUET, Henry, A Country Road in Flanders 1 TIEPOLO, Gtovannt Barrista. St. Roche TROYON, Constant, Cattle TWACHTMAN, Joun H., Freight Boats on the Seine VAN DER MEULEN, Anrorse Francors, A Battle in Flanders VAN DE VELDEN, P., A Mission of Mercy Ship at Anchor—Moonlight VAN RUYSDAEL, Jacos, A Waterfall VON GEGERFELDT, Wituem, A German Village in Winter Co WHISTLER, James McNeir1, A Study in Black’ ZWART, W., A Corner of a Dutch Town Winter in Holland CATALOGUE NUMBER 78 92 55 53 106 ‘s} FIRST EVENING’S SALE THURSDAY, MARCH 11, 1909 AT MENDELSSOHN HALL ForRTIETH STREET, East oF BROADWAY BEGINNING PROMPTLY AT 8.30 0 CLOCK A“ WATER COLORS No. 1 HENRY STACQUET 1838— Lf Druw A COUNTRY ROAD IN FLANDERS ae SkIRTING the foot of a hill, sloping upward at the left, a road curves across the foreground to the right, down which the figure of a peasant woman is seen coming toward the spectator from a house whose gable is clearly visible rismg from beyond a clump of bushes. A group of gaunt trees, to whose branches a few brown leaves still cling, rise in the middle distance on either side of the road, with some remnants of a board fence still standing here and there. Across the valley the rising slope beyond, ending in a fringe of distant trees, is seen in sunlight contrasting with the shadowed foreground. Signed Height, 14 inches; width, 914 inches. ‘eS Ss No. 2 P. VAN DE VELDEN A MISSION OF MERCY Arley $120 TurRoucH the woods, white with snow, a woman in blue peasant dress, wearing a heavy cloak, makes her way on some errand of mercy. On her head she wears a close-fitting cap, and her dress is short enough to show her feet encased in sabots. With her right hand she raises her cloak to protect her face from the cold, while in the other she car- ries a vessel containing nourishment for some deserving person. No path is broken through the snow, which is drifted high against the trees that form the background. Signed. Height, 191% inches; width, 13Y inches. ye No. 3 W. ZWART A CORNER OF A DUTCH TOWN CML. Wblebme BeErore a row of old houses, the lowly habitations of the poor, which open on a narrow cobble-paved street, an old woman bent with age is seen halting before a door. She wears a light blouse and dark skirt, and her head is covered with a cap. ‘To the left is a line of trees, and at the end of the vista are seen the roof and chimney of a house high above. Signed. Height, 10 inches; width, 514 inches. No. 4 FREDERICK J. DUCHATTEL THE TOWING PATH CM Maen Aone the path bordering a canal, a man is seen tugging at a line attached to a canal boat which comes about a curve in the route. Be- yond rises a brick country residence of the better class, such as are familiar throughout the land, its garden enclosed within a high brick wall. A grove of tall leafless trees rises at the back of the house, growing thicker as it extends into the distant landscape. A row of smaller trees above the white waters of the canal indicates the line of the highway. Signed. TTleight, 9 inches; width, 18 inches. f) No. 5 HENDRIK WILLEM MESDAG 1831— THE LIGHTHOUSE tL fase ABove the sand dunes rises the tall, tapermg lighthouse, with long, dark buildings reaching out at the base. Clustered along the beach are a number of Dutch fishing boats drawn up on the sand, some having their sails, some nets, hung up to dry. Men and women are gathered about the boats, and horses are ready, waiting to drag them back to the water for another haul when the present harvest is disposed of. Signed. Height, 14 inches; width, 16 inches. AD ae No. 6 W. AZWART WINTER IN HOLLAND ADC thince Snow lies deep on the ground and roofs and on some old boats lying in the foreground, past which a path is broken. Two figures, a man and boy, are seen; the boy, standing, puts up his foot as if to have the man seated on the edge of the boat adjust his skate for him. The bleak, leafless trees and gray skies tell further the season of the year. Signed. Tleight, 13% inches; width, 15%4 inches. No. 7 JULES LESSORE THE ABBEY OF ST. DENIS LA. Nebbthein BrEForE a wide market-place rises the dignified old abbey near Paris, long celebrated as the burial-place of the kings of France. The. Romanesque facade, with its round arches, its three wide portal bays, its single completed tower, has stood for more than seven centuries, having been completed in the year 1140. A continuous stream: of vis- itors is seen passing in the south portal, while nearer, on the left, a market for the sale of various wares is in progress. Signed. Height, 2914, inches; width, 2114 inches. No. 8 NICHOLAS BASTERT WINTER IN HOLLAND ALONG a roadway marked by deep wagon tracks in the show a woman is making her way, with slow progress, past a row of pollard willows. The road, as indicated by the trees, curves to the right as it advances, and is lost to view. A few tall thin poplars rise in the centre of the picture, and at the right a wooden barrier appears. ‘The sky is heavily overcast and ominous. Signed. Height, 9'% inches; width, 13% inches. cL No. 9 THEOPHILE DE BOCK ee LEO CAL LANDSCAPE AT TWILIGHT iyo te 7a On the right of a pool of water in the foreground some silver birch trees rise, bending over the pond and outlined against a background of green woodland. The figure of a woman is seen walking through the meadow, which is starred with flowers. To the left a single tree stands forth. It is the evening hour, and the sky 1s filled with primrose light. Signed, Height, 131% inches; midth, 191% inches. No. 10 AUGUST LANCON LIONESS AND CUBS M* parte em A In a sequestered place, far from the haunts of men, a tawny lioness hes with her young beside her. ''wo are being fed, and a third, on the other side, looks over her great paw at the spectator. In the distance at the left her mate, the king, looks on, keeping watch against any invader. Nothing, however, disturbs their serenity. Signed. Dated 1880. Tleight, 10 inches; width, 14 inches. No. 11 AUGUST LANCON A TIGER RESTING Mle Lt lors AT peace with all the world, now that he has been well fed, the tiger lies stretched full length on the ground. Every brush stroke, both here and in the companion picture, shows complete knowledge of these animals, their anatomical structure, their nature and their external aspect. Their portrayal is a field in which few excel. Signed. Height, 10 inches; width, 13% inches. ? Non wd P. VAN DE VELDEN SHIP AT ANCHOR—MOONLIGHT Chl bban WirH sails futtering, the noble ship has come to anchor for the night. She lies in the silvery pathway which the rising moon has laid down across the water. She has her yawl in tow, and in the distance at the right other boats le at rest, their sails down. The sky is filled with clouds, which are touched with silver by the moon, against which the black hull and sails make a striking and dramatic contrast. Signed. Height, 41 inches; width, 31 inches. Purchased from Wunvertiicn & Co., New York. U No. 18 | JULES LESSORE 8 bet THE LOWER END OF MANHATTAN ISLAND ABOVE the thickly set buildings, fringed about with shipping, rises the spire of ‘Trinity Church and the mass of the Federal Post Office. In the foreground are a varied assortment of water craft, while beyond stretches the beautiful bay like a sheet of silver. Height, 191% inches; width, 38 inches. No. 14 JULES LESSORE VIEW OF NEW YORK (1875) CoNSPICUOUSLY seen is the western tower of Brooklyn Bridge, but without cables; more of the city and less of the bay is seen. No sky- scrapers have yet come to astound the visitor, hence these pictures have an historic interest and value. Height, 274% inches; width, 43 inches. Licgigt f Now15 JOHANNES BOSBOOM 15171 601 AT COMMUNION In one of the side chapels of a Flemish church, whose pointed arches rise high aloft, a number of persons are gathered about the chancel rail, hung with white service cloths, to partake of the communion. The priest, in his robes, attended by a boy in surplice, is giving the bread and wine to a peasant woman in a long cloak. Beside her kneels aman, and, farther on, two women in black, above whose heads, on an elaborate bracket, stands a figure against a cross. At the left, spiral columns rise on either side of the altar, between which stands a dark crucifix above the white altar. In the foreground is the iron stand for the votive candles. Height, 1534 inches; width, 1014 inches. fs No. 17 JOHN LA FARGE Sie —— THE SWIMMER ML? Jr the ort TurovucH the blue water the figure of a man is seen swimming side- wise, his right arm extended, his muscular back toward us. The water is of deepest blue, save where it turns to foam on the crest of a wave that is about to break beyond the swimmer. Signed. Height, 13 inches; width, 11 inches. + From the collection of CHarurs pe Kay, Esq. Qs No. 18 HILAIRE GERMAIN EDGAR DEGAS 1834— LOGE DES DANSEUSES 4 tags ecernger In a stage dressing room one of the girls of the ballet is seen arrang- ing her hair before a mirror. Her arms and shoulders are bare, but she wears a bodice of blue, across which a strong light falls. Through a doorway is seen a second figure in a state of half undress. Signed. Height, 61% inches; width, 9 inches. No. 19 ANTON MAUVE 1838—1888 RETURNING FROM pasTunn ae 7 ( ALONG a meadow path at the edge of a wood three Holstein cows are being driven home at evening, by a girl wearing a blue dress and sabots. The woodland background of that tender gray and green, familiar to the lovers of modern Dutch pictures, forms an admirable harmony with the figure and the cattle, and expresses the artist’s mood. It is an exquisite example of this painter’s work. Signed. Height, 16 inches; width, 24 inches. Purchased from Lauriz & Co., London. | a SX OIL PAINTINGS No. 20 WILLIAM GEDNEY BUNCE 1840— BESSIE WATT’S MEADOW Berton, Mansfccen A. BROAD, grassy meadow, speckled with light and shade, reaches out from the foreground to a low ridge of earth, its outline broken by bushes and a clump of trees toward the left. The sky is filled with the splendor of the dying day, making a picture of suggestive beauty. With a profound love for nature, this artist possesses the technical equipment to realize his visions easily. Panel: Height, 13°% inches; width, 175% inches. Purchased from the Artist. 4° Noa2 CAMILLE HIPPOLYTE DELPY (ie ON THE RIVER OISE Ma Sowrdtnd From an inlet in the foreground strewn with rocks, from among which tall grass and rushes grow, the bank slopes upward to the left toward a great hill that rises beyond. An irregular row of slender trees crosses the middle distance, rising against the sky and intercepting the distant view. A gray sky arches above. Following in the footsteps of Daubigny, Delpy shows the penetrating observation and deep con- sciousness which are distinguishing characteristics of modern art, and at the same time infuses his work with much charm and mystery. There is freshness and ease to his execution, which knows no diffi- culties. Canvas: Height, 9% inches; width, 14°4 inches. ws No. 22 af CN FRANCOIS NICOLAS CHIFFLARD NYMPHS BATHING In a retired spot, at the edge of a wood, a group of eight nymphs are gathered. Some sport about in the water of a pool with a swan, others dry themselves in the air. Most of them are nude, and one, stand- ing in the centre, is robing herself. A wooded knoll rises at the back, and on the left the stems of three slender trees rise against the sky. Signed. Canvas: Height, 5 inches; width, 9 inches. Purchased from the Artist. vf ? nf * NO. 23 UF, FRANCOIS NICOLAS CHIFFLARD BACCHANALIAN REVELS CO Ltr athes— Tuer youthful Bacchus, drinking from a flask, is seated on a tiger, attended by nymphs, fauns and children, all nude. ‘They move in pro- cession across a meadow, led by a fair young nymph, holding aloft a wine cup. At the left a companion reclines, overcome, but waves to the procession as it passes on. It is all a Joyous rout in worship of the young god of pleasure. Signed. Canvas: Height, 5 inches; width, 9 inches. Purchased from the Artist. OoxD> C No. 24 WILHELM VON GEGERFELDT AM Sramaemh THE coming of evening finds the little North German village half A GERMAN VILLAGE IN WINTER buried beneath the soft snow, which lies in heavy masses everywhere on ground, roofs and lumber piles. The sky is sullen with clouds, but a faint rising moon breaks through with the light of promise. In the windows lights begin to appear. Two figures, homeward bound, come plodding down the broken path between the picturesque houses, while on the left a woman is seen, who does not venture far from her own door. Everywhere the grip of a Northern winter is seen, expressed with brushwork of authority. Signed. Dated ’73. g lod Canvas: Height, 19% inches; width, 17 inches. No. 25 WILLIAM M. CHASE 1849— From a mass of very black hair, that falls to her shoulders, emerges A YOUNG EGYPTIAN the face of a young Egyptian girl, with the pronounced features of her race. The figure, which is seen to just below the shoulders, is clothed in a vivid red dress and appears against a background of another shade of red, forming a brilliant color-scheme. Mr. Chase’s skilful brushwork in differentiating the varied textures of flesh, hair and drapery, as well as the vitality of the type, at once strikes the spectator. Signed. Canvas: Height, 17 inches; width, ¥4 inches. Purchased from the Artist. No. 26 FRANCOIS BONVIN 1817—1889 Sera ttewtes STILL LIFE In a glass goblet, half filled with liquid, are seen some pieces of fruit, above which rises the handle of a silver spoon. Three oranges, one of them opened, also bits of orange peel, lie on the table at the foot of the glass. These varied objects, against a deep-toned background, combine to form a rich and unusual color harmony. Here may be seen Bonvin’s delight in still life and his gift of color, by means of which he was able to enshroud the simplest material things with imagination and beauty. Signed. Dated 1871. Panel: Height, 16 inches; width, 12% inches. No. 27 PROSPER MARILHAT 1811—1847 ON THE NILE Art Carter From the right the abrupt high bank of the river reaches frowningly to the middle of the picture, the point of the cliff crowned with a group of storm-twisted olive trees and a single palm. Beyond juts a second point of broken cliffs, also crowned with palms. Above rise the familiar forms of the great Pyramids. Below, at the water’s edge, a number of figures are seen, and one or two small, shallow boats, while farther away are two of the familiar Nile boats, with their long, sweeping sails. Over all is a brilliant Oriental sky, dramatically streaked with orange and red. One of the first of the French school of Orientalists, Marilhat, while attracted by the light and color of ‘the Kast, kept closer to reality than his fellows. and his pictures, though exact as to scene, are charged with the poetry of the Levant. Signed. Canvas: Height, 1344 inches; width, 25 inches. 70 ‘ No. 28 GUSTAVE COURBET 1819—1877 THE POACHER LEANING against the trunk of a great beech tree, the poacher patiently awaits the time when his game will come forth. He wears a dark gray hunting suit and Alpine hat, and bears a gun under his right arm and a game bag hung from his shoulder. The time is the early morning, and gray mists hang over the landscape beyond, where some slender poplars are dimly seen. Back in the seventies Courbet was regarded as an arch-disintegrator of all established rules in painting. His was a new speech which only the initiated could understand. In time he became better understood, and now we rank him among the great painters. A lover of nature, his method of expression was intense, per- sonal and nerve-charged. Signed. Canvas: Height, 1414 inches; width, 1034 inches. No. 29 GUSTAVE COURBET 1819—1877 COAST SCENE Burtrrn Manafectd A Lone reach of rock-strewn beach stretches before us, in which the receding tide has left pools of water, and in the foreground three small boats stranded. High cliffs rise on the right and diminish in a long aerial perspective. The figures of several women are seen on the sands, gathering the mussels and sea-weed left by the tide, while beyond, edged with white surf’, lies the ocean, on which several sails are seen scudding along under a blue sky thickly strewn with clouds. It is a work of the finest quality of this artist. Signed. Canvas: Height, 13 inches; width, 20 inches. No. 30 CHARLES FRANCOIS DAUBIGNY 1817—1878 LANDSCAPE Ms ys hese oe From a field in its summer dress of lush green, which slopes down to a broad stream bordered by reeds and water plants, rises a spreading tree. Across the middle distance stretches a mass of tangled shrubbery, rising to a low hill at the right, crowned with trees. The gray sky, like the landscape, is broadly painted, as if the artist was bent on recording his impression at a single sitting to preserve its freshness. bs Signed. Canvas: Height, 934 inches; width, 16 inches. No. 31 CHARLES FRANCOIS DAUBIGNY 1817—1878 LANDSCAPE AU7. Meger From the central foreground a country roadway runs straightaway, being lost beyond a slight elevation in the distance. At the left rises a group of noble trees in full summer foliage. On either side stretch green meadows tufted with shrubbery, the right rising to a small hill. A fresh summer sky, against which a couple of birds are seen, com- pletes this ready transcript from nature. Signed. Canvas: Height, 1014, inches; width, 17Y inches. No. 82 ANTON MULLER THE OLD CLOCK MENDER AO Meyer SEATED before his work-bench in a window alcove, an old clock-tinker, smoking a long-necked pipe, examines through his spectacles the mechanism of an ancient clock. On the bench are his tools and a couple of bottles, while overhead hangs a bird-cage, its occupant apparently enjoying the sunshine. Nearer, on the left, hangs a mirror, beneath which stands a high-back chair, upon which the clock-mender has” thrown his shawl. Seated on the floor, his terrier dog regards the exam- ination with deepest interest. An old trunk rests in the corner, and on the wall hangs a palette, with some other implements. The figure of the man shows fine characterization, with precise drawing and delicate modelling of head and hands, and the homely interior is rendered with honesty and sincerity. Signed. Panel: Height, 1984 inches; width, 1534 inches. INOwes WERNER SCHUCIL 1843— THE RETREAT Across a field of brush and tangled grass comes, in full cry, directly toward the spectator, a band of Cossacks in retreat, led by one who, with upraised hand, lashes his white horse to greater speed. Alongside rides another, on a black horse, holding a long spear, and at the left another rider, who finds difficulty in keeping in his seat. Others fol- low at short intervals, all at breakneck pace. On a distant hill at the left are seen scattered horsemen in pursuit. This dramatic canvas conveys a wonderful sense of movement, caught from an observed momentary action, and fixed with certainty of technical knowledge. Y8 oe Signed. Canvas: Height, 194% inches; width, 2784 inches. ye ANTONIO CASANOVA Y ESTORACH No. 34 184'7— STOLEN SWEETS SALA) nen») In a richly furnished library an old collector, wearing a faint green colored coat and knee breeches, a white wig and stockings with pumps, stands on a ladder so absorbed in putting his books in place on a top shelf that he is unmindful of the little passage of sentiment taking place at his back. A young soldier, in the gay uniform of dragoons, helping the collector’s daughter to fetch the books, seizes a favorable opportunity to take a kiss, to which the maid, having both arms filled with huge tomes, seems not averse, since she turns her face toward him, while keeping her eyes in the direction of her father. In their inat- tention a book falls to the floor, in imminent danger of crushing an inquisitive toy dog. The interior, the handsomely mounted globe and all the details of the costumes, proclaim not only the rank of the people portrayed, but also the ability of this follower of Fortuny. Signed. Dated 1883. Canvas: Height, 19% inches; midth, 16 inches. Ip AS No. 35 GEORGES MICHEL 1763—1848 LANDSCAPE AND SHEEP—A PASSING STORM Tue picture furnishes a view of a wide, rolling plain, seen from a slight eminence. ‘The storm is passin g, and through a slight break in the dark cloud-masses the light falls on a grassy knoll in the fore- ground, where a shepherd, with his family, has coaxed together his silly sheep, frightened by the storm. Along the horizon streaks of light are seen, but the intervale lies dark under the deep shadows of the storm clouds. It was Michel who first saw beauty in the familiar common- place landscape, and pointed the way for others. The change to our modern landscape art did not arrive all at once, but was wrought out by slow process and much neglect suffered by painters. Canvas: Height, 23 inches; width, 281% inches. No. 36 LOUIS METTLING 134 Sern -frite THE EVENING MEAL In a large interior, which serves the family as kitchen, dining, and general living room, a peasant, his wife and small boy are seen. The man, wearing his hat, sits at table facing the spectator, eating from a bowl. He stops, looks toward his wife, who stands sadly holding a jug in her right hand and leaning with the other on the table. The boy, holding something to eat in his hand, presses against his mother’s knee to escape the family dog, who looks up appealingly for his supper. A. multitude of objects is seen on every hand, furnishing the artist with opportunities for delightful passages of still-life painting. Signed. - Dated 77. Canvas: Height, 2514 inches; width, 31 inches. Purchased from the Artist. NO. 37 JEAN BAPTISTE ROBIE 1821— ; lau FLOWERS AND STILL LIFE ee Ae Vllmarn A mass of roses, phlox and other flowers rise from a decorated urn- shaped vase on a table spread with a handsome cover. Around the base of the vase stand a fruit dish filled with raspberries, an ivory tankard mounted in silver, on the top of the cover of which stands an ostrich, and a shell with a metal cover mounted on a standard. Strewn over the table-cover lie some roses and berries. Robie’s flower-pieces have won high rank because of their clever workmanship. They show vivacity and elegance, with precision of knowledge and a high order of intel- ligence. 'The present work is technically admirable, and one of his best. Signed. Panel: Height, 3414 inches; width, 25 inches. iF No. 38 EDOUARD RICHTER THE NEW GOWN Souda In a handsome room, with rich silk hangings and panelled walls, a beautiful woman, with head thrown back and chest forward, moves across a polished floor, wearing an elaborate gown of pink silk bro- cade, with Watteau train and puffed sleeves. With her right hand, half concealed by a fall of lace, she lifts the skirt in front to show a white lace-trimmed petticoat, beneath which her slippered feet peep forth. Her dark hair is dressed high from the neck, about which she wears a band of black velvet. Signed. Dated 1873. Canvas: Height, 254% inches; width, 22 inches. g t . No. 39 THEOPHILE DE BOCK THE EDGE OF THE FOREST ie p-PraCe BENEATH a clump of trees, torn and twisted by many storms, a small, scattered flock of sheep are grazing along an unfrequented grassy road, which stretches down to the foreground. A young girl, sitting at the foot of a tree, watches her flock and knits. The foliage, touched here and there with brown, the soft-falling leaves and the cool stillness of the day tell us the summer is on the wane. This adds a fine sug- gestive note, and reveals to us that the artist has enjoyed those delicate confidences of nature which come only by slow steps as we grasp the meanings of life and things. It is a scene that would have delighted Corot, just as it does all who love nature in her tender moods, for it is not merely a descriptive canvas, but a synthetic rendering of the emotions awakened in the artist’s mind. Signed. Canvas: Height, 38 inches; width, 55% inches. No. 40 PINCKNEY MARCIUS SIMONS THE CHARIOT OF THE SUN ME Geo. << WE see a limitless landscape, embracing farms and forests, towns and villages, past which flows a silvery river spanned by bridges. At the right a white castle, with its dependencies, sits perched on the almost inaccessible height above the stream. Through the sky comes the Chariot of the Sun, in which Apollo drives his widely separated and rearing steeds. As he advances, the golden glory of the morn radi- ates over all the landscape, touching castle and stream with light, and dispelling the mists that hang over the world. Signed. Canvas: Height, 341% inches; width, 43% inches. Purchased from M. KNorpier & Co. cS No. 41 ETIENNE PROSPER BERNE-BELLECOUR 1838— THE PRISONER Lx). Meyer To a French country villa, which has been converted temporarily into army headquarters, a guard of three soldiers, in the uniform of the infantry, have brought a German soidier, apparently a despatch bearer, taken within their lines. The officers are summoned and stand on the entrance porch, while, half seen in the doorway, the sergeant in charge of the guard relates to his superiors the circumstances of the capture. The sentinel on the farther steps forgets his duties in listen- ing to the story. At the back of the grassy lawn appear the stacked guns of the men, while through the windows of a ruined wall is seen the shrubbery of what we may suppose was a lovely garden, now ravaged by war. The incident is told with dramatic intensity and con- vincing truth, and must be regarded as a page from the story of an historic period. Signed. Dated 1882. Canvas: Height, 39% inches; width, 26% inches. No. 42 ADOLPHE MONTICELLI 1824—1886 LA FONTAINE Lb afzelii On a garden lawn, streaked with shadows from noble trees, a woman, handsomely dressed, stands with two children beside a garden seat. Be- fore her bows another woman, while a second, to the left, offers a flower, which she holds up. 'wo other figures are seen advancing from the right. In the middle distance, seen against a background of trees, a fountain throws up sprays of water, which flash in the sunshine. Panel: Height, 11 inches; width, 8% inches. Collection of Daniwi Corrimr, Esg., who purchased it from the Artist. ) No. 43 ADOLPHE MONTICELLI 1824—1886 A GARDEN PARTY Ctr tials Fetter AGAInst a deeply shaded background of greenery move richly dressed figures forming into several groups. In the foreground a woman, with her back toward the spectator, is engaged apparently in con- verse with a seated figure. On the left is seen the figure of a man in black, with a woman moving toward the deep boscage seen in the dis- tance, leaving a young woman standing alone. Extreme richness of color marks this work of the great fantaisiste who, upon his passing, left no successor. Signed. Canvas: Height, 15 inches; width, 21 inches. Collection of Daniet Corrizr, Esg., who purchased it from the Artist. nl ® , No. 44 ADOLPHE MONTICELLI 1824—1886 ; 4.0 afA MATINEE DE PRINTEMPS ee » In a corner of a park, shaded by great trees, which permit patches of blue sky to be seen only at the left, a number of figures are gathered. Two women stand at the right, facing a man who reclines full length on the grass, beyond whom a woman is seen seated. ‘Two young girls . are sitting on the rock above her head under the branches of the tree. Two dogs appear on the right. The picture is one of idyllic charm and great beauty of color. Signed. Canvas: Height, 141% inches; width, 1034 inches. Collection of Dante. Cortier, Esq., who purchased it from the Artist. No. 45 SIR HENRY RAEBURN 1756—1823 PORTRAIT OF A LADY Ab Moyen A youNnG matron, seen to the waist, is shown turned three-quarters view to the left, with eyes gazing directly at the spectator. She wears a white kerchief reaching to the shoulders, with a ruffle about the neck and front, and ending in a bow on her bosom. Above a powdered wig, which half covers her ears, rests a high lace cap, failing lower at the back, edged with a ruff and trimmed with white ribbons. From the ear visible hangs a diamond-shaped pendant, studded with pearls. The figure appears against a dark, indefinite background. Canvas: Height, 26 inches; width, 22 inches. No. 46 JEAN BAPTISTE CAMILLE COROT 1796—1875 GIRL. PICKING WILD FLOWERS In a flower-strewn meadow, hemmed in by low hills, a girl is seen at the right picking some white flowers. Her head is uncovered, and she wears a white waist and a dark skirt. Beyond her rises the highest of the range of hills, tufted with shrubbery and arched by a gray sky. Signed. Canvas: Height, 9 inches; width, 13% inches. No. 47 THEODORE ROUSSEAU 1812—1867 EDGE OF THE FOREST hae Caton From the margin of a pond which fills the foreground, whose surface reflects the deep green of the woodland, rises a group of trees whose thin trunks are intricately tangled. 'To the right several distinct trunks are seen alone, while the green wall of the densely wooded background intercepts further view. A luminous blue sky arches above. It is the work of a passionate lover of nature who constantly sought to present things in a large way. Canvas: Height, 91% inches; nidth, 7g inches. cf No. 48 JULES DUPRE 1812—1889 CHAUMIERES PRES CAYEUX BENEATH a dark, stormy sky, against which the wind sways the branches of the trees, is seen a group of thatched-roof farm-houses of the familiar French type. The rain has left a shallow pool of water by the roadside in the foreground, beyond which a man hurries toward one of the cabins. The only remaining sign of life is found in some fowl seen down the road, gathering their evening meal. Both in color and composition the picture is one of strong dramatic effect, to secure which the painter was willing to sacrifice those unimportant details of execution in which the virtuoso finds delight. Signed. Canvas: Height, 2134 inches; width, 18% inches. Purchased from Messrs. Duranp-RveEt. Illustrated in La GaLterte Duranp-RueEt, No. 109. 1) 8 fs No. 49 SCHOOL OF REMBRANDT lbs 5 PORTRAIT OF A YOUNG MAN ase ‘e BENEATH a broad hat whose brim is fastened up with a jewel, the face of a slightly bearded young man looks forth, his gaze directed toward the left. He sits sidewise on his chair, resting his right arm on its back, thus showing his right hand. The dark coat which he wears, and also the shirt beneath, are open at the neck. Diagonally across his chest falls a heavy chain from the right shoulder. His long hair falls over his collar. His features and hand, as well as his dress, proclaim him a man of rank. It is a work of masterly quality, and has been attributed to Rembrandt himself. Canvas: Height, 254% inches; width, 21 inches. MAN OF A TRAIT OR p DT c REMBRAN ‘ OF CHRIST — NG OCK. * 4 ) No. 50 GUSTAVE DORE 1832—1883 2 big THE MOCKING OF CHRIST CLOTHED in white, with arms bound and head crowned with thorns which send the blood trickling across His forehead, the meek and suf- fering Christ calmly submits to the mocking taunts and derision of His persecutors, who press about Him. One aged man leans on His shoulder, one with bare arms resting on His knee, with clasped hands, looks mockingly up at Him, and a third reviler, stripped to the waist, has placed a reed in one of His hands, as a mimic symbol of His soy- ereignty. While not a great technician in the modern sense, Doré was aman of strong personal temperament, and gave an individual touch to whatever he undertook, and every canvas that he left may be re- garded as an imaginative and intellectual effort of his peculiar human intelligence. Signed. Canvas: Height, 481% inches; width, 38 inches. No. 51 GERARD ALEXANDRE MOLLINGER 1833—1867 THE FLAX DRESSERS In the broad space between two large farm-buildings, with steep roofs of thatch, three women are engaged in dressing flax, while a fourth gathers it up as it falls to the ground. A man with a wheelbarrow is seen taking a load through the open door of the barn at the left. Chickens are feeding about the space, which is strewn with an old broom and various litter. Beyond the barns rises the back of the farm- house, the long slope of its roof reaching almost to the ground, and farther still a tree forms a striking silhouette against the luminous gray sky. Canvas: Height, 36 inches; width, 60 inches. No. 52 SPANISH SCHOOL THE YOUNG ST. JOHN Pi ae SEATED in a rocky retreat above the landscape, the young saint, almost nude, is engaged in reading a parchment which he holds in his left — hand as he leans back against the rocks. His right arm, extended at his side, holds his ight staff and cross of reeds, about which curls a scroll. His knees are crossed, and about his loins is wrapped a scarf falling below the knees. Vines and leaves spread over the foreground, and in the distance, beneath a cloud-strewn sky, is seen a glimpse of rolling landscape. The face and form have the beauty of youth, and suggest that the painter may have been an associate of Murillo. Canvas: Height, 561% inches; width, 4014 inches. NO" | No. 53 ANTOINE FRANCOIS VAN DER MEULEN 1634—1690 TuE battle takes place in a sheltered retreat, where the French foot- A BATTLE IN FLANDERS soldiery has been surprised by a troop of Flemish horsemen and are being cut to pieces in a hand-to-hand conflict. The combat is at its height, and the horses are trampling the fallen foes. Down the space between the rocks other soldiers are advancing to share the same fate. Above the horses the rocky hill is crowned with trees, beyond which a sky of moving clouds adds dramatic interest to the scene. Canvas: Height, 481% inches; width, 691% inches. ae No. 54 JEAN BAPTISTE CAMILLE COROT 1796—1875 DANTE AND VIRGIL THROUGH an opening in the dark wood, Dante and Virgil move toward the right, Virgil, in white, with outstretched arm pointing the way to his companion. Dante, in long gabardine, his head covered with a hood, withdraws timorously from a snarling wolf that approaches too near. Before them a tiger crouches in their path, while beyond, unseen, a lion prepares to spring forth. At the left rise two tall trees with a sapling between, and beyond is the open landscape under a silvery sky, forming one of this master’s finest compositions. It was painted in 1830. Later he painted the larger picture now in the Boston Museum. Signed. Canvas: Height, 53 inches; width, 33% inches. Collection of DanteL Cortirr, Esq., Paris, 1868. Illustrated in Tue Barrizon Scuoor (D. Croat THomson). Shown at the Exhibition of Tur Copiey Society, 1908. (See Frontispiece.) ftz WOL3IS = (G.7) SECOND AND LAST EVENING’S SALE FRIDAY, MARCH 12, 1909 AT MENDELSSOHN HALL ForTiETH STREET, East oF Broapway BEGINNING PROMPTLY AT 8.30 O'CLOCK No. 55 Veh : JOHN H. TWACHTMAN 1853—1902 FREIGHT BOATS ON THE SEINE —Wi/ ore Avr a point where the river widens out, forming a small bay, two freight barges are moored, taking on their loads to be transported down the river. Beyond the bay a point of land covered with trees reaches out into the water, against which rises the steam from a small tug near the shore, also three tall poplars. The river reflects the gray sky, making altogether one of this artist’s most pleasing pictures. Signed. Canvas: Height, 1414 inches; width, 22 inches. ti Pic's No. 56 Ve dO WILLIAM GEDNEY BUNCE 1840— Loon ies EARLY MORNING—VENICE Tue glowing light of sunrise sheds its glory over a group of fishing boats with colored sails moored along the waters in front of the Public Gardens in Venice, doubling their reflections in the sea. The light touches the scene with a poetic aerial mystery that awakens a mood in the observer. Mr. Bunce can never be regarded as a neutral painter, for such a painter lacks the poetic temperament and carries no message. Panel: Height, 12% inches; width, 1614 inches. Purchased from the Artist. No. 57 Vika | FERDINAND ROYBET 1840— Cc aa A DWARF OF CHARLES VP. KO 4 a7) Wiru his left arm across the neck of a huge dog, the dwarf, dressed in black velvet suit and cloak trimmed with gold, and wearing a gold chain with ornament about his neck, and a chain about his waist sus- taining his sword, turns his face in profile toward the left. In his right hand he holds a wand, which rests on the dog. The splendid mastiff, with white breast and paws, gazes directly at the spectator. Signed. Canvas: Height, 9 inches; width, 64 inches. From the collection of Samurt Coteman, Esq., New York. Mp No. 58 WILLIAM GEDNEY BUNCE 1840-— VENETIAN FISHING BOATS A croup of fishing boats, with orange and red sails glowing under the evening sun, are reflected on the shimmering surface of the placid Venetian lagoon. At the left the dome and campanile of San Giorgio appear like a ghostly mirage on the horizon. The sky, flecked with drifting clouds, is filled with golden light, and a small market boat moored to a group of black piles furnishes the note of dark color needed to complete the red and gold harmony. Panel: Height, 1214 inches; width, 25 inches. Purchased from the Artist. 2 oe -No. 59 ALBERT P. RYDER 1847— THE SMUGGLERS’ COVE —U2*s(irtlon Meats fly AGatnsr a rocky bank overlooking the sea a sailing vessel is drawn up, resting on its side. High rocks rise on the left, hollowed out be- neath, where a habitation for the smugglers has been set up. Men are engaged in unloading the cargo from the boat, in which a horse stand- ing on the beach is employed. The sea stretches out to the horizon line unbroken by any visible object. Canvas: Height, 10 inches; width, 28 inches. Purchased from the Artist. No. 60 ihe PAUL JEAN CLAYS 1819—1900 pa ioe BOATS ON THE SCHELDT On the broad clay-tinted waters of the River Scheldt floats a heavy- hulled merchantman, setting sail and flying the Belgian flag. Her flapping topsail and fluttering pennant show the rising wind. On her deck are seen a number of men seemingly anxious over the proximity of a couple of small fishing boats with sails spread that drift danger- ously near, as though driven by the wind. Similar craft are seen faintly through the haze down the river, while in the foreground a dory, unmindful of wind or tide, is pushing its way with its own one- man power across the water. The gray skies always associated with the Low Countries bend over the scene, and the technical skill of the great Belgian painter marks the work. Signed. Canvas: Height, 23% inches; width, 191% inches. From the collection of Brrtan Watt. INOm OL HENRY BACON J/0 | 1889— THE OPTION: ALSACE AFTER THE FRANCO-PRUS- SIAN WAR Down the picturesque street of an Alsatian town move the groups of émigrés, exercising the option granted the annexed provinces by their German conquerors after the war of ’71. A market wagon, bear- ing the members of a family and their luggage, stops at the village fountain to refresh the horses. Holding her weary children, the mother looks back with sadness toward the home she is leaving forever. Little life dramas are being enacted on all sides. At the right a youth, who is being urged by a comrade to go, hesitates because it means separation from his sweetheart. Beyond, an aged peasant, too old to take the step, bids farewell to a youth with his pack, and still farther up the street, filled with bustling crowds, another youth, joyous over the prospect of seeing the world beyond, waves farewell to those he is leaving. Through all the excitement a stolid German officer at one side looks on placidly smoking his pipe. Signed. Dated ’73. Canvas: Height, 39 inches; midth, 51 inches. Exhibited at the Paris Saton, 1873. From the collection of L. L. Loriruarp, Ese., New York. do ? No. 62 WILLLIAM M. CHASE 1849— ee Btety In a pink embroidered kimono, which, falling apart, reveals a black THE KIMONO dress, a young woman sits in a bamboo chair, dreaming over a half- closed book, whose red cover makes a note of color, on her lap. A white sash holds the flowing robe in place about her waist, but the wide sleeves reveal her bare arms. At her side stands a small bamboo easel, holding an open portfolio containing color prints, some of which have been extracted and lie on the floor at her side. A Japanese screen, whose diminutive figures add a touch of piquant interest, serves as a background. While in a very high key of color, the picture as a whole is very quiet, and attests the mastery of the painter over his material. Signed. Canvas: Height, 35 inches; width, 45% inches. Purchased from the Artist. LO ‘JAN FYT No. 638 ~ 1609-1661 No. 64 ike ANTONIO MANCINI THE FAN KT. -fndrene DreEsseED in white, with a thin white scarf falling over her shoulders and arms, a young dark-haired girl, seen in profile, sits idly gazing toward the left. Her head leans to one side, and her extended right hand holds a fan, which lies open on a cabinet beside her. Nearer to the spectator, on the seat, is the figure of a doll, fully dressed, holding a long peacock feather. From the filmy scarf emerges her left hand, with rings on her fingers. Large beads encircle her neck, and a jewel hangs from her ear. Signed, Canvas: Height, 30% inches; width, 2514 inches. 5 72 A Purchased from the Artist. jos No. 65 HENDRIK WILLEM MESDAG 1831— Fla SCHEVENINGEN IN WINTER On the wide stretches of wind-blown sand, broad-beamed North Sea fishing boats are drawn up to preserve them from the pounding of one of those long-continued winter storms on the Dutch coast. The masts of. some are down, while on others the pennants still fly, indicating they will soon be afloat again. Groups of men and women, who depend for their livelihood upon the harvest gathered from the sea, meet here and there to discuss the prospects for the morrow, while a couple of horses stand ready for their task of drawing the boats back across the sands. A lowering gray sky stretches down to the horizon, the whole being painted with that firmness and knowledge which ever mark Mesdag’s work. Signed. Canvas: Height, 19 inches; width, 3084 inches. No. 66 ig Ys J GEORGES MICHEL 1763—1848 AN OLD FARM AS entry er ON an eminence rising toward the left stands an old farm-house with thatched roof, sheltered by several spreading trees. Beyond stretches the meadows, across which a man and a woman are seen driving a cow and a calf. Another figure, in the foreground, bears a pack, and is making his way up the hill, followed by his dog. Masses of clouds move across the sky. Canvas: Height, 181% inches; width, 2814 inches. No. 67 GEORGES MICHEL Viz J. JO 1763—1848 pth A RIFT IN THE STORM CLOUDS THROUGH an opening in a woodland a road from the foreground curves toward the left, turning about a knoll on which stand three | trees and some low bushes about a fence. In the road is a man, followed | by two dogs. On the farther side of the road rise clusters of trees twisted by the storms. Through the centre of a dark, threatening sky the clouds break apart and allow the light to come through. It touches the trees so that they seem to sparkle in the wind, and falls on the road- way, making it seem a pathway of gold. Few of this artist’s pictures afford a finer contrast in light and shade. Canvas: Height, 284 inches; width, 39% inches. No. 68 Ma ris a ALBERT P. RYDER | ~ 184.7— pe ¥ Khe arn | THE BRIDGE Ye hs. . WAnnrdy1Annr~ From a group of buildings gathered on a slope at the left runs a high bridge of many arches across the valley to a higher hill on the right. Some trees spread their branches in the centre, while others of smaller growth are seen on the slope at the left. Beyond the brow of the hill at the right is seen the top of the dome of some structure lying beyond. A strong light of sunset fills the sky behind the bridge, shining through the arches. Canvas: Height, 9Vg inches; width, 267g inches. Purchased from the Artist. jee? No. 69 THEODULE, RIBOT. 1923-607 a . pea AN ITALIAN PEASANT GIRL Wearine the peasant dress of Italy and a white kerd i a dark-eyed maid sits on a rude bench, resting a mo’ stand a platter and Aagon, Signed. No. 70 ee MEVTLING 3 je 1847— x ce LE PNA and a ie Ole books, ne bra: and a number of articles. Other ob jects are seen on ae ) at her back, and beyond her, at the none of the ne is group of still life. Signed. Dated "TA, nde cen SrA Bete TT ed No. 71 ae a mn ies ILLIAM EYTY see ee a! ~ 1787—1849 THE EVENING STAR : MW STANDING in her flower-decked car, Venus, the Evening Sta her span of doves across the cloud-paved courts of Heaven head-plate keeps her hair in place, above which floats a ‘sti rose-colored drapery floats free from her shoulder, reveal figure, and giving the artist ample opportunity to sho flesh painting. It is a graceful fancy ably carried out, ar tator is conscious of the painter’s strongly marked He which sentiment is a dominating force. Canvas: H eight, asl, inches; nidth, N0s272 WILLIAM ETTY | a ' 1787—1849 * q CGlitertec Do Ae WiutH one arm about her waist and the other holding her upraised arm, the muscular, swarthy, half-nude corsair bears his victim off to some fe of retreat in the forest, seen in the background. She, nude to the waist, a with her hair flowing free, struggles in vain against her captor. Ktty 3 2 was a follower of the Romantic movement in art-—that awakening | which stirred the progressive artists of the first half of the nineteenth century—the men who sought to break away from the exaggerated — i conventionality and artificiality of classic painting. Byron gave the = movement exuberant development by his Romantic poems of “ Childe Harold,” “The Giaour,” “ The Corsair” and “ Lara,” which became: widely popular and supplied many themes for Romantic painters. THE CORSAIR ¢ Canvas: Height, 2734 inches; width, 21 inches. No. 73 ALBERT P. RYDER 1847— THE CURFEW HOUR Mihi fr ton Matin Two peasants’ cottages rise on a lonely moor lying in deep sade The sun is setting behind a distant hill, and down the road in the for ground a cow wanders homeward. The last rays of the sun touch the | cottage fronts, the cow’s back, the ragged stone wall and the man who- labors in the field. Over all brood deep, mysterious shadows, sounding: the depths of nature in a minor key. ; Signed, Canvas: Height, 7% inches; width, 10 inches. 3 4 Purchased from the Artist. ; Sie No. 74 IVAN POKITONOW (C4 Pilamc THE OUTSKIRTS OF A FRENCH VILLAGE Across a stretch of broken country we see a village and, beyond, the roof and spire of its church. A few thin trees mark the boundary of the road, reaching down to the left, in which the recent rain has left a shallow pool. Down the road a man is seen moving toward the village. At the right a small stream circles through the landscape. This Paris- ian-Polish painter has been termed the Meissonier of landscape art, for he brings to his minute transcripts of nature the same breadth of vision and capacity for detail that Meissonier put into his figure subjects. Signed. Panel: Height, 5 inches; width, 10% inches. -_ a LS SC ‘ pi fisherman’s cabin. On the left a boat has cast anchor, | ‘No. Vn nes Rea: ALBERT P. RYDER 18 ae : SHORE SCENE 1 IN the shelter of a long, low hill, that extends from the 1 wet sands a woman and a man, with baskets on their ‘panied by a dog, are making their way toward the hous filled with evening light, and a peaceful calm rests on the si Purchased from the Artist. No. 76 plier . ALBERT P. RYDER" | am aed ae - LF, MOONRISE_ SomE sheep lie peacefully in the foreground, their backs the light which fills the sky at moonrise. At the right ar beyond which rises a tree, and on the left a second tree branches against the golden sky, from which the great moon is just rising above the horizon, leaving her glo object. ag Gurded ; a Canvas: Height, 81% inches; width, Purchased from the Artist by Cortimr & Co. 1E > | a Sold in the R. T. Hamiuron Bruce Sate, London, 1903, and purchased ae ; Jeo qed fmnk phe No. 77 JAMES McNEILL WHISTLER 1834—1903 A STUDY IN BLACK AGAINST a misty black background is seen the full-length figure of a young woman standing with hands clasped before her. She is clothed in a black dress, which rises high on her neck, finished with a narrow white collar. Her hair, parted at the side, is held in place at the back by a comb, which is seen above her head. What Whistler strove for was not to make his figures “ stand out from the frame,” but, on the con- trary, to keep them within the frame, and at a depth equal to the distance at which the painter sees his model. “ The frame,” he said, “ is the window through which the painter looks at his model, and nothing could be more offensively inartistic than this brutal attempt to thrust > the model on the hitherside of this window.’ Canvas: Height, 16 inches; midth, 12V inches. Gee? No. 78 GIOVANNI BATTISTA TIEPOI - 1696—1770 i, ST“ ROCHE AME hee SEATED on an upper balcony, the figure or aman is seen tu left. Weary with his pilgrimage, he leans his head again t wall. In pilgrim dress, his knees bare, his scarf loosely wra him, and his hat hanging on his back, he holds some fruit 1 dear! on pic ae has eaten, while nk en presse a sare ie No. 79 FERDINAND ROY BET eae RETURN FROM THE CHASE “as Ix a sheltered place two horsemen meet and engage in ¢ c One, in uh Fores round: booted and spurred, rides a horses between two Ne eres which he holds in leash. Haste stretches scape under a gray clouded sky. Signed. he: No. 80 ia * ADOLPHE MONTI CELLI 1824—1 886 THE ABDUCTION | Bt a To a wild mountain gorge, whose cliffs rise high on € a glimpse of the sky, against which, high up on the left, While all of Monticelli’s productions are of the studio, r. Yr life, ue Bercus wonder f suerte dreams of color. ee hil vision. Panel: H. eight, 1514 inches : width, From the collection of Danini Corrizr, Esq., who purchased it from the yon LANDSCAPE, WITH PIGURES. No. 81 ADOLPHE mee 1824—1886 hy patents is an unas dream of ii Signed. No. 82. ADOLPHE MONTICE ye hs te > apeweeaaegs | be CLATRIERE sit, and all are richly nat Beyond the shrub sky one the harmony of the picture. = 2 Canaa Haigh 141% inches Signed. From. ie collection as Dantex Corn, Esq., who purchased it 2 S at. No. 88 ADOLPHE MON'TICELLI foe | : aa Be 1824—1886_ the foot of a tree on the left is a goat. The branches of sparkle with light from a sunset sky. Signed. : ; Canvas: Height, 2334 inches; widt From the collection of Daniext Corrine, Esa., who purchased it fro Fixe > he je No. 84 MATHIAS MARIS—MONTICELLI If tae Keg IN THE WOOD A LADY on a white horse, attended by a knight, also mounted, coming along a woodland road, meets two richly dressed women walking, ac- companied by two dogs. The dark woodland background is pierced here and there by the hght from afar. This and the following picture are the joint works of the two artists. Presumably the composition is by Monticelli, taken in hand later by Mathias Maris, who carried it to completion in the spirit of painting which has made his pictures famous. Signed, Canvas: Height, 14 inches; width, 21 inches. Purchased from Maruias Maris. jy? No. 85 MATHIAS MARIS—MONTICELLI — IN THE GARDEN es te 2 a In the shadow of deep summer foliage three richly standing near a column and bef. ore a garden seat, are en mated conversation. Two setter dogs at their feet seer spectators. Like the preceding number, this is the sei ti two artists jointly. Signed. Purchased from Maruias Marts. jes No. 86 JEAN FRANCISQUE RAFFAELLI 1845—— = MW? [ae tffer— UNLOADING THE BOAT A wuHIteE horse stands patiently in the foreground, waiting until his load is complete. The chains of his harness, by which he is joined to the mate whose head only is seen, hang slack. Beyond, a huge freighter rests, its masts and tangled rigging etched against the sky. Along a footway of planks a laborer, with load on his shoulders, passes, and beyond, out in the stream, lie other boats. Signed. Canvas: Height, 18 inches; width, 18 inches. From the collection of Wiit1am M. CHase. No. 87 | faye eee EvabNn. FROMENTIN- 18201876 ee ais IN -ALGIERS—CAMELS the pone while ice companions “stand An Arab, dros with white burnouse a ee from his head, stands by. Signed mith initials. te Panel: Height, 11 Bi: mith, Frove the collection of Daniext Corrirr, Eso., OS 1892. " ge No. 88 ALEXANDRE GABRIEL DEC. \ ~ 1803—1860 A GOATHERD AND HIS DOG Ona eae eminence elOORe a wide een of hilly | a goatherd resting. He wears the simple costume of the knee, and his water jug hangs at his side. Beside him lies his: several goats are seen grazing about the rocks. The la with a ridge of distant mountains. Signed. Dated 1843. . jo No. 89 EDOUARD JEAN BAPTISTE DETAILLE 1848— Bae IES = FRENCH HUSSARS Moun'tED on a prancing gray horse, a young officer of Hussars, in full uniform and fully accoutred, advances in review. With his left hand he keeps his horse in check, while his right holds his drawn sword in position. Beyond appears the regiment going through its mdnoeu- vres, in which a small dog takes active part. Detaille is a virtuoso whose figures always show vivacity and action. His artistry here as always is of the most remarkable kind, and he charms by his elegance and by the ease with which he overcomes all technical difficulties. Signed. Dated 1879. Canvas: Height, 1844 inches; nidth, 1544 inches. — From the collection of the late GENERAL S. THoMas. ee No. 90 GUSTAVE COURBET 1819—1877. SW Ocak THE WAVE IF’rom a far-reaching turbulent sea rolls the compact liquid wall, rising to its full height in the foreground, the volute held in suspense an in- stant, then curling over its white crest to break in seething foam on the pebbly beach. The artist aimed to give the moving line of this wave and to convey the impression of mass and weight. The tumult: of the sea is repeated in the sky with its heavy clouds, thereby creating the thought of unity of movement. Courbet exercised great influence over Whistler. They spent several summers together at Trouville, painting the sea as seen from the shore, and while engaged on the same task, each showed his own personal development. Signed. Canvas: Height, 214% inches; width, 29 inches. No. 91 VEE THOMAS COUTURE | 1is—1019 + OL Maole< $a Cee A MEMBER OF THE GUARD CLOTHED in the uniform of Chasseurs—a red coat, faced with white, and red epaulettes—this finely modelled head of a handsome young Frenchman makes his appeal to us because of his soldierly bearing. His well-formed features, deeply shaded by his black chapeau, with cock’s feathers, show him to be above the peasant class. He wears a youthful mustache and imperial, and his eyes, cast upward, give a romantic interest to the head. There is the firm, even vigorous, appli- cation of color and richness of tone which marked Couture’s technical processes and won him the admiration of artists everywhere. Signed, T. C. Canvas: Height, 20 inches; width, 16 inches. From the collection of Danie. Cortizr, Esq., Paris, 1892. at ir, Ae eee ‘, No. 92 ipa = CONSTANT. TROYON Cis 18101865 ( CATTLE ox ee ‘aoa this master. Canvas: Height, 18 inches; No. 93 TPES THEODORE ROUSSEAU 1812—1867 ee THE CHURCH IN THE VALLEY Across the foreground lies a broad meadow, separated from the road- way, which leads down to the valley, by a broad hedge. At the right of the meadow stands a cluster of fine trees, cutting off the view beyond. At the end of the trees rises the pointed bell tower of the church and, nearer to the spectator, a dwelling house. Other houses are lost among the trees at the left. Beyond we see the further upward slope of the valley, the horizon line being fringed with trees. Signed. Canvas: Height, 834 inches; width, 14 inches. — ie No. 94 THEODORE ROUSSEAU 1812—1867 Ant[r J Met THE POND In a forest of great trees is seen a pond which mirrors the woodland greenery. Through the spaces between the trees an open stretch of meadow is visible, flooded with light at evening. Deep shadows lurk in the thicket of tangled stem and branch on either hand, and everywhere the mystery and repose of the great forest is felt. Signed. Canvas: Height, 18% inches; width, 231% inches. From the collection of Danie. Cortizr, Esg., Paris, 1892. FSC No. 95 THEODORE ROUSSEAU | : - 1812—1867 ie IN THE PYRENEES STANDING on an eminence, with a deep gorge at our fee aie only the tops of the trees are seen, we look across a broken peaks, ridge after ridge, to a line of great mount the far-off horizon. Trees stand in the valleys, and here small lakes are seen, but no habitation of man. | Signed. : | Be. Canvas: Height, 13% inches ; width, 16Y, aa a No. 96 CHARLES FRANCOIS DAUBIGNY L050 1817—1878 ; ON THE RIVER BELOW DORDRECHT In the foreground the river, which becomes sluggish as it nears the sea, drifts past the numerous windmills that rise above the houses along the shore. Two of these mills, with their wings spread, loom ominously dark against the sky in the centre of the picture. Along the waterfront numerous piles appear as a fringe to the shore. At the — right two market boats are moored, their sails down, awaiting orders. Bits of foliage break the horizon line, enlivening the whole by their color. A pearly sky covers the entire scene. Signed. Canvas: Height, 1814 inches; width, 32 inches. fOLE No. 97 CHARLES FRANCOIS DAUBIGNY 1817—1878 Seng f ae THE OCEAN Unpber a clouded sky, across an immeasurable distance, the gray sea stretches to the horizon, dotted with ships that appear as mere specks. In the foreground the waves are touched with white foam as their volutes break, only to be succeeded by others, while a flock of gulls spread their wings in flight. Throughout, the artist was not so much interested in trying to render the literalness of detail as in conveying to the mind his impression of the scene, its sublimity, its immensity and the resulting emotion. By the elimination of detail he opens a door to a world of meditation and of dreams. We are here in the presence of one of this master’s greatest works. Signed. Dated 1876. Canvas: Height, 41% inches; width, 8114 inches. From the collection of Danie Corrimr, Esg., Paris, 1892. Je No. 98 JULES JOSEPH LEFEBV RE 1834—1881 Mtlnk ptfe LL, : THE LANGUAGE OF THE FAN WEARING a red dress, figured with white, across which, about the waist, is drawn a broad red Japanese silk scarf, embroidered with white, a dark-eyed young woman stands on a garden balcony, gazing directly toward the spectator. With her right hand she holds a red open | fan to her lips, while her left, turned at the wrist, rests on her hip. A red kimono, gathered loosely over the shoulders, is pushed back at the waist and falls behind. In her hair, twisted high on her head and crimped about her forehead, are ornaments and white flowers. She leans against a wall of wood, while beyond the balcony rail are seen masses of dogwood flowers. There is no uncertain drawing, no care- lessly rendered textures, but the portrayal of the head, the hands and the brilliant drapery shows accuracy of observation. Signed. Canvas: Height, 514/4, inches; width, 35% inches. No. 99 Wie 57: JEAN LOUIS THEODORE GERICAULT me he —- STANDING in line fronting us are seen seven spirited horses, alternat- STUDY OF HORSES ing white and dark in color, while the afterpart of another is seen at the left. In making his study only the heads and fore parts of the animals were carried out, but into it he has put the spirit of the animals with great variety of attitude and expression. Canvas: Height, 16% inches; width, 30 inches. From the collection of Van Prarv. VL ® No. 100 FRANCOIS BONVIN 1817—1889 KIN, he L IN THE CONVENT SEATED in the spacious tile-paved kitchen of a convent, a placid-faced nun, wearing the garb of her order and a large crucifix upon her breast, knits diligently during the hours of her watch, while her mind ranges over other things. An expansive white apron protects her dress, and also helps the artist to form his pleasing color scheme. On the table at her side stand a pewter tray and flagon—a bit of stil life painted in a way to delight the eye. At the back a nun in the dress of a menial draws water from a large copper water urn, equally well painted, while at an open door another sister is seen standing, looking into the dormitory beyond, with its row of curtained beds. Signed. Dated 1868. Canvas: Height, 1614 inches; width, 11% inches. No. 101 FRANCOIS BONVIN ASSES 1817—1889 — THE HOUSEMAID In a brick-paved hall leading to the kitchen, a housemaid, wearing a red dress and bodice cut away to show the sleeves and bosom of a white undergarment, her feet in sabots and a white cap on her head, draws water from a large copper water-urn, supported on a staunchly built stool. The water runs from a faucet into a shining brass kettle, which, like the face, hands and arms of the maid, is touched with the strong light falling through a window at the left. Through an open door at the back we catch a glimpse of the kitchen, where a brass tea-kettle on the stove sends forth puffs of steam as it Joyously sings in the brilliant sunshine. Signed. Dated 1867. Canvas: Height, 151 inches; width, 11% inches. Purchased from M. KNorpiEer & Co., New York. Gt. L )- IG 9 1-FaAAasKx MKOGL/=— fober ras ti kia No. 102 SIR J OHN EVERETT MILLAIS 1829—1896 MAge gle ety LITTLE MRS. GAMP SEATED in a garden, wearing a fur cape and muff, her hat falling over her brow, the little sitter’s large eyes gaze directly toward the spec- tator. Curls fall about her ears, and her toes peep from under her dress. Her unfashionable umbrella lies folded beside her, and the back- ground shows a thick growth of ferns and flowers. The charm of the picture lies in the fact that the little sitter is just herself, perfectly child-like and absolutely natural. It was one of the artist’s most suc- cessful children’s pictures, and was painted in 1881. Signed in monogram. Canvas: Height, 44 inches; width, 32 inches. From the collection of Tur Lonnon Grapuic. Gr tebtid ah banmeger elit: Citaeseg 19084 #06 ~ No. 103 I ZZ. y) NICHOLAS MAES 1632—1696 Sng ene pl anager THE SATYR AND THE PEASANTS FAMILY THis picture is taken from /A“sop’s fable, “ Blow hot, blow cold.” While the peasant’s family are seated about the table for their even- ing meal, they are surprised by their strange visitor, who sits down to eat soup with them. Seated at the left, he tells his story, which is lis- tened to attentively by the peasant and his wife, who sits beyond, hold- ing a baby. The peasant wears his fur cap, and the wife appears in white cap and kerchief. T'wo other children are seen—a boy, wearing his hat, sitting at the right of the table, and a little girl, in cap, at her father’s knee. In the dusky background hangs a bird-cage, and in the foreground a group of still-life objects. Canvas: Height, 20 inches; width, 25 inches. No. 104 J 100 SIR JOHN EVERETT MILLAIS 1829—1896 Sarrph rence PORTRAIT OF MRS. HEUGH Wearing a black silk dress and black velvet coat the old lady sits in a comfortable green-covered chair, over the back of which is spread a white tidy. Her hands are folded on her lap, and in her eyes is a far-off look, as though dreaming of her youth. Her hair falls low over her temples, and is covered with a white lace cap, whose broad frills spread out over her shoulders. A gray paroquet sits perched on top of his cage at the right, apparently in the same contemplative mood. The | portrait of this Welsh lady, with face and hands wrinkled with age, is a consummately able performance. Signed with monogram. Dated 1872. Canvas: Height, 47 inches; width, 4034 inches. Exhibited at the Royau Acapremy, 1873. Mentioned in Lirr anv Lerrers or Sir Joun E. Mixtats. Shalit ab Ue Burlap Hoauro 1898 £944 Cum v fame Qnoch bag, ALS MRS. HEUGE aa g "ey ~~ - A a ee neve ede i « R War my ra 5) y : “Wiig i \, . » t ae U \ # , fr No. 105 SIR GODFREY KNELLER 1646—1723 lc tectloe Selleues THE SISTERS LADY RANELAGH AND LADY BRERETON On the left Lady Ranelagh, seated, is seen in three-quarters view. She wears a dress of brown silk, low in the neck, with full sleeve slashed, showing white underneath. Her hands rest on her lap. Lady Brereton, on the right, is seen front view, seated, wearing a low-cut dress of dark green, laced in front. The hair falls in curls about the neck, and both wear pearl pendants in the ears. Between them a young cupid, in red drapery, crowned with flowers, places a mass of flowers on Lady Brereton’s lap. A curtain background is pulled aside, showing a dis- tant landscape. An inscription on the canvas reads “ Lady Ranelagh, first wife of Richard, Karl of Ranelagh, and her sister, wife of Lord Brereton.” Canvas: Height, 50 inches; width, 57 inches. No. 106 JACOB VAN RUYSDAEL fat0o 1625—1682 Reon A WATERFALL Over a cascade of rocks the water comes tumbling down, breaking into foam, then spreading out into a broad stream in the foreground. Uprooted trees and broken branches are seen at the left, brought by some freshet of the past. In the middie distance a bridge spans the stream, on which a man is seen passing, almost lost in the deep shadows of the fir trees above. Still farther to the left other figures are seen. At the right, crowning the inaccessible height, is a castle outlined against the blue sky, mottled with white clouds. Signed. Canvas: Height, 40% inches; width, 33 inches. JACOB VAN RUYSDAEL A WATERFALL is ' ca e = iz Ps) a : ; i * epee ETIAN SENATOR 2m , . E | BY JACOPO ROBUSTI ree iad ee ‘ No. 107 JACOPO ROBUSTI (cattep TINTORETTO) fos a A VENETIAN SENATOR Tus distinguished half-length portrait shows the Senator standing, turned three-quarters view, gazing directly at the spectator. He wears a rich red velvet robe, the front and flowing sleeves edged with fur. His hair is short, and a long white beard falls to his chest. His right hand touches his thigh, and the left holds a fold of his robe in front. Of dignified bearing, he appears to be a man of sixty, in full vigor. An inscription at the right tells us he was a Senator of Venice. The frame is of antique carved wood. Canvas: Height, 38 inches; nidth, 30% inches. From the collection of F. R. Leyitanp, Esa., London, 1892. 7 G.L00 No. 108 ANGIOLO ALLORI (cattep BRONZINO) 1502—1572 0 taka ten DONNA GIOVANNINA CHEVARA, WIFE OF DON AN- TONIO RAMIREZ DI MONTALVO, AND HER SON THis Spanish lady is seen seated, almost front view, gazing directly toward the spectator, while her child stands at her side, with both arms on the arm of her chair. The mother is clothed in a rich, dark dress of figured brown and black, opening on a red skirt, and having a wide, flaring collar, which discloses a white gathered ruff, from which three silken cords hang down on either side. At the point from which the collar opens an elaborate jewelled ornament hangs on her bosom. From her waist hangs a chatelaine. On her finely shaped hands are jewelled rings. Jewels also are worn in her ears and across the top of the head-dress, while a string of pearls encircles her throat. Signed on back D’ANnaiot Bronzino. Old panel: Height, 40% inches; width, 321, inches. Purchased from the family in Florence by Messrs. Sutty & Co., London, from whom it was acquired by the late James S. INGuts. No. 109 FRANCESCO MAZZUOLI (cALLED PARMIGIANO) . 1504—1540 Mh bivred bc Co PORTRAIT OF ISABELLA DESTE, MARCHIONESS OF MANTUA THe lady is shown seated, three-quarters length, looking directly toward the spectator. Her dress of elaborately interlaced bands of dark velvet, showing an underdress of rose color, has very large puffed sleeves. Above the low bodice a white undergarment, embroidered with red, is seen, open wide at the neck. On her head is a wide turban, richly ornamented, worn back to show her hair in short curls. About her neck is a long chain, in her ears are pearls, and on her hands, resting on the arms of the chair, are rings. Through an opening at the back is seen a handmaid lifting a curtain to admit three peasant women to an audi- ence to this wonderful lady. Canvas: Height, 45Y inches; width, 36 inches. Purchased on the endorsement of Dr. Bovr, Director of the Berlin Gallery, from the Deus Rovere family, who are descended from the D’Estrs, by Messrs. SULLY & Co., London, from whom it was purchased by the late James S. INGits. ai NO, Lt NARCISSE VIRGILE DIAZ DE LA PENA 1809—1860 ME, Men tigtor A GIRL AND HER DOG BESIDE a great vase of flowers, resting on a high square pedestal, stands a fair-haired girl gazing forth at the spectator. She wears a rose-colored gown cut low in the neck, and her long hair is braided with strings of pearls. She reaches forth to touch her dog, who playfully jumps up to her. At her back rises a tree, beneath the branches of which we catch a glimpse of a wide-reaching landscape. It is an ex- ceptional example of the brilliant Franco-Spanish painter, since it shows him in a triple field—as landscape, figure and flower painter. # Signed. Canvas: Height, 80 inches; width, 48 inches. From the collection of Count Comonpo, Paris, 1893. fp No. 112 TONY OFFERMANS 1845— ee G. Thefheedk A DUTCH CATTLE MARKET In the broad market-place of the city of Leyden is gathered a great crowd of men and a few women to bargain for the cattle which the farmers offer. In the foreground a trade is being made between two men for the animal which one of them leads by a rope. At the right two women are earnestly engaged in conversation with a man. The cattle here and there look wonderingly on the scene and seem to feel themselves out of place. Two leafless trees rise at the left, and lines of prosperous-looking houses outline the square. True to the traditions of Dutch painting, the picture shows accuracy of observation, truthful color and marked talent for characterization. Yi */ Signed. Canvas: Height, 4914 inches; width, 961 inches. PRINT GAN FRR I FEES NG MNO. Lis ADOLPHE MONTICELLI 1824—1886 keory: re Mearn, THE TRIUMPH OF FLORA HicuH up on her car Flora sits surrounded by her attendants, while a young love, the genius of the season, lying on a bed of roses, is up- borne by a troop of young loves. A long procession follows, in the front rank of which is a young girl, bearing a tray of flowers on her head, while a dog full of life skips forward with delight. The work is marked by almost classic grace and accuracy, in striking contrast to other works from his brush. Canvas: Height, 136 inches; nidth, 127 inches. Purchased from the Artist. HOUSE DECORATIONS = INCLUDING PORCELAINS, BRONZES, E'IC. Y, FIRST AFTERNOON’S SALE THURSDAY, MARCH lirn, 1909 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 3 O’CLOCK ROMAN AND IRIDESCENT GLASS 1—Six Specimens oF Roman Gtuass Tear bottles with silver and gold iridescence. 9—Six SPECIMENS oF Roman GLASS Tear bottles of various shapes and with brilliant iridescence. 38—F ive SrecIMENS oF Roman GLaAss Tear bottles of various shapes and with silver iridescence. 4—Four Specimens or Iripescent Roman Guass Consisting of two tear bottles, one blue glass bottle and an interesting small jar, with cord-like decoration. 5—F ive Specimens oF Roman Gtass Consisting of four tear bottles of iridescent lustre and a smal] cup with relief ornaments. 6—F ive SrecIMENS oF Roman GLASS Consisting of small bottles of various shapes with iridescent lustre. 7—TureEE Specimens oF Roman Gtass Consisting of tall tear bottle of silver and green iridescence, a small jar with very fine lustre and filigree silver band and a small vase with golden brown and green lustre. 8—THREE SPECIMENS OF Roman G1Lass Consisting of a small pitcher of silver iridescence, a tear bottle with green lustre and a tall tear bottle with gold and green incrustation. 9—THREE SPECIMENS OF Roman GULAss Consisting of a tear bottle with silver and green lustre and two tall bot- tles with golden and green lustre. 10—Roman Guass: ARYBALLOS Globular-shaped, covered with a brilliant iridescent lustre. 11—T'wo Roman Guass Bow13s One of green texture, the other covered with a silver lustre. 12—-Two Roman Guass Bowts Both specimens covered with brilliant green and silver lustre. 18—Two Roman Guass Botrries With iridescent lustre. PERSIAN AND HISPANO-MORESQUE FAIENCE 14—Perrsian PuLateE Blue and white. In the centre a gazelle among flowers. Wide border of birds, flowers and scrolls in blue on ivory white ground. Konbachs—fif- teenth century. Diameter, 14 inches. 15—Perrstan PLate Elaborate decoration of birds, flowers and trees in deep blue on ground of ivory white. Konbachs—fifteenth century. Diameter, 131% inches. 16—Damascus Puiate Centre decoration of grapes and vines in brilliant blue on ivory white. Borders of floral and vine patterns. Sixteenth century. Diameter, 144, inches. 17—Persian Puate Tall flowers and stalks in soft polychrome coloring on ground of ivory white. Border of diaper pattern in similar colors. Konbachs—fifteenth century. Diameter, 131%, inches. 18—Hispano-Moresaque Prater Boss in centre surrounded by band of scroll patterns in pale gold lustre on ivory ground. Wide border shows leaf designs in lustre and in blues in relief. Pale crimson and violet reflections. Fifteenth century. Diameter, 16 inches. & 19—Hispano-MoresauE Puate In the centre a design of leaves and flower forms in copper lustre. Border of flowers in lustre. Seventeenth century. Diameter, 16 inches. 20—Tatt Roxxa Jar With four handles, ornamented with festoon and rosettes in relief at shoulder. Turquoise blue glaze. Completely covered with silvery iri- descence. Eighth century. Height, 19 inches. 21—Roxka Jar Deep greenish blue glaze, heavily encrusted with bronze and silver irides- cence, showing crimson reflections. Eighth century. Height, 91 inches. GREEK POTTERY 22—TuHreE SPECIMENS oF GreEK PoTTERY (4) Lekythos with one handle and incised decoration. Archaic period. (B) Lekythos from Athens, white body and black decoration. (C) Etruscan Lekythos, black decoration on terra-cotta ground. 23—THREE SPECIMENS OF GREEK PoTTERY (4) Lekythos, winged female figure bearing a salver. Incised borders. (B) Lekythos, draped female seated and holding musical instruments and scroll designs in brown on black ground. (C) Aryballos, incised decoration on black ground. 24—Two Specimens oF Greek Porrery (4) Etruscan Oinochoe, white decoration on black ground. (B) Etruscan Oinochoe, nude winged female, seated holding a basket of fruit and scroll designs in brown on black ground. 25—GRrReEEK PotTtTEery OINOCHOE Female figure seated, holding a mirror in her left and a basket of fruit in her right hand, in brown on a black ground. 26—Two Erruscan OrnocHor (A) Black ground with incised border (B) Black ground, with head of poet adorned with a wreath in red and white. 9%—GRECIAN ARYBALLOS Asiatic style; found in Rhodes. Decoration in brown and red of harpy and a duck. 98—Two SprEcIMENS OF GREEK POTTERY (4) Etruscan amphora with two handles. . Coated with a brilliant black glaze. ( B) Oinochoe, female head and scrolls in brown on a black ground. 29—Erruscan AMPHORA With two handles, brown decoration of draped female carrying a basket of flowers, and on reverse a female head and scrolls on a black ground. 30—Erruscan OINocHOE Black ground with nude figure of a Greek athlete carrying a garment, a branch of victory and his prize in red. . 381—Erruscan OINOCHOE Black ground with decoration in white and brown. 382—ErrRuscan OINOCHOE Decoration in white and brown on a black ground. 33—ErTruscaN OINOCHOE With one handle, decoration in red of female figure seated. 34—Cyprian AMPHORA With two handles. Decoration of lines and geometrical patterns in red and brown on an unglazed ground. 385—GRECIAN Pyxis With two handles and cover. Decoration in black on an unglazed terra- cotta ground. 36—EtTruscan Hypria With three handles. Decoration of female figure seated and other de- signs in red on a black ground. 37—Erruscan VAsE With top handle. Nude youth, draped female and scrolls in reserve on a black ground. 388—Erruscan AMPHORA Two handles. Decoration of youth and maiden beside incense burner and two youths in reserve on a black ground. 89—Grecian Hypria With three handles; found near Alexandria. Dolphin, linear and scroll decoration in brown on terra-cotta. 40—Erruscan AMPHORA With two handles. Brilliant black ground, with two youths in red. } 41—Errvuscan Lexytuos Procession of armed warriors and a horse in black on an unglazed terra- cotta ground. 42—Grecian Hypria With three handles. Found near Alexandria, black decoration on terra- cotta ground. 43—E:rruscan AMPHORA With two handles. Decoration of male and female figures in red and white on a black ground. 44—Firruscan Hypria With three handles. Black ground with female figures and other decora- tions in red:and white. 45—Aputian Hypria With three handles. Grecian athletes and female and scroll designs in red on a black ground. 46 ETRUSCAN PELIKE With two handles. Seven figures and scroll designs in reserve in red on a black ground. ORIENTAL PORCELAINS 4°7—Patrr Otp Imari Tea Jars Quadrilateral shape, floral decoration in blue, red and gilded. Silver caps. 48—Onp CHINESE Biuure anp Wutre Bown. Dragons pursuing the sacred pearl and other designs in underglaze blue. 49—Oxp CuInEsE CELADON VASE Tree peonies carved in relief in the paste under a pellucid sea-green glaze. 50—Oxp CuHinesE CiuB-SHAPED VASE Coral red glaze, with chrysanthemum amid leafy scrolls. Painted in brilliant enamel colors. 51—QuapriILaTERAL VASE Old Chinese, enamelled with a crackled glaze. 52—Oup CuinesE BuvuE anp Wuitr VASE Bottle-shaped, decorated in underglaze blue, with figure of poets in garden, palmettes and symbols. 53—Patrr Buur ann Wutire HawtTHorn Jars Clusters of prunus blossoms in white reserve on a cracked ice ground and the ‘“ Hundred Antiques ” in two white panels. Have carved teakwood covers. 54—CoverEeD Bown Chinese blue and white porcelain; panel decoration of the flowers of the four seasons painted in brilliant underglaze blue. 55—Larecrt Biure anp Wuiret Bown With metal handles; old Chinese porcelain; decoration of the “ Hundred $93 Antiques ” in two shades of underglaze blue. 56—Larcrt Bow. Old Chinese porcelain, beautifully decorated in brilliant enamel colors of famille verte. Tree peonies, plum in blossom, rock and birds. 57—LarcE Ovirorm Jar Old Chinese porcelain of dense texture invested with an opaque celadon glaze applied over a network of brown crackles. -58—LarcEe GALLIPoT Chinese blue and white porcelain of dense texture; decoration in under- glaze blue, with five-clawed dragons amid fire emblems pursuing the sacred pearl. Six-character mark of Wan-li round shoulder. 59—Buive anp Wuire HawrHorn Breaker Old Chinese porcelain of thin white texture; branches of prunus blossoms in white reserve on an opaque-blue ground marked to resemble the crack- ing of ice. 60—Buive anv Wuire Tempe Jar Old Chinese porcelain. Branches of prunus blossoms in white reserve on an opaque-blue ground marked with darker lines to imitate the crack- ing of ice. 61—Parr Buure anp Wuirtrt BrEAKERS Hard paste of the K’ang-hsi period. Decoration of peonies and leafy scrolls painted in brilliant underglaze blue. 62—Larce Buve anp WuirE Jar Dense porcelain of the Chien-lung period. Decorated in brilliant under- glaze blue with a wide band of lotus flowers and leafy scrolls and bor- ders of wave designs. On the shoulder two handles of butterfly and ring design. 63—Larce Brive anv Wuire Coverep Jar Dense hard paste of the K’ang-hsi period. Decorated in brilliant under- glaze blue with floral sprays, bands of sceptre heads and gadroons of lotus scrolls. 64—Larce Jar with Cover Dense porcelain of the K’ang-hsi period. Invested with a powder-blue glaze, over which is an elaborate decoration in gilding of butterflies, blos- soms and other designs. 65—Pair Crorsonnét Enamet Tempie Jars Of the Ch’ien-lung period. Archaic designs in brilliant enamels on a tur- quoise-blue ground; gilded brass ornaments and openwork covers. 66—Larcre Brive ano Wuitre Fisnp Bown Japanese porcelain of dense texture. Decorated in brilliant underglaze blue, tree peonies, magnolia and other flowering plants. On the inner sur-— face ** The Hundred Storks.” BRONZES, MARBLES AND MISCELLANEOUS OBJECTS 67—Bronze StratuettreE—* THe Peasant,” spy Bastien-LEPAcE N.B.—This was the first and only attempt of this celebrated painter at modelling. 68—AMETHYSTINE VASE Urn shape; on base of brass having rams’ heads on sides and surmounted by brass top. 69—Terrra-cottra Bust * Dancing Nymph,” by Carpeau. BRONZES BY BARYE—PROOF COPIES T0O—SrEatTED Hare Patine antique. Length, 2 inches; height, 3, inches. %1—Restinc Fawn Patine medaille. Green marble base. Length, 31% inches; height, 14% inches. 72—STanDING DEER Patine medaille. White marble base. Length, 34%, inches; height, 4 inches. “8—STanpInc CAMEL Patine medaille. Green marble base. Length, 4 inches; height, 41% inches. “4—Runnine Doe Patine medaille. Green marble base. Length, 6% inches; height, 4 inches. %5—Sirtine Lion Patine medaille. Length, 5%, inches; height, 7 inches. %6—Arr Rivinc Gnu Patine medaille. Green marble base. Length, 10 inches; height, 914, inches. T7—WrestTunc Bears Patine medaille. Length, 6° inches; height, 814 inches. MARBLE BY RODIN 48—Marsite Statve—* Le Marin,” sy Avucustre Ropin Pedestal of Ambonia wood for the above from an original design and manufactured by Cottier & Co. ANTIQUE AND MODERN FABRICS—EMBROIDERIES, BROCADES, | VELVETS, ETC. 79—TwurkisH EmBromery Red silk ground with gold and variegated colors in design. 80—ITratian CHASUBLE (Portion.) Net ground with variegated colored silks. coy g 81—CuinesE Buve VELVET SKIRT Butterflies, peony and pomegranate design. Ch’ien-lung, 1736-1795. 82—TurkisH EMBROIDERED PANEL Gray silk ground with gold thread design. 83—CurneseE VELVET SKIRT Orange red. Peony, butterfly and pomegranate design. Brocaded gal- loon trimming. 84—TwvrkisH EmproiperedD PANEL Red silk ground with design in gold thread. 85—AntievE IratiaAn BrocapEe Red silk ground with design in gold and silver. 86—ANTIQUE CHASUBLE Of purple velvet. Silver spangle design all over body. 87—GENOESE CuT VELVET Palm design in green on gold ground. 88—ANTIQUE SPANISH EMBROIDERED SKIRT Green ground, with design in yellow. 89—AntTiavE IraLIan CusHIon Cover Red velvet appliqué on cloth-of-gold. 90—CuineEse EMBROIDERED SILK SKIRT Plum brown, with peony, birds, butterfly design. Chia-Ch’ing, 1796- 1820. 91—T apie Cover Olive-green plush trimmed with tinsel galloon and lined. 92—Inp1an EMBROIDERY Yellow silk ground, with mirror appliqués and silk needlework. 93—CHINESE SILK Rose Golden brown, with medallions of dragons brocaded in body. Chia- Ch’ing, 1796-1820. 94—TurkIsH EMBROIDERY Light blue silk ground, with designs in red and cream. 95—TurkisH EMBROIDERY Orange-red ground, with appliqué embroidery ; golden-colored border. 96—ANTIQUE SPANISH APPLIQUE Green and gold design and floral embroidery. 97—Sic1n1an EMBROIDERED SitK PAaneL Sprig design on body; brown net border with variegated colored design. 98—CuinesE VELVET ROBE Orange-red on yellow ground, with peony and butterfly design. Chia- Ch’ing, 1796-1820. 99—CuHInEseE SILK EMBROIDERY Dull green ground, with grotesque gold silk design. 100—Parr or Louis XVI. Brocaprt Curtains Pale yellow silk, with small bouquets of roses; festoon border of pink. 101—Ricu Rep Simx VeEtvet Coat Trimmed with gold galloon. 102—ANTIQUE JAPANESE EMBROIDERY Blue silk ground, with figures and flowers in yellow and gold. 103—Curinese Rep Vetvet Coat Peony, pomegranate and symbol design. Ch’ien-lung, 1736-1795. 104—EmBromwErRED TasLe Cover Style of Louis XVI. Light pink silk ground, with flowers and birds. Trimmed with, silk tassel edging and lined with flannel. 105—EMBROIDERED AND APPLIQUE PANEL Olive-brown velveteen, with satin and silk design worked in body. Original design and manufacture of Cottier & Company. 106—Emepromerep Taste Cover Style of Louis XVI. Cream silk ground, with flowers, ete. Trimmed with fringe and lined with pink satin. 107—I'wo Pairs Frencu Sirk Currains In gold color, with brocaded silk borders in variegated colors. 108—Antiave CHiInes—E EmpromEereD Hancine Dark blue, with gilt and variegated colors. Lined with yellow figured silk. 109—Parr Antieve Spanish Arprieuk Hancines Silver and gold, trimmed with tinsel fringe. 110—Anrtiave Iratian Renaissance Hancine Red and gold appliqué, with vases filled with flowers and baskets of fruit in silk embroidery. 111—Rare FLORENTINE HaAncine A specimen of early sixteenth century. Large shield with coat-of-arms surmounted by a ducal crown. Border of bold scrolls and leaves in cream, green and blue on royal red ground. 112—EMBROIDERED CHASUBLE Coral velvet. Orphreys and wide border of small diaper pattern em- broidered in silver. Background of small flower sprays, also in silver. Italian Renaissance. 1183—EmBROIDERED CHASUBLE Elaborately embroidered in flower and scroll patterns in gold on ground of ivory-white silk. Italian. 114—CuasuBLE Rich green velvet. Orphreys of Italian Renaissance embroidery and ap- pliqué in colors on red ground. Italian Renaissance. 115—CwHasuBLE Green silk shot with gold. Floral pattern in pale ecru. Italian. 116—CuasuBLe Green silk. Brocaded in vine pattern in yellow shot with silver. Orphreys of Italian Renaissance embroidery in colors on red. Italian. 117—CuasuBLE Rich red velvet. Orphreys of Italian Renaissance embroidered on green velvet. Italian Renaissance. 118—CHASUBLE Ground of green silk, covered with flower patterns embroidered in ecru, gold and tan. Italian. 119—CwasvuBLE Rich Italian brocade, design of peacocks, fruits and flowers, in gold and colors on field of red. Orphreys of red velvet with sacred symbols em- broidered in gold. Italian Renaissance. 120—CHASUBLE Green damask orphreys of fine green velvet. Italian. 121—Datmatic Rich green velvet. Ornamentation of waved lines in old gold velvet and in green. Further enriched by trimmings of brocade in red and gold. Italian Renaissance. 122—Datmatic VELVET Small diaper pattern, citron-colored pile on ground of very dull pink. Italian. 123—Veuvet DatmatTic Pale old rose velvet, with panels of green velvet and narrow strips of embroidery showing vine pattern in gold on green. Italian Renaissance. 124—Green VeEtvet Dress Rich green velvet, with trimmings of galloons in gold and colors. Italian. 125—Larce EmproipErReD HAaNncING Elaborate floral and scroll designs embroidered in silver on hackground of pale blue, in solid needlework. Indo-Portuguese. Length, 10 feet 2 inches; width, 7 feet 8 inches. 126—ManiLovuxka Appliqué and embroidered in elaborate birds, flower and scroll designs in cloths and silks of various colors. Seventeenth century. Persian. Length, 6 feet 7 inches; width, 4 feet 4 inches. 127—Brocave Dress Diaper pattern of palm leaves and flowers in gold on ground of coral pink. Indo-Persian. 128—Vetvetr Dress Design of stripes in rose color and white. 129—Larce Pane or VELVET Small floral and leaf patterns on ground of dark brown. Wide and nar- row borders in similar colors. Bokhara. Length, 5 feet 5 inches; width, 3 feet 9 inches. 130—Dovsie Panev or VELVET Centre of mahogany red with wide borders of wave patterns in various colors. Bokhara. Length of each, 2 feet 10 inches; width of each, 2 feet 3 inches. 131—Larce Panet or VELVET Centre shows stripes of old gold and brown, with small wave patterns in white. Borders of wave patterns in blue, yellow, red and white. Bokhara. Length, 5 feet 8 inches; width, 3 feet 11 inches. 1382—Smatu Pane or VELVET Centre of purplish red. Borders of arabesque and floral patterns in various colors. Bokhara. Length, 3 feet 5 inches; width, 2 feet. 183—Smatt Panet or VELVET Centre panel of narrow stripes in delicate green and ecru. Wide borders of wave and arabesque patterns in soft colors. Bokhara. Length, 2 feet 9 inches; width, 1 foot 8 inches. 134—SmatuL Panett or VELVET Centre of emerald green. Borders of arabesque and floral patterns in colors. Bokhara. : Length, 2 feet 8 inches; width, 2 feet. 1385—Larcr Panew or VELVET Centre shows large diaper patterns and arabesques in coral pink, dark blue and white on ground of mahogany red. Borders in similar colors. Bokhara. Length, 6 feet 6 inches; width, 3 feet 4 inches. 136—Larce Panett or VELVET Centre of emerald green. Borders of arabesque and floral patterns in colors. Bokhara. Length, 6 feet 4 inches; width, 3 feet 6 inches. 137—PaneEL oF VENETIAN VELVET Design of berries and flowers in red and green on ground of ecru. Bor- der on all sides of similar design. Bound with galloon. Length, 3 feet 7 inches; width, 1 foot 11 inches. 138—PaneL or VENETIAN VELVET In the centre a large medallion of flowers and fruits in soft green and tan on ground of pale ecru. Bouquets of flowers in corners. Border of vine pattern in similar colors. Length, 3 feet 9 inches; width, 1 foot 11 inches. 189—PaneEu or VENETIAN VELVET Centre shows large medallion of flowers in mahogany red on ground of deep ecru. Numerous borders of vine and leaf patterns in similar colors with violet. Length, 3 feet; width, 1 foot 10 inches. ART FURNITURE INCLUDING PIANOS, CABINETS, CHAIRS, TABLES, ETC. Norr.—The following fine pieces of furniture are all of original design and the manufacture of Cottier & Co. Each piece is made and carved by hand and beautifully finished. The comino wood used in several of the pieces is from South America, and is extinct and exclusively owned by Cottier & Company. SECOND AFTERNOON’S SALE FRIDAY, MARCH 12rx, 1909 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 3 O’CLOCK 140—Greekx CHAIR Ebonized wood. Seat covered in blue silk damask. 141—Two Reception CuHairs In rosewood. Delicate workmanship. Seats covered in blue silk damask. 142—Dintnc-room ARM-CHAIR In mahogany. Wooden back. Seat covered in velours. 143—Dininc-room ARM-CHAIR Similar to preceding, but with upholstered panel back. 144—Two Drininc-room ARM-CHAIRS In oak. Seats and backs covered in red velours. 145—Larce Dininc-room ARM-CHAIR In oak. Seat and back covered in tapestry. 146—Drininc-room ARM-CHAIR In oak. Seat covered in tapestry. 147—Two Dintnc-room CHairs In oak. Seats covered in tapestry. 148—Drninc-room CHAIR In mahogany. Seat covered in tapestry. 149—Dininc-room ARM-CHAIR In mahogany. Seat and back ¢overed in tapestry. 150—Smatut Centre TaBLe Clover-leaf design in stained maple, with inlay of comino wood. 151—ReceptTion Cuair Ebonized wood. Seat covered in red and gold damask. 152—Two Recertion Carrs Ebonized wood. Unique design. Spindle back. Seat covered in silk damask. 153—PepestaL TABLE Mahogany and ebony, with shelf supported by four fluted columns. 154—ReceEertTion CHAIR Ebonized wood. Circular seat. Seat covered in silk damask. 155—Turee Reception Cuarrs Mahogany. Of unique design and delicate workmanship. Seats covered in figured silk damask. 156—PEDESTAL Of hardwood embellished by inlay decoration. Height, 48 inches. 157—Haneinc Watt CaBinEt Ebony. Bevelled glass sides and doors. Length, 261%, inches; height, 52 inches; depth, 1234 inches. 15S—Turee RecertTion Cuarrs Ebonized wood, circular panels in backs, seats covered in yellow silk damask. 159—ReEcEPpTIon CHAIR Rosewood. Similar to preceding. 160—Haneine Watt Casinet Mahogany, enclosed by bevelled glass doors, small sectional division, use- ful for containing bric-a-brac, glass, ete. 161-—Turee Recerrion CHarrs Ebonized wood, seats covered in yellow silk damask. 162—RecerTion Cuarr Rosewood. Similar to preceding. 163—Smatut Drawinc-room Centre Tasie Gilded and decorated; has small drawer. 164—ReEceEptTion ARM-CHAIR Mahogany. Spindle back. Seat covered in silk damask. 165—Receprion CHAIR Mahogany. Unique in design. Elaborate carved back. Seat covered in silk damask. 166—Térre-\-rire Mahogany. Seat and back covered in pink and gold silk rep. 167—Haneine Watt Casinet Ebony. With three cupboards, with bevelled glass doors and ends. Mir- rors in back. Length, 52 inches; height, 6314 inches; depth, 22%, inches. 168—RecertTion CHarr Mahogany. With finely carved openwork back. Seat covered in blue silk and tinsel tapestry. 169—Recerprion ARM-CHAIR To match preceding. 170—Lisrary ARrM-cHAIR Mahogany, with hand carving. Unique in design. Seat covered in damask. 171—Liprary ARM-CHAIR Mahogany. Seat covered in damask. 172—Two Reception Cuairs Mahogany. Unique in design. Seats covered in silk damask. 173—Dinine Cuarr Hepplewhite design. Mahogany. Seat covered in silk damask. 174—Bric-A-Brac CABINET Satinwood. Upper part with hand-painted doors and side shelf below connecting legs, which are encased in brass at ends. 175—Urnotsterep Tus CHa Covered in blue and tinsel tapestry, and trimmed with tinsel edging. Useful for library or reception-room. 176—ARrmM-cCHAIR Mahogany. Unique in design. Seat covered in brown and ecru velvet. Suitable for library or living room. 177—Haneinc Watt CaBInet Enclosed by bevelled glass doors, small sectional divisions. Useful for containing bric-a-brac, glass, etc. ; 178—ReEcEPTION CHAIR Mahogany. Beautifully carved and unique in lines. Seat covered in blue silk damask. 179—ReEcEPrTion ARM-CHAIR Mahogany. With carved fretwork back and side rails. Seat covered with brown and cream cut velours. 180—Unieve OccasionaL CHAIR Mahogany, with dish-out wooden back and legs inlaid with tortoise shell and silver. Seat covered with red-brown silk and tinsel velvet. 181—Din1nc-room ARrM-CHAIR Mahogany. Seat and back covered in tapestry. 182—REcEPTION-ROOM ARM-CHAIR Unique in design. Hand-carved woodwork gilded and lacquered. Seat and back covered with silk velours. 183—ReEcEPTION-RooM ARM-CHAIR Unique in design. Hand-carved woodwork gilded and lacquered. Seat and back covered with green and gold silk Allini velvet. 184—Eneuisu Oak Liprary ArM-CHAIR Unique in design. Finely carved. Seat covered in hand-tooled illu- minated leather. 185—Two Haut Cuarrs Mahogany. Elaborate. Hand-carved back of fretwork. Unique in de- sign. With seats covered with brown-red mohair plush. 186—Drawinc-room TasLe Golden ebony wood. With turned legs and spindle rails. Circular top. Height, 30 inches; diameter, 32 inches. 187—Liprary Centre Taste Mahogany. Unique in design. With hand-carved legs and lower shelf. Height, 28 inches; diameter, 38 inches. 188—Drawinc-room Fire Screen Finely carved and hand painted. The hinging panel of fine old Chinese embroidery representing the washing of the sacred white elephant. The screen is of unique design and a fine specimen of the workmanship of Cottier & Company. 189—PEpDESTAL Chinese design. Made in ebony. ‘Top covered with plush and deep Chinese fringe. 190—Haneince Wau CaBINET Mahogany, with cupboards and shelves and turned balustrades. 191—Haneinc Watt CaBINET Mahogany, with cupboard and shelves and turned balustrades. 192—Firre Screen Mahogany. Finely carved. Single revolving panel in centre of repoussé relief work. Metalled and lacquered. 193—Bric-A-Brac CABINET Mahogany. Unique design, with cupboards and niches for containing objects of art, glass and porcelains. 194—Smatu KipneEy-sHAPED TABLE Hardwood and embellished by inlay decoration. Lower shelf with turned ~ balustrade. Unique in design. Length, 32 inches; height, 281, inches. 195—Fire ScreEn Satinwood. Carved and decorated revolving centre. Panel of Chinese embroidery. 196—Watt Mirror Satinwood. Decorated with hand painting and carved top. 197—SETTEE Finely carved and gilded seat, and sides covered in tinsel-brocaded tap- estry. Length inside, 35 inches; length over all, 54 inches. 198—Haneinc Wau CABINET Mahogany. For bric-a-brac, etc. Decorated after the Japanese. Unique in design. 199—Larcr RECEPTION-ROOM OTTOMAN Framework and legs of gilded handwork. Upholstered and covered with light blue and gold cut velours. 200—Srx Dinitnc-room CHAIRS Walnut.. Queen Anne design. Very perfect reproduction, and finely carved seats covered in embossed blue plush. 201—Dintine ARM-CHAIR As preceding. 202—Larce Liprary ARM-CHAIR Carved mahogany frame. Sheraton design. Seat covered with red- brown silk and tinsel velours. 203—Larce Liprary ARM-CHAIR Carved mahogany framework, with openwork panel in back. Seat cov- ered in red-brown silk and tinsel velours. 204—Larcr Liprary ARM-CHAIR Similar to preceding. 205—Larcre Liprary ArM-cHAIR Carved mahogany framework, with openwork panel in back, and dished- out panel seat. 206—Larce Liprary ARM-CHAIR Similar to preceding. 207—Dininc-room Cuan Mahogany. Unique design and skilfully carved. Seat covered in green mohair plush. 208—Hicu-spack Arm Hatrt Cuarr Oak. Skilfully carved; seat covered in blue and gold silk velvet. 209—Hicu-sack Arm Hart Cuair Similar to preceding. 210—Two UpuHotstErED ARM-CHAIRS Woodwork carved and gilded. Covered in fine green velours and trimmed with gimp and fringe. 211—SETTEE To match preceding. 212—Larce Haneinc Wat CaBInet Chinese design. Golden ebony. Finely carved fretwood and ebony. 213—Larcre UrnorstereD Earsipe ARM-CHAIR Reproduced from the one in Hampton Court. Legs finely carved. Up- holstery covered in figured red mohair plush. 214—REcEPTION-ROOM SOFA Mahogany. Upholstered back and seat covered in terra-cotta and cream damask. 215—EscriToIrE Mahogany. Elaborately carved and complete, with drawers and compart- ments; falling writing flap in centre; with pigeon-holes and paper draw- ers, etc. Length, 54 inches; height, 58 inches; depth, 21 inches. 216—EscriToIrRE Similar to preceding. 817—EncuisH EarsipE Sora Upholstered and covered in English red damask, embellished by gimps and fringes, with antique Italian embroidery panel; loose cushion. Length, 60 inches; height, 42 inches. 2918—Two OccasionaL CuHairs TO Matcu PrEcEDING Hand-carved walnut, twisted arms and legs. Seats covered with English red damask, backs covered with antique Italian embroidery and trimmed with gimps and fringes. 219—OccasionaL CHAIR Hand-carved walnut, twisted arms and legs. Seat and back covered with English green damask trimmed with gimp and fringe. 220—CuEstT Carved and gilded wood, with hand-painted decorated panels. By F. Vin- cent Hart. Length, 54 inches; height, 28 inches; depth, 21 inches. 221—Dn1nc-room CHAIR Mahogany. Unique design and finely carved. Seat covered in morocco leather. 992) 1n1ncG-RooMm CHAIR Similar to preceding. 2923—D1n1nc-rRooM CHAIR Similar to preceding. 224—SETTEE Mahogany. Finely carved. Unique in design, with heart-shaped panels in back; seats and back covered in very fine gold and green silk Scutari velvet. 225—OccasionaL REcEPTION CHarR Hand carved and gilded woodwork, with delicate painted decoration. Unique in design with egg-shaped back, and seat covered in specially made silk damask. 226—TETE-A-TETE Mahogany. Finely carved. Unique in design. Seat and back covered with specially made silk damask. 227—Reavine CHair Mahogany. Very fine model. Carved fluted legs and frame. Covered in blue-gray and tinsel brocart. 228—Saton ARM-CHAIR Carved and gilded wood. Covered in very fine brocaded silk tapestry trimmed with gimps and fringes. 229—CHIFFONIER Green enamelled hardwood, with painted Wedgwood decorations. Lower part with eight drawers with unique gold-plated handles; upper part with niche and two compartments. 230—CuatsE LONGUE Frame in maple wood, with hand-painted decoration.. Covered in cream- colored silk brocade. 231—REcEPTION-ROOM CHAIR Mahogany. Hepplewhite in design, with hand-painted panel in back. Seat covered in silk damask. 232—Corner Liprary CHAIR Mahogany. Unique in design. Carved and open fretwork in back and rails. Seat covered in red-brown silk and tinsel velvet. 233—RECEPTION-ROOM CHAIR Unique in design, with painted decoration. Covered with velours. 234—TETE-A-TETE Comino wood. Unique in design, and finely decorated with hand-paint- ing. Seats covered with antique French brocade. Very beautiful model. 235—W arDROBE Dark oak, with finely carved figure panels in doors. Interior fitted with sliding trays. Height, 63 inches; length, 56 inches ; depth, 22 inches. 2936—RECEPTION-ROOM SETTEE Comino wood. Low back and arms. Seat covered in salmon-colored_ brocade. 237—Bnic-A-Brac CABINET Upper part of gilded and lacquered wood, with glass doors and sides on shelves. T'wo drawers below, supported on a base of carved columns and brackets of golden ebony. The gilded work delicately decorated by hand painting. Height, 65 inches; width, 47 inches. 238—Baxny Granp Piano anp BENCH Case of comino wood and decorated by hand painting on exterior and interior, and supported by columns of carved and gilded golden ebony. The instrument by Chickering & Sons. Bench to correspond. 239—Dressinc TaBLe Comino wood. Sheraton design. Beautifully decorated with figures and foliated design by F. Vincent Hart. Swinging heart-shaped mirror. Two upper compartments. ‘Three drawers, with jewel box supported between legs. This piece is one of the special productions of Cottier & Co., and is based on the existing example in South Kensington Museum. 240—SipEBoOARD Comino wood, with panel of marqueterie in back panel of upper part. Carved legs with claw feet. Two doors enclosing lower section. Three drawers above. Unique design. 241—CaBINET Comino wood and golden ebony. ‘The upper part with marqueterie work, with three hand-painted decorative figure panels by F. Vincent Hart, representing “ Truth silencing Slander,” ‘“ Knowledge” and ‘ Cruelty disarmed by Humanity.” The base of the cabinet is made of golden ebony with shelves and trusses. 242—SIDEBOARD Carved walnut, with figure panels in lower doors and bevelled glass doors in upper part. Length, 63 inches; height, 1011, inches; depth, 21 inches. 243—SIDEBOARD Ebonized and decorated by hand. Two bevelled glass doors, with mir- rors in back. Length, 51 inches; height, 84 inches; depth, 22 inches. 244 SIpEBOARD Ebonized and decorated by hand. Finely carved. Length, 57 inches; height, 121 inches; depth, 21 inches. 245—SIDEBOARD Ebonized and decorated by hand. Figures in panels of lower doors. Bevelled glass doors in upper part. Three bevelled mirrors in back. Length, 74 inches; height, 95 inches; depth, 21 inches. 246—S1pEBOARD Walnut and mahogany. Length, 91 inches; height, 94 inches; depth, 24 inches 24°7—SIpEBOARD | | Ebony. Richly decorated on gold ground. Lower part complete with cupboards and drawers. Upper part with compartments and bric-a-brac cabinets. Bevelled glass doors. This piece is remarkable for its unusual workmanship. Length, 91 inches; height, 141 inches; depth, 21 inches. 248—CaBINET Ebony. Decorated in gold and hand-painted figures. Length, 52 inches; height, 86 inches; depth, 21 inches. 249—Corner CaBINET Mahogany. ‘Two doors on upper part and two on lower part. Gilt and hand-painted bevelled mirrors in back. Length, 34 inches; height, 83 inches; depth, 24 inches. 250—SIDEBOARD Ebony. Finely carved, with commodious compartments and drawers. Upper part with shelves and bevelled glass mirrors. Very fine design. Length, 95 inches; height, 96 inches; depth, 29 inches. 251—Bric-A-prac CABINET Satin and comino woods, decorated with hand painting. Lower part com- plete with compartment and shelves. Length, 43 inches; height, 62 inches; depth, 18 inches. 252—Hautt StTanp Inlaid decoration on ebonized ground. Upper part supported by col- umns with carved capitals. Bevelled glass mirror. Lower part with drawer and table supported by skilfully carved lion trusses. Length, 57 inches; height, 108 inches; depth, 30 inches. 253—GRaND CABINET Very large and completely inlaid with tortoise shell, mother-of-pearl and rare woods. Lower part comprises three compartments and three drawers. The upper part divided into three compartments with gilded interior. Central compartments with drawers and bric-a-brac niches. This piece is one of the special productions of Cottier & Co. Length, 95 inches; height, 88 inches; depth, 30 inches. 254—Concert Granp Piano anp BENcH Case inlaid with tortoise shell, mother-of-pearl, mahogany and golden ebony. Interior painted a la Vernis Martin, showing landscape and figures playing musical instruments. On the exterior side of case are portraits of composers, each in a separate panel. On the border of the lid is the following legend: ** Music can noble hints impart, engender fury, enkindle love; with unsuspected eloquence can move and manage all the man with secret art.” ANTIQUE FURNITURE 255—ANTIQUE CABINET Spanish design. 'Two inlaid ivory doors enclosing the entire body. In- terior filled with drawers and upper compartments and galleries. Wal- nut woodwork. 256—Two Larcrt ArM-cCHAIRS Reproduced from the Doge of Venice chairs. Walnut legs. Arms, seats and backs covered in purple and cut silk velours. 257—CHAIR Antique. Italian design inlaid in ivory. 258—Two AntieuE FLORENTINE Mirrors Very finely carved and gilded of the period. 259—IraLIAN SEVENTEENTH CENTURY EsBony CABINET The upper part consists of numerous drawers and compartments inlaid with ivory, illustrating the story of the Ark. This is enclosed by two doors with beautifully carved figures and ornamentation on interior and exterior sides. The base has six (6) twisted and elaborately carved columns in the front and six (6) rectangular supports, likewise carved, in the back part. These all rest on a plain shelf supported by four (4) turned feet. This cabinet is similar to the pair in the Palace of Fon- tainebleau. Height, 821, inches; width, 73 inches; depth, 23 inches. ANTIQUE TAPESTRIES 260—Earty SEVENTEENTH CENTURY FLEmisH Tapestry Centre of verdure, figures and columns. Sides with warriors on pedestals. Top and bottom with flowers and fruits. Height, 114 inches; width, 70 inches. 261—Eariy SEVENTEENTH CENTURY FLemisH Tapestry Subject is “ Sale of Joseph by his Brethren.”