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 % "WEDNESDAY, THURSDAY AND FRIDAY EVENINGS 
 JANUARY 31st AND FEBRUARY 1st AND 2ND 
 AT EIGHT O’CLOCK 
 
 COLLECTION 
 ~ WILLIAM T. EVANS . 
 . ae ON VIEW _ 
 
 AT THE AMERICAN ART GALLERIES 
 
 Bec): From WEDNESDAY, JANUARY 24TH, UNTIL THE First Day oF SALE, INCLUSIVE 
 eal.) ! 
 
CATALOGUE ay 
 | 2 seal 34 
 AMERICAN PAINTINGS 
 
 BELONGING TO 
 
 WILLIAM T. EVANS 
 
 TO BE SOLD AT UNRESERVED PUBLIC SALE 
 
 AT CHICKERING HALL 
 
 FIFTH AVENUE AND EIGHTEENTH STREET 
 
 On WEDNESDAY, THURSDAY AND FRIDAY EVENINGS 
 
 ~ JANUARY 31ST, AND FEBRUARY IST AND 2D 
 aman 
 
 cmt EIGHT (O'CLOCK 
 
 ON EXHIBITION DAY AND EVENING 
 
 From Wednesday, January 24th, until the first 
 day of sale, inclusive 
 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE, SOUTH O° 
 THOMAS E. KIRBY AMERICAN ART ASSOCIATI O 
 Auctioneer Managers 
 oe 
 NEW YORK al 
 meat oe Sv & 
 i OF a 
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Press of J. J. Little & Co. 
 Astor Place, New York — 
 
Introduction 
 
 SOME years ago, when Mr. W. T. Evans resolved to sell all his 
 - pictures of European make, it was with a definite perception of 
 the fact that American art had emancipated itself from foreign 
 trammels and entered on a career of its own, expressing Ameri- 
 can thought and reflecting American nature. 
 
 He sold every European picture he possessed and devoted 
 
 : “himself exclusively to native art. 
 i - At that time our artists of the first rank were for the most 
 part landscapists and marine painters. Mr. Evans bought 
 judiciously, opening his mind to the beauty of American 
 “scenery as it was perceived by Homer D. Martin, Winslow 
 Homer, George Inness, Wyant, Minor, Murphy, and Ranger, 
 without failing to recognize the charmingly original pictures 
 of figure painters like F. S. Church, subtle colorists and sym- 
 bolists like Albert Ryder and George Fuller. But as his acquisi- 
 tions overflowed the gallery, invaded the drawing-rooms and 
 halls, occupied every wall of dining-room and vestibule, and 
 encroached on the upper chambers of his home, he perceived 
 that while a large part of his collection was perforce hung where 
 the light was unfavorable, other vistas were opening in Ameri- 
 -can painting, other forces were at work which he had helped 
 to rouse ; he found himself face to face with a dilemma he 
 could only solve by parting with his collection and starting 
 
 afresh. 
 
 By generous purchases, by founding prizes, by helping and 
 instituting loan exhibitions at clubs, he had aided as scarcely 
 another collector the evolution of American figure work. ‘This 
 
 5 
 
comparatively recent phenomenon in American painting so 
 fascinated him that he resolved to devote himself more com- 
 pletely to figures than to landscape. Not that he has proposed 
 to himself restrictions, not that he is determined to exclude 
 from his next collection masterpieces by American landscapists, 
 but that he will henceforth clothe the more generous wall- 
 spaces in his new and larger home with figure pieces in much 
 larger proportion to the landscapes. 
 
 The collector follows while he helps to shape the evolution 
 _ of American art. 
 
 People ask why collectors sell all their pictures at once 
 instead of weeding out the canvases they can best spare. 
 
 On the one hand, because by so doing they establish invidi- 
 ous distinctions among living artists whom they admire and 
 whose friendship they cherish ; on the other, because the public 
 is suspicious and regards the weeding process as tantamount to 
 an acknowledgment that the canvases sold are inferior. ‘The 
 collector would be forced to part with them at prices which 
 would be unjust to himself and damaging to the reputation of 
 the artists affected. 
 
 It is well to remember that a collector of American pictures 
 occupies a peculiar position and may properly be regarded as a 
 benefactor, for he keeps American picture-craft alive in the face 
 of a severe competition with foreign painting. It used to be 
 said that landscape was the only field for native painters; but 
 the upspringing of figure men, of portraitists of the first rank, 
 of mural painters and masters in stained glass, who meet and 
 beat Europeans on their own ground, leaves that statement in 
 the air. Yet the old scoff has vitality because it takes a long 
 while for the public, timid, and too preoccupied to inform itself, 
 to adjust its opinions to new facts. 
 
 A collector like Mr. Evans, who, since he sold his European 
 pictures, has been engaged in a constant struggle to convince 
 the indifferent and prejudiced of the power and individuality to 
 be found in American art, may fairly ask that he should be the 
 judge of what is the best course to take in order to continue the 
 good work. Let others have the pleasure of owning these 
 
 pictures which he has enjoyed so long, and let him employ the 
 6 
 
money they may bring in some way that will give native paint- 
 ing another lift. He has given proofs of disinterestedness ; he 
 has spent generously to uphold our art; it is but fair that 
 the American public and American artists should uphold him. | 
 
 The immediate influence on his environment of a collector 
 of this stamp lies upon one’s hand; it is patent to the whole 
 world. 
 
 Let us pass by the pleasure which he has given to thousands 
 when lending his pictures to clubs, or for charitable purposes, 
 or when entertaining his friends, and consider the assistance he 
 has given to the artists of his city and country by the mere 
 fact of seeking out those workers whom he considered most 
 promising. 
 
 There is scarcely a man in the country who has more con- 
 sistently and continuously distributed the stream of his pur- 
 chases among artists of ability who sorely needed assistance and 
 were worthy to be helped ; men who were handicapped by the 
 timidity of a public misled in many ways. In the word patron 
 there is far too much suggestion of condescension and alms- 
 giving. Ido not mean that Mr. Evans has been a patron of 
 art in the vulgar sense, which suggests the idea of charity to the 
 persons from whom his pictures were bought. No; he was 
 obtaining from the pictures much. While paying, be it said to 
 his credit, always a fair and reasonable price, he bought far 
 more than the money value, for he was obtaining education in 
 esthetics, and acquiring treasures that were not only mellowing 
 to his own soul, but proving a constant joy to those about him. 
 
 The benefits flowing from the gratification of his lifelong 
 taste have not remained within the circle of his friends and 
 fellow clubmen and the artists whose works he has acquired ; 
 they spread abroad into far wider fields. Consciously or un- 
 consciously, he has been acting the part of a patriot, in that his 
 exclusive passion for works by American artists has materially 
 aided in giving the latter heart and in stirring hope among our 
 painters generally ; they have realized that here, at least, was a 
 man who recognized what was noblest in their work, one who 
 felt for the glory which great painting sheds upon the country. 
 
 Mr. Evans has a very individual impression of art, and in the 
 
 7 
 
choice of his pictures evinces a special taste for the higher sort 
 of landscapes and of ideal figure pieces. The examples of 
 George Inness, Winslow Homer, Homer Martin, Albert Ryder, 
 and others, comprise pictures that reach a higher mark than we 
 can find among living landscapists in Europe. Indeed, the 
 average of Mr. Evans’s collection is very high. So true is this. 
 that it would hardly be possible to go astray in purchasing any 
 one of his pictures, although it is a fact that the self-education 
 of Mr. Evans in picture-collecting has caused him to buy with 
 ever better taste and surer judgment, so that the latest acquisi- - 
 tions are, as a rule, far more beautiful than the earliest. 
 
 Take, for example, F. S. Church. Mr. Evans began with a 
 picture or two that pleased him, but soon perceived that 
 Church’s individual color scheme and way of looking at nature 
 afforded a chance for wider application. One by one the walls 
 of a drawing-room blossomed out with paintings by Church, — 
 and the stained glass in the windows of the room were after 
 Church’s design and coloring. Here was an entire apartment, 
 the chief decorations of which were the work of an American — 
 painter, while the rest of the interior was subordinated to them. 
 It was fulfilling the prophecy as to F. S. Church made by Z’A7# 
 of Paris many years ago in certain articles that hailed him as 
 one of the most original of American painters. Church has 
 vibrated between his sportive and his serious pictures; both 
 kinds are found in the Evans collection ; but he remains always 
 reserved and gentle in the expression of his thought and color- 
 feeling. The collector has been sympathetic with all his shades 
 of mood. And so with George Inness. He has the finest 
 pieces and the less intense from that ‘‘ old master ’’—for Inness 
 has already become one. ‘Take the “ Nine O’Clock”’ for the 
 warm, luminous American moonlight, when you seem to feel the 
 atmosphere, though no wind is stirring; Inness has made you 
 feel the beauty of a July night. Or take the “ Winter Morning 
 at Montclair.” In that you recognize the clear, cold atmos- 
 phere of early spring, when distant hills look near and the very 
 Clouds in the sky have sharp, definite edges. Or, again, the 
 “Sunset,” where the painter has caught the ineffable glory of 
 the scene as no words could describe it. 
 
 8 
 
a 
 
 Nor is it for Inness alone that this collector’s choice was 
 certain; he has the most rounded, harmonious, finished speci- 
 men of J. F. Murphy, a noble landscape if ever there was one. 
 And his Wyants bear out the admiration that artist won toward 
 the close of his career for the reserved yet natural way he 
 painted distant hills and dropping cloud and driving mist and 
 moorland and Adirondack forest. George Fuller has exquisite 
 representatives. From Will H. Low he secured one of his 
 most graceful minor works, the picture that tells the fable of 
 the discovery of plastic art in Greece through the invention 
 of a loving girl. Frederick Kost, one of very few artists who 
 have realized the beauty of Richmond Borough and painted it 
 with the enthusiasm of a lover, has won Mr. Evans’s regard. 
 George H. Bogert’s scene from the neighborhood of Delft is an 
 epitome of Holland painted with a master’s hand. Probably 
 no collector has finer specimens of Robert Minor and Henry 
 W. Ranger, especially a moonlight on water by the former and 
 a noble group of oaks in sunshine by the latter. Of Albert 
 Ryder’s work the largest is a marine by moonlight with drifting 
 boat, in which the artist has chanted in the language of color a 
 song that is all his own. But this is not the place to usurp the 
 office of the descriptive part of the catalogue. 
 
 What is pleasant to remember is the fact that this collector 
 is no person of leisure, the inheritor of a fortune, but a man of 
 successful, strenuous business life, to whom his pictures are dis- 
 traction from the confining work of managing the affairs of a 
 great firm. Fortunately the time is past when business life was 
 sO narrow, business men as a mass were so limited and pre- 
 judiced that a picture-buyer was regarded by other men of 
 affairs askance. Wider horizons and the hard facts of success 
 in pictures as investments have changed all this. It is an 
 agreeable thought to consider the pleasure Mr. Evans has had 
 in acquiring this collection, nor is it marred by feeling that 
 the pleasure will end here; on the contrary, the present sale 
 is merely an incident in the career of Mr. Evans as a collec- 
 tor of American art, which may be exciting, but is very far 
 from final. 
 
 CHARLES DE KAY. 
 
ee 
 
 Biographical Notes 
 
 MARIA J. C. A’BECKET 
 
 HE chief characteristics of Miss A’Becket’s landscape. 
 work are breadth of handling and puissant color. Her 
 pictures are individual in style and synthetic in treatment. She 
 is an irregular contributor to New York exhibitions, but has 
 shown her work in Boston, Baltimore, Philadelphia, and Wash- 
 ington. Miss A’Becket studied in the White Mountains and 
 the Adirondacks with Homer Martin in 1865, and in 1875-78 
 worked with William Hunt in Boston. During this latter period © 
 she spent a summer in France with Daubigny. She was born > 
 in Portland, Me., and has been a resident of New York for the 
 past decade. 
 
 RALPH ALBERT BLAKELOCK 
 
 ee son of a physician, R. A. Blakelock, born in the city of | 
 New York in 1847, was intended by his parents to follow 
 the medical profession, but his sympathy for music and paint- 
 ing caused him to work out his own destiny. He hadno means 
 of securing instruction in these arts, and a trip to the far West- 
 ern country, where he studied the Indians and, in his own self- 
 taught way, attempted to depict them, constituted about all of 
 his preliminary preparation for his career as a painter. His 
 works are notable for rich, vibrating color and for a mysterious 
 13 
 
charm that is apparently due to the symphonic point of view in 
 the consideration of nature arising from his innate love of music. 
 Mr. Blakelock’s studio has always been in New York, but at 
 present he has ceased painting. 
 
 GEORGE H. BOGERT, A.N.A. 
 
 Ao, ten years ago the landscape work of George H. Bo- 
 
 gert began to attract attention in the New York exhibi- 
 tions. It was at the outset tentative, but bore evidence on its 
 face of its sincerity and promise. A few years later it was 
 plain that the artist was rapidly approaching that completeness 
 which marks the work of ripe reflection, and for several years 
 now Mr. Bogert’s pictures have testified to the maturity of his 
 style. Preserving in his compositions that truth to facts in 
 _ nature which is essential to all good art, he has become a pro- 
 ~ nounced synthesist, seeking always to secure unity of ensemble 
 and rarely striking a false note in his efforts to produce a har- 
 monious arrangement of color and effect. His ability in this 
 direction is strikingly exhibited in his powerful composition 
 “Sea and Rain,” and in many other pictures the scope of his 
 artistic vision may be seen to be both wide and comprehensive. 
 Mr. Bogert was born in New York in 1864, and first studied 
 art under Thomas Eakins. He went to France in 1884, and 
 after painting landscapes for a time at Grez, near the Forest of 
 Fontainebleau, journeyed to Paris to become a pupil of three 
 famous masters, Raphael Colin, Aimé Morot, and Puvis de Cha- 
 vannes. He returned to New York in 1888, and has been 
 a constant exhibitor since that time at the Society of Ameri- 
 can Artists and an occasional one at the National Academy. 
 He is a member of the former body, and was awarded the 
 Webb Prize at its exhibition of 1898 for his picture “ Evening, 
 Honfleur.” In his summer journeys abroad he has painted, at 
 Etaples, on the French coast, with Boudin, but for the past three 
 or four years has visited Holland. In that picturesque country 
 he has found sympathetic material for many of his recent works. 
 
 14 
 
At the Academy, in 1899, he was awarded the First Hallgarten 
 Prize, and in 1892 received an honorable mention at the Penn- 
 sylvania Academy. His picture “From St. Ives to Lelant” is 
 in the permanent collection of the St. Louis Museum. 
 
 GEORGE H. BOUGHTON, N.A., R.A. 
 
 | es in England in 1834 but brought to this country when 
 
 he was three years of age, George H. Boughton is gen- 
 erally claimed as an American artist, for the first part of his 
 artistic career passed in Albany, N. Y., and in New York City. 
 In 1860 he went to Paris and studied with Edouard Frére. In 
 1863 he obtained his first success in England. He has been a 
 resident of London since that year. Mr. Boughton was elected 
 a Royal Academician in 1898, and has been a Member of the 
 National Academy since 1871. ‘The subjects of his pictures 
 include episodes in the colonial life of America, English figure 
 and landscape motives, and Dutch character and manners. His 
 style is unaffected and simple, and his pictures enjoy wide 
 
 popularity. 
 
 FREDERICK A. BRIDGMAN, N.A. 
 
 ANK-NOTE engraving was the apprentice work in art of 
 Frederick A. Bridgman, who, born at Tuskegee, Ala., 
 
 in 1847, was brought when a boy to Brooklyn, where his 
 family became residents. In 1866 he went to Paris and be- 
 came a pupil of M. Géréme. His career from the time he left 
 the studio of this celebrated master has been a brilliant one, 
 marked by many official honors in French and other foreign 
 exhibitions, and varied by occasional visits to the United States, 
 where he has shown his latest productions and executed com- 
 missions for portraits and mural decorations. His residence 
 and studio are in Paris, where he has long been a prominent 
 
 15 
 
figure in the artistic and social life of the American colony. He 
 is a Chevalier of the Legion of Honor, and received a gold 
 medal at the Paris Exposition of 1878. Many of his pictures 
 have Oriental subjects. He is an accomplished draughtsman, 
 
 and a colorist of refinement and veracity. 
 
 JOHN B. BRISTOL, N.A. 
 
 Bee landscapes painted by J. B. Bristol are favorably known 
 to every collector of American art in the United States, 
 
 ‘and in the exhibitions at the National Academy, New York, 
 -and in those in other prominent cities none are more popular. 
 
 He is a landscape painter pure and simple, and his subjects are 
 generally placid but impressive views of New England scenery. 
 A lake framed in by verdure-covered hills, its wide expanse 
 reflecting a sky of brilliant atmospheric quality, is one of his 
 favorite motives. Mr. Bristol was born at Hillsdale, N. Y., in 
 1826, and is self-taught. He became an Associate of the 
 Academy in 1861, and was elected an Academician in 1875. 
 His picture at the Paris Exposition of 1889 was awarded an 
 honorable mention. Crisp, direct execution and a fine feeling 
 of atmosphere are qualities that characterize his work. 
 
 MARIA BROOKS 
 
 i Weiner nace to the public exhibitions know the work of Miss 
 
 Maria Brooks chiefly as small figures of children and 
 genre groups, which are invariably striking because of some 
 bright bit of color forming a point of concentration for the 
 effect of the whole, and notable for solid qualities of drawing 
 and modelling. Her genre subjects are such as please in the 
 presentation of the story, and the manner of depicting them 
 satisfies the esthetic sense by its directness. As a painter of 
 
 portraits, Miss Brooks came to New York in 1886 from Lon- 
 16 
 
nha 
 
 don with a well-established reputation which has been sustained 
 by her work here, and she has accompanied her successful per- 
 formances in this field of art by an interesting series of “ ideal 
 heads,”’ a number of which have found favor in color repro- 
 . ductions. Born at Staines, Middlesex, England, Miss Brooks 
 was a pupil of the South Kensington schools and of the Royal 
 Academy. She has been awarded various gold and silver 
 medals at London and colonial exhibitions, such as those at 
 the Crystal Palace and Melbourne. 
 
 JOHN G. BROWN, N.A. 
 
 Te is as a painter with “a specialty,” the depiction of the 
 
 street gamin, that J. G. Brown is most widely known by 
 the American people; and while he enjoys the highest popu- | 
 larity in this particular line of subject, it must not be forgotten 
 that his achievements in other fields of genre have been equally 
 meritorious. Scenes of home life indoors and out of doors, in 
 the fisherman’s cottage or on the farm, have often tempted his 
 brush, and his rendering of typical figures amid such surround- 
 ings is as happy and as truthful as that of the newsboy and the 
 bootblack. His story is always well told, and his execution is 
 frank and comprehensive. No better illustration of his capabil- 
 ities in these respects can be found than “ ‘The Longshoremen’s 
 Noon,” with its sixteen or seventeen figures, each one typical 
 of his estate, and with individual traits marked in every line of 
 face and figure. 
 
 Mr. Brown was born at Durham, England, in 1831. His 
 first art instruction was received at Newcastle-on-Tyne and at 
 the Edinburgh Royal Academy. After painting portraits for a 
 time in London he, in 1856, came to America, and opened a 
 studio in Brooklyn. In 1860 he removed to New York, and two 
 years later exhibited at the National Academy. He was elected 
 an Associate in 1862, and Academician in 1863. He is presi- 
 dent of the American Water Color Society. 
 
 17 
 
GEORGE DE FOREST BRUSH, A.N.A. 
 
 OON after his return from Paris, where he had been for 
 five or six years a pupil of M. Géréme at the Ecole des 
 Beaux-Arts, George de Forest Brush went to the Westem ter- 
 
 ritories and studied the red man. ‘The pictures he produced 
 
 as a result of his study, including such masterly compositions 
 
 as ‘‘ Before the Battle,” ‘“‘ Mourning Her Brave,” “The Indian 
 
 Hunter,” and “The Silence Broken,” give evidence of the 
 thoroughness of his methods and of the capacity of the artist 
 to identify himself with the spirit of whatever subject he may 
 choose for pictorial representation. Lofty conception, admi- 
 rable composition, remarkable insight into the characteristics of 
 his subjects, and rare skill in simple pictorial expression char- 
 acterize the whole series of pictures of Indian life and heroics. 
 These qualities were again shown a little later in a series of 
 pictures with Aztec themes, and are plainly apparent in the 
 work to which he at the present time devotes his energies. 
 Beginning with the “‘ Mother and Child,” exhibited several 
 years ago, Mr. Brush entered upon a pseudo-classical period in 
 his art, and has produced a number of beautiful compositions, 
 consisting in each case of, several figures harmoniously grouped 
 and marked in execution by superlative qualities of drawing. 
 His color schemes in these pictures are usually subdued and 
 rich, the general aspect of the canvases suggesting rather the 
 work of some master of the Italian Renaissance than that of a 
 painter of to-day. 
 
 Mr. Brush was born at Shelbyville, Tenn., in 1855, and re- 
 ceived his first art instruction in the schools of the National 
 Academy of Design under Professor Wilmarth. He is an Asso- 
 ciate of the Academy and a Member of the Society of Ameri- 
 can Artists. 
 
 W. GEDNEY BUNCE 
 
 VE where he has long made his home, has furnished 
 most of the subjects for the pictures by W. Gedney 
 
 Bunce, whose sympathetic treatment of the beautiful color 
 18 
 
 ee ee ee 
 
“effects to be found in and about the “ Queen of the Adriatic” 
 has: charmed and satisfied many an admirer of her stately 
 
 beauty. Born at Hartford, Conn., he first studied with William 
 Hart, N.A.; later on with Achenbach and P. J. Clays, at Ant- 
 werp. Though he has from time to time occupied a studio in 
 
 _ New York, he has lived the greater part of his life in Europe. 
 Mr. Bunce has frequently exhibited in New York and other 
 «American cities, at the Paris Salon and Universal Expositions 
 
 -and in London. His pictures are celebrated for delicate but 
 
 effective color and picturesque composition. 
 
 ad 
 
 WILLIAM MERRITT CHASE, N.A. 
 
 ‘ T X J] HEN he appeared as an exhibitor at the National Acad- 
 
 emy in 1877 the pictures of William M. Chase showed 
 
 . the influence of his schooling in Munich, for his canvases were 
 
 a 
 
 characterized by the tonal quality then so highly valued at the 
 Bavarian capital. A few years later the work of the modern 
 French painters, as well as his contact in New York with fellow 
 
 artists trained in the Paris academies, seemed to have lightened 
 
 his palette, and a much higher key and a more determined 
 
 - realistic purpose were apparent in his compositions. ‘There- 
 
 upon begun that charming series of transcripts of picturesque 
 places in the New York and Brooklyn parks, along the water 
 fronts, and in the squares and boulevards which did so much 
 to put Mr. Chase before the public as a somewhat literal but 
 always thoroughly artistic and captivating interpreter of nature. 
 
 ' Meanwhile his portraits gained for him a leading position in 
 - that high field of art, and his still-life pictures brought him a 
 
 reputation as a master of technical means. In more recent 
 years his landscapes and shore views near Shinnecock Hills, 
 where he conducts a flourishing summer school of art, have 
 given further proof of the versatility of his talent. As much at 
 home in the use of pastel as of oil-color, a water-color painter 
 of great suggestive skill and a forceful etcher, Mr. Chase holds 
 a place in American art commensurate with his rare ability, and 
 1g 
 
as an instructor his counsels are sought not only in the metro- 
 politan schools, but in those of Philadelphia and four or five 
 other large cities, even as far west as Chicago. 
 
 William M. Chase was born at Franklin, Ind., in 1849. A pupil 
 of B. F. Hayes, of Indianapolis, he was a local portrait painter 
 for a time, but came East to study under J. O. Eaton and in 
 the schools of the Academy in New York. In 1872 he went to 
 Munich. His masters there were Alexander Wagner and Karl 
 Von Piloty. His studies in the great art museums have never 
 been given up, and his travels include sojourns in Spain, the 
 Low Countries, France, England, and Italy. Mr. Chase was 
 for ten years president of the Society of American Artists, is a 
 National Academician, elected in 1890, and a Member of the 
 American Water Color Society. ‘The honors of his career in- 
 clude medals at the Paris Exposition of 1889, at Munich, Phila- 
 delphia, and other art centres, honorable mention at the Salon, 
 and the Shaw Fund Prize at the Society of American Artists. 
 
 FREDERICK S. CHURCH, N.A. 
 
 Ne imagination sometimes inclining to the idyllic, again to 
 
 the humorous, and at other times purely poetical distin- 
 guishes the compositions of F.S. Church. His first popularity 
 was gained by his drawings in black and white, which were 
 always characterized by some original fancy very personally 
 expressed, and his more serious work in color following these 
 successes exhibits in a multitude of ingenious conceits the 
 original quality of his artistic temperament. His pictures both 
 in oil and in water color are marked by schemes of color in 
 which delicacy of tint, harmony of diverse elements, and skilful 
 weaving of the various hues into a whole of consistent decora- 
 tive effect are the salient features. Realistic in actual treatment, 
 his “ Pandora,” for instance, is most notable for the grace of 
 pose in the figure and the charming lines of the other parts of 
 the composition. “St. Cecilia’ and “Madonna of the Sea” 
 
 illustrate his entirely personal interpretation of familiar subjects, 
 20 
 
while “‘ Una and the Lion,” “The Lion in Love,” and “ Beauty 
 and the Beast” are examples that come readily to mind of his 
 charming realization of themes purely fanciful. 
 
 Born at Grand Rapids, Mich., in 1842, and engaged in busi- 
 ness for a number of years, Mr. Church found himself at length 
 irresistibly drawn to the career of an artist. The basis of his 
 artistic training was acquired in the schools of the Chicago 
 Academy and the National Academy of Design, but his develop- 
 ment has been of the most independent, untrammelled sort, 
 taking character wholly through persistent, searching study of 
 nature and growing in individuality under his constant efforts to 
 express without thought of others’ methods the hundred shapes 
 
 ‘conjured up by his fertile fancy. Mr. Church is known as a 
 
 painter of animals with a thorough knowledge of his subjects, 
 and enjoys a high reputation as an original etcher. He is a 
 
 “National Academician and a Member of the American Water 
 Color Society. 
 
 WILLIAM A. COFFIN, A.N.A. 
 
 PEW American painters of the younger set are better known 
 
 than William A. Coffin, for he has been contributing to 
 the New York exhibitions for the last fifteen years, and his 
 name has been prominent as a critic of art in the monthly and 
 weekly press. Born at Allegheny, Pa., in 1855, he graduated 
 
 at Yale in 1874, and after a year’s study at the Yale Art School 
 
 he passed five years in Paris, working under the superintend- 
 
 ence of Bonnat. Coffin is best known as a landscapist, but 
 
 his first appearance at the Salon in 1879 was as a painter of 
 
 genre. Gradually, however, the fascinations of landscape led 
 
 him to confine himself more and more to a field peculiarly 
 
 American, and his finest pieces have been summer landscapes 
 
 with thunder-storms passing over rolling pastures, night views 
 
 in which a few stars burn mysteriously, and winter scenes with 
 
 woodland and fields covered with snow. His painting has gone 
 
 hand in hand with art criticism and lectures on art. At the 
 21 
 
Academy of Design in New York he carried off the second 
 Hallgarten Prize in 1886 with his “ Moonlight in Harvest” ; 
 five years later he took the Webb Prize for landscape at the 
 Society of American Artists with his “ Rain,” which may be seen 
 at the Metropolitan Museum. Meantime he received a medal 
 of the third class at the Paris Exposition of 1889 for “ Early 
 Moonrise.” More recently, in 1898, the Art Club of Phila- 
 delphia awarded him its gold medal for ‘‘ Sunset in the Somerset 
 Valley, Pa.,” which marks high tide in his career as a land- 
 scapist. Mr. Coffin has been very prominent in the art life of 
 New York on the committees of the Society of American Art- 
 ists; he has been a Vice-President, and is still a Member, of 
 the Architectural League of New York, has acted as First Vice- 
 President of the Municipal Art Society of New York for three 
 terms, is an Associate of the National Academy of Design, and 
 a Member of the National Arts Club and the Society of Land- 
 scape Painters. His fellow artists have used his talents as an 
 organizer, and whenever there is an important exhibition in New 
 York to further some charity or advance the cause of art his 
 services are sure to be enlisted. While his magazine articles 
 have appeared in the Cenfury and Scribner’s, with occasional 
 essays in Harper's Weekly, he has contributed many criticisms 
 to the Evening Fost and the ation of New York. At present 
 he is titular art critic for the New York Suz. 
 
 BIOGRAPHY BY C. DE Kay. 
 
 SAMUEL COLMAN, N.A. 
 
 Baas subjects of the long list of pictures painted by Samuel 
 
 Colman, both in oil and water color, bear witness to the 
 catholicity of his taste in art and to the wide extent of his travels. 
 While still a lad he made sketches of the harbor and shipping in 
 New York and the scenery of the Hudson River and Lake 
 George. He has lived abroad a good deal since he first went to 
 Europe in 1860, when he studied two years in Paris and in Spain, 
 and the subjects of many of his best known works have been 
 found in Italy, France, Switzerland, Spain, and Morocco. Of 
 
 22 
 
late years he has lived and painted at Newport, R. I. Whatever _ 
 his theme, he invests his composition with a picturesque quality 
 that makes it attractive, and his technical methods are always: 
 convincing. Mr. Colman’s pictures are especially notable also 
 for rich and harmonious color. He was born at Portland, Me., 
 in 1833. He was one of the founders of the American Water 
 Color Society and its first president. He was a founder Member 
 also of the Society of American Artists. At the age of twenty- 
 seven years he was elected an Associate of the National Academy, « 
 and in 1862 became an Academician. 
 
 KENYON COX 
 
 aes years ago our exhibitions contained more pictures of 
 the nude than now, a fact that is explained probably by 
 the important commissions for mural painting given out of late 
 which have absorbed the creative power of many of our most 
 accomplished figure painters who are not devoted to portraiture. 
 Kenyon Cox is one of those who was formerly a frequent con- 
 tributor of works having the nude for subject, and an easel 
 canvas by him of the sort is now a rarity. His skill as a draughts- 
 man and the fine decorative quality of his composition have 
 been long recognized. His portraits, notably some small ones, 
 are considered among the best produced by the recent American 
 school, and his ventures in landscape and out-door subjects have 
 been received with cordial approval. As a designer and illus- 
 trator Mr. Cox’s work is widely known and generally conceded 
 to belong in the first rank, because of its intellectual, scholarly 
 composition, and, as in his nude subjects, its masterly knowledge 
 of the figure. ‘The pictures for Rossetti’s ‘The Blessed Dam- 
 ozel”” stand as his most important work in black and white. 
 His mural paintings in the Congressional Library, Bowdoin Col- 
 lege, and the new Appellate Court building in the city of New 
 York are chief among his creations in the field of art. 
 Kenyon Cox was born at Warren, O., in 1856, and began 
 the study of art at Cincinnati. He continued his studies at the 
 Pennsylvania Academy of Fine Arts, and in 1877 went to Paris, 
 
 23 
 
where, after a year in the atelier of M. Carolus-Duran, he be- 
 came a pupil of M. Géréme at the Ecole des Beaux-Arts. His 
 sojourn in France lasted until 1884, when he settled in New 
 York. Hehas been one of the principal and most successful of 
 the instructors at the Art Students’ League ever since that time, 
 and is well known in the literary world as a writer on art topics 
 and a reviewer of authority with a direct and forcible style. 
 Among the honors he has received at exhibitions are two 
 medals at the Paris Exposition of 1889. He is the vice-presi- 
 dent of the Society of American Artists, and has been an active 
 worker in its development since his election as a member in 1882. 
 
 BRUCE CRANE, A.N.A. 
 
 WA PUPIL of Wyant and depicting almost nothing but native 
 
 subjects, Bruce Crane, in the twenty years since his 
 artistic career began with the exhibition of a picture at the 
 Academy in 1878, has made a place for himself in the front 
 rank of American painters of landscape. His work is natural- 
 istic in style, and his pictures interpret faithfully and with much 
 wholesome poetic feeling the varying aspects of nature that most 
 forcibly appeal to him. His transcripts of spring and winter 
 effects have perhaps brought him his greatest popularity. His 
 methods are singularly frank and direct, and his cclor schemes 
 exhibit delicacy of tint and forcefulness of effect. - Mr. Crane 
 was born in New York in 1856. He is an Associate of the 
 National Academy and a Member of the Society of American 
 Artists, the American Water Color Society, and the Society of 
 Landscape Painters. He received the Webb Prize. at the 
 Society of American: Artists in 1897. 
 
 CHARLES COURTNEY CURRAN, A.N.A. 
 
 ix PROLIFIC artist, but one whose work is always marked 
 by careful, sometimes elaborate, finish, C. C. Curran is 
 at the present day widely known to the art-loving public of 
 
 24 
 
America. His career, however, has not been a long one, for 
 his first appearance as an exhibitor was at the National Academy 
 in 1883. Five years later he secured one of the Hallgarten 
 Prizes with his picture “‘A Breezy Day.” ‘The same year he 
 was elected a Member of the Society of American Artists, and 
 soon after a Member of the American Water Color Society. A 
 few years ago he became an Associate of the Academy. Mr. 
 Curran was born at Frankfort, Ky., in 1861, and began his art 
 studies in Cincinnati. In 1881 he came to New York and 
 worked in the schools of the Academy and the Art Students’ 
 League. During a sojourn in Paris later on he had as masters 
 MM. Lefebvre, Doucet, and Benjamin-Constant. He is a skil- 
 ful draughtsman and a colorist of comprehensive scope. His 
 subjects include domestic genre and out-door life, ideal groups 
 and figures, and compositions in which his imagination takes 
 free play in the depiction of the fanciful realms inhabited by 
 the fairies. His knowledge of form is evident in all of his 
 creations, and his pictures possess the attractive quality of 
 charm. 
 
 ELLIOTT DAINGERFIELD 
 
 | ea DAINGERFIELD, who was born at Harper’s 
 
 Ferry, Va., and spent his boyhood in North Carolina, came 
 to New York to begin the study of art in 1880, when he was 
 twenty-one years of age. He worked in private studios, and 
 for a short time at the Art Students’ League. About 1886, 
 when he established himself in a studio in “The Holbein,” he 
 came to know George Inness, who occupied adjoining studios, 
 and though he was not in the exact sense of the word a pupil 
 of Inness, he had the benefit of his counsels, and built up his 
 present technical method from study of the master landscape 
 painter’s processes. Mr. Daingerfield was on intimate terms 
 with him, and is proud to say that he owes more to the interest 
 Inness showed in his work than to any other influence. ‘“ My 
 Lady Rhododendron,” ‘“ Madonna and Child,” and “ Christ in 
 the Wilderness,” three of Daingerfield’s capital works, show in 
 
 25 
 
the treatment of problems concerning color and illumination 
 the distinctive qualities of his art. He is an imaginative painter — 
 with a strong sense of decorative beauty, and he subordi- 
 nates realistic facts to the effect of the ensemble. His color 
 schemes are opulent, and the concentration of light on the 
 chief object of interest is a notable feature of his compositions. 
 Mr. Daingerfield is one of the lecturers on composition at the 
 Art Students’ League, and has charge of the drawing classes in 
 the Philadelphia School of Design. 
 
 ARTHUR B. DAVIES 
 
 Je Cus or five years ago American amateurs began to make 
 
 the acquaintance of Arthur B. Davies as a painter, whose 
 work differed radically from that of most young artists in that 
 it seemed to be quite out of touch in its characteristics with the 
 approved methods of the schools. His work has continued to 
 be suz generis, and may easily be picked out in any collection 
 of pictures by reason of its individuality of conception, and its 
 treatment as to color, which somewhat resembles the effects 
 wrought by age on the pigments of the old masters. Mr. Davies’s 
 subjects are usually fanciful, and his pictures, quite lacking in 
 strictly academic qualities, possess merits of their own much 
 appreciated by a numerous company of admirers. He was 
 born in Utica, N. Y., in 1862, and received art instruction in 
 that city, Chicago, and New York. He has travelled in many 
 foreign countries. 
 
 M. F. H. DE HAAS, N.A. 
 
 F. H. DE HAAS, one of the best known of all American 
 
 * marine painters, was born at Rotterdam in 1832. He 
 
 was a pupil of the Fine Arts Academy of his native city. He 
 
 went to London in 1851, and remained a year, afterwards 
 
 painting on the Dutch coast and studying with Louis Meyer at 
 26 
 
— 
 
 The Hague. In 1859 he settled in New York, was elected a 
 
 ‘National Academician in 1867, and was one of the founder 
 
 members of the American Water Color Society. His “ Rapids 
 above Niagara’? was shown at the Paris Exposition of 1878. 
 He died in New York in 1895. Mr. De Haas’s pictures are 
 characterized by vigorous execution, and are effective in their 
 transcriptions of picturesque phases of nature, 
 
 FRANK DE HAVEN 
 
 Bey at Bluffton, Ind., and coming to New York to study 
 
 under George H. Smillie, N.A., Frank De Haven has 
 been well known to the art public of the metropolis for the past 
 ten years as a consistent, truth-loving painter of landscape. His 
 color schemes are attractive, and his pictures are marked by 
 much individuality of style. Autumn foliage and evening effects 
 are the themes he uses in most of his compositions. His work 
 is frankly naturalistic, and his methods are simple and unaffected. 
 
 HERBERT DENMAN 
 
 A PICTURE with three life-size figures, called “The Trio,” 
 
 when exhibited at the Paris Salon of 1886, gained an 
 honorable mention from the jury of award for Herbert Den- 
 man. He had commenced his art studies at the Art Students’ 
 League in New York, and continued them under M. Carolus- 
 Duran in Paris. He opened a studio in New York in 1887, and 
 has been since then a regular exhibitor at the Society of Ameri- 
 can Artists, of which body he is a member, and at the Academy. 
 The nude has largely engaged his attention, though a portrait 
 from his easel appears from time to time in the exhibitions. 
 His drawing is graceful and accurate, and his color schemes 
 show refinement and a fine feeling for decorative quality. Mr. 
 Denman was born in Brooklyn, N. Y., in 1855. 
 
 27 
 
LOUIS PAUL DESSAR, A.N.A. 
 
 Pee feeling and technical force are in the happiest 
 manner combined in the work of Louis Paul Dessar. 
 His pictures of night and evening, generally with a flock of 
 sheep returning to the fold at sundown, or herded in the parks 
 under the moonlit sky, have become familiar to exhibition 
 visitors in the past few years, and an occasional portrait 
 testifies to the fact that the artist’s training has been of the 
 most thorough character. He began his studies at the National 
 Academy in 1883, having been born at Indianapolis, Ind., in 
 1867, and after three years’ work in its schools went to Paris 
 to become a pupil of MM. Bouguereau and Robert-Fleury at 
 the Académie Julian. A third-class medal recompensed the 
 young artist for the picture he exhibited at the Salon of 1891, 
 and his picture in the Salon of 1893 was purchased by the 
 French Government for the State collections. The same year 
 Mr. Dessar received a medal at the Chicago World’s Fair, and 
 an honorable mention was bestowed by the jury at the Carnegie 
 Institute, Pittsburg, in 1897 on the work shown there. The 
 second Hallgarten Prize at the National Academy was awarded 
 to him in 1898, and he received the first Hallgarten Prize at 
 the exhibition of 1899-1900. He was elected a Member of 
 the Society of American Artists in 1897, and an Associate of 
 the Academy in 1899. A few years ago it might have been 
 predicted with confidence that Mr. Dessar would take a high 
 rank in American art. Now it is almost unnecessary to say that 
 he has attained it. 
 
 CHARLES MELVILLE DEWEY 
 
 M® DEWEY is not a member of any of the art societies, 
 and does not often appear as a contributor to their 
 annual exhibitions. Self-taught, continuing throughout his 
 career as a landscape painter to study nature and interpret it 
 in his own way, and rounding out his art slowly but with con- 
 stantly increasing individuality, he is known as one of the most 
 28 
 
personal of all our painters. Each recurring art season brings 
 in some one of our smaller city galleries an exhibition of his 
 pictures, and thither the numerous admirers of his work take 
 their way to note the progress of his artistic development. His 
 landscapes are first of all synthetic in treatment, for he seeks to 
 interpret rather than to transcribe an effect. ‘They are almost 
 _ invariably tender, and their full charm impresses itself on the 
 spectator only when they have been looked at long enough to 
 absorb their subtile power. Such landscapes as “ Return of 
 the Hay-boats,” which at the Munich International Exhibition 
 of 1895 attracted the most favorable notice from foreign 
 critics, convey their message with the sincerity that is inherent 
 in all good art, and few can resist their fascination. Thus it is 
 that Charles Melville Dewey stands in the group of American 
 artists whose works are cherished for their poetical insight, and 
 his pictures once taken home and lived with are reluctantly 
 _ given up. He was born at Lowville, N. Y., in 1851, and first 
 exhibited at the Academy in 1875. His favorite subjects are 
 the misty effects of twilight and sunset along the banks of some 
 slowly moving stream, a group of trees, a hill, and a lighted 
 hamlet at the close of evening, the edge of some forest with 
 the foliage tinged with the warm light of the setting sun, or the 
 mysterious light of the pale moon in the silent watches of the 
 night. To all such, and to everything that appeals to him, 
 the artist brings the mature conclusion of his impressions and 
 depicts his conception with depth and breadth of view. 
 
 THOMAS W. DEWING, N.A. 
 
 (eS EF UL and accomplished drawing and delicate quali- 
 
 ties of color distinguish the portraits and compositions 
 of Thomas W. Dewing, and no pictures by an American artist 
 are more highly prized by collectors than his. Mr. Dewing 
 was born in Boston in 1851, and received his art instruction at 
 the Académie Julian, in Paris, under MM. Boulanger and Le- 
 febvre. When he returned to the United States he first took 
 up his residence in his native city, but soon removed to New 
 
 29 
 
York, where he has now been for twenty years a conspicuous 
 figure in the annual exhibitions of the Academy and Society of 
 American Artists. His beautiful small picture, “A Lady in 
 Yellow,” attracted much notice at the Paris Exposition of 1889, 
 and gained for its painter a medal of the second class. Simi- 
 lar single figures or heads have been seen from time to time in the 
 current exhibitions, and on account of their artistic refinement — 
 and great excellence of execution are invariably the objects of 
 favorable comment. Mr. Dewing was elected a National Aca- 
 demician in 1888. He was formerly a Member of the Society 
 of American Artists, but resigned from that body in 1897, to 
 join the group of “Ten American Painters.” 
 
 FREDERICK DIELMAN, P.N.A. 
 
 poe at Hanover, Germany, in 1848, and brought to this 
 
 country in early childhood, Frederick Dielman has always 
 taken an active part in the development of American art inter-_ 
 ests. He was elected a National Academician in 1883, and — 
 soon afterward assumed a responsible place in the management - 
 of the Academy. In 1899, on the retirement from office’ of 
 Mr. ‘I. W. Wood, he was elected president. His easel pictures 
 are ordinarily of small size, and his subjects are usually female 
 heads or figures in some picturesque costume of the middle 
 ages or the Renaissance. He has executed several important 
 commissions for mural painting, chief among which, perhaps, 
 were the cartoons for two large mosaics, “ Law” and “ History,” 
 placed in the new Congressional. Library at Washington. His 
 work in all fields is characterized by scholarly research, agree- 
 able color schemes, and excellent drawing. 
 
 J. H. DOLPH, N.A. 
 
 \ X JHAT Eugéne Lambert is to Europe J. H. Dolph is to 
 
 America, for he is our painter par excellence of cats. 
 
 No one approaches him in his specialty, and, asleep or awake, 
 30 
 
at rest or at play, he depicts the members of the domestic 
 feline tribe with all their natural attributes. Mr. Dolph was 
 born at Port Ann, N. Y., in 1835, and first studied with Louis 
 Van Kuyck, at Antwerp. A second sojourn abroad some time 
 afterward was passed in Paris, where he remained several years, 
 and painted genre pictures as well as animals. He was elected 
 an Associate of the National Academy in 1877, and became an 
 Academician in 1899. 7 
 
 LAWRENCE C. EARLE, A.N.A. 
 
 12 is as a painter of single figures and of genre that Lawrence 
 
 C. Earle is popularly known, but at his home at Montclair, 
 N. J., he finds change and pleasure in his work by frequent 
 sallies into the field of landscape. ‘To these interpretations he 
 brings the same bold, simple methods of painting that are so 
 well exemplified in his figure pictures. He was born in New 
 York in 1845, and has studied in Munich, Florence, and Rome. 
 He is an Associate of the National Academy, a Member of the 
 American Water Color Society, and an Honorary Member of 
 the Art Institute of Chicago, 
 
 C. HARRY EATON, A.N.A. 
 
 A LANDSCAPE painter whose pictures both in oil and 
 
 water color possess much beauty of color and composi- 
 tion, C. Harry Eaton is entirely self-taught. He was born near 
 Akron, O., in 1850. His reputation has been made in the 
 New York exhibitions, in which city he has resided during the 
 greater part of his artistic career. His work has been recom- 
 pensed by a silver medal in Boston in 1887, a gold medal at 
 the Prize Fund Exhibition at the American Art Galleries, New 
 York, in 1888, and by the William T. Evans Prize at the Ameri- 
 can Water Color Society in 1898. He is an Associate of the 
 National Academy of Design, and Secretary of the American 
 
 SI 
 
Water Color Society. At the Paris Exposition of 1889, and the 
 World’s Fair at Chicago in 1893, Mr. Eaton was worthily re- 
 presented by his beautiful picture, “ A Normandy Landscape.” 
 His “ Lily Pond” is owned by the Detroit Museum of Art. 
 
 WYATT EATON 
 
 SuCe pictures as “ Ariadne,” ‘‘ Daphne,” and “ La Cigale ” 
 
 recall the classical period in the art of Jean Francois Mil- 
 
 let, so beautiful are they in sentiment and so soberly rich in 
 color. It is because such art in painting the nude is rare in 
 the American school that we cast about for a prototype. 
 Wyatt Eaton, however, in these and other compositions gave 
 proof of the sincerity and singleness of his artistic purpose, and 
 conclusively showed that he was moved by a high sense of im- 
 aginative beauty. The greatness of his art is quite as apparent 
 in his famous portraits, such as “The Man with the Violin,” 
 or “ Reverie,” the lovely picture of a woman seated before a 
 mirror. The fine fulness of his drawing, and the rich, deep 
 sensuousness of his color place his pictures among the supremely 
 artistic productions of our time. Born at Philipsburg, Canada, 
 in 1849, Mr. Eaton came to New York to study under J. O. 
 Eaton and at the Academy, but later on went to Paris. There 
 he was one of the ablest pupils in the atelier of M. Géréme, and 
 in due time made his mark at the Salon. Returning to New York 
 in 1877, he was one of the painters who founded the Society 
 of American Artists. His untimely death a few years ago cut 
 
 short a career that reflects the highest honor on American art. 
 
 BENJAMIN RUTHERFORD FITZ 
 
 Gee recognizes the high place held by the nude as a 
 
 subject for the pictorial and plastic arts, but it does not 
 
 fall to the lot of many painters to leave behind them at their 
 
 death such a masterly work as “The Reflection” by Benjamin 
 32 
 
R. Fitz. Low in tone, reserved in color, beautiful in line, sim- 
 ple in modelling, it stands as one of the most complete and 
 lovely pictures of the nude American art has to show. The 
 painter was born in New York in 1855, and was a pupil of the 
 
 _ National Academy and the Art Students’ League from 1877 
 
 to 1881. In the latter year he went to Munich, and studied 
 under Professor Loéfftz. He won two medals at the exhibi- 
 tions in the Bavarian capital, and when he returned to New 
 York in 1884 his work showed the gain he had made in aca- 
 demic proficiency. A few years more sufficed to npen and 
 mature his admirable talent, but before he had gone far in a 
 career that promised a great future he passed away in death 
 in 1891. His works are cherished by our amateurs, and a 
 picture represents his art in the Metropolitan Museum. Mr. 
 Fitz was a member of the Society of American Artists, having 
 been elected in 1888. 
 
 BEN FOSTER 
 
 At the exhibitions of the Society of American Artists and 
 
 the Academy few landscapes have attracted more atten- 
 tion than those signed by Ben Foster. His favorite subjects 
 are night effects and woodland scenes, and his compositions are 
 marked by a large feeling of unity. Poetical in aspect, his 
 pictures contain sterling qualities of color, drawing, and con- 
 struction. Mr. Foster was born at North Anson, Me., and 
 studied in New York at the Art Students’ League and under 
 Mr. Abbott H. Thayer. Afterward, in Paris, he was a pupil of 
 MM. Aimé Morot and Luc Olivier Merson. He is a Member 
 of the Society of American Artists and the New. York Water 
 Color Club. He has received medals at Cleveland and at the 
 Chicago World’s Fair, and pictures by him are owned by the 
 Carnegie Institute, Pittsburg, Pa., and the Montreal Art Asso- 
 ciation, Canada. 
 
 33 
 
FREDERICK W. FREER, A.N.A. 
 
 A FIGURE painter whose subjects consist of ideal creations 
 
 and scenes of domestic genre, Frederick W. Freer has 
 an enviable place in American art. He was born in Chicago, 
 in 1849, and studied in the schools of Paris and Munich. On 
 his return to America he had a studio in New York for a 
 number of years, but latterly has resided in his native city. He 
 is an Associate of the National Academy, and a Member of the 
 American Water Color Society. 
 
 GEORGE FULLER, A.N.A. 
 
 Peres art of George Fuller is of the most personal sort, and he 
 
 has had no imitators. His pictures reveal an artist striving 
 to express his conceptions with no thought of academic tradi- 
 tions. Somewhat like G. F. Watts in England, he searched for 
 the truth and interpreted it, if not hesitatingly, at least with 
 tentative effort. But finally finding his path, he struck out 
 resolutely, and the creatures of his imagination took shape on 
 the canvas invested with the thought of the artist which gives 
 to each production its individuality. Born at Deerfield, Mass., 
 in 1822, George Fuller passed through progressive stages of 
 studying intermittently from nature, and settled finally in Boston 
 as a portrait painter. Afterward he came to New York, and 
 remained here twelve years. At the end of that time he went 
 to Europe on his savings, and his study of the great museums 
 seemed to open up before him an art vista he had not before 
 dreamed of. He came back to America and retired to a farm, 
 where for sixteen years he lived the life of a recluse almost; 
 asked advice from nobody, but worked steadily on, material- 
 izing with paint and brush the conceptions of his fancy. Thus 
 it was that when he emerged from his seclusion his pictures 
 came almost as a revelation. ‘The Romany Girl,” “ Nydia,” 
 “The Turkey Girl,” “ Bringing Home the Cows,” and other 
 
 34 
 
pictures were acclaimed as the product of a new artistic genius. 
 He continued to paint in his own way for some ten years more, 
 and died in the spring of 1884. An exhibition of his work held 
 in Boston the same year was one of the most remarkable indi- 
 vidual collections ever seen in America, and on that occasion 
 his fame was definitely recognized. His election as an Associate 
 of the National Academy dates back to the earlier period of. 
 his art, and he afterwards sought no further honors and made 
 no claim to official recognition. : 
 
 GILBERT GAUL, N.A. 
 
 GeeEERY GAUL was born in Jersey City, N. J., in 1855, 
 
 and is a pupil of J. G. Brown, N.A. Whereas the 
 lamented De Neuville and M. Detaille, the famous French 
 painters of battles and soldier life, and most military painters, 
 have seen actual service in the field, such is not the case with 
 the American. He has made a close study of all that pertains 
 to the soldier’s career, however, and his academic training, his 
 keen insight, and his feeling for dramatic composition have 
 done the rest. ‘“‘ Charging the Battery” and “ Wounded to the 
 Rear” are among the best of his episodic compositions, and 
 these stirring pictures have equally interesting, if less animated, 
 companion pieces in a host of subjects wherein are depicted 
 the excitement and the picturesque features of army life. 
 Many of these are scenes on the plains of the Far West. For 
 “ Charging the Battery’? Mr. Gaul was awarded a medal at the 
 Paris Exposition of 1889. In 1882 he was elected a National 
 Academician. 
 
 R. SWAIN GIFFORD, N.A. 
 
 S Risa mature and well-developed art of R. Swain Gifford is 
 
 too well known to the American public to require more 
 than a mere word of description. Born on the island of 
 Naushon, Mass., in 1840, his first studies were made under a 
 
 35 
 
Dutch marine painter, Albert Van Beest, who had a studio at 
 
 New Bedford. His progress was very rapid, and in 1864 he 
 opened a studio himself in Boston. Two years later he came 
 to New York, and has ever since been a prominent figure in the 
 native landscape school, as well as a citizen active in the art 
 development of the city and the country at large. In 1870 Mr. 
 Gifford made his first trip to Europe, and spent two years in 
 study and travel in France, England, Spain, Italy, Morocco, 
 and Egypt. In 1874 he went again to Africa for an artistic 
 exploration of the great desert. The results of his observations 
 in these foreign countries may be seen in many pictures 
 belonging to an earlier period than that of the past ten years, 
 for in these years he has become more and more wedded to the 
 attractions offered by the picturesque scenery of the Massa- 
 chusetts coast, and paints little else. His work is broad and 
 simple in composition, sober in color, and harmoniously held 
 together in all its parts. Mr. Gifford was one of the founders 
 of the American Water Color Society, and was elected a 
 National Academician in 1878. . He is a Member of the 
 Society of American Artists and of the Society of Landscape 
 Painters. One of his pictures is in the permanent collection of 
 the Metropolitan Museum. 
 
 SANFORD R. GIFFORD, N.A. 
 
 IFFORD, Kensett, McEntee—how often have we heard 
 these three names mentioned among the famous land- 
 scape painters in the generation but lately passed away! ‘The 
 
 art of the first and second when placed side by side with the 
 
 canvases of the men of to-day have, it is true, an old-fashioned 
 look, but it is no difficult task to point out wherein lay the 
 excellence of their work, and it is no cause for wonder that 
 their admirers were numbered not only in New York, but 
 truly from the Atlantic to the Pacific. Sanford R. Gifford was 
 born at Greenfield, N. Y., and graduated at Brown University 
 in 1842. In 1844 he took his first painting lessons in the 
 36 
 
studio of John R. Smith, and shortly afterward went to Europe. 
 His travels at different times extended over Switzerland, the 
 Rhine, Italy, Egypt, and the Nile. In 1870 he made a trip to 
 the Rocky Mountains. He was commended for excellence in 
 landscape painting at the Philadelphia Centennial Exhibition in 
 1876, and in 1878 sent to Paris his “ Mount Renier” and “San 
 Giorgio, Venice.” He was elected a National Academician in 
 1854. He died in 1880. 
 
 HENRY PETERS GRAY, P.N.A. 
 
 ORN in New York in 1819, Henry Peters Gray began his 
 art studies under Daniel Huntington, P.N.A., in 1839. 
 He went to Europe in 1840, and fell under the magic spell of 
 the old masters, whose secrets he endeavored to find out by 
 much patient study and experiment. On his return in 1842 he 
 was elected a National Academician, and later on, from 1869 to 
 1871, he held the office of president. Painting portraits in 
 New York, with an occasional figure picture, occupied the 
 greater part of his artistic career, and ‘The Origin of Our 
 Flag’”’ was one of the last of his exhibits at the Academy. This 
 was shown in 1875. His work shows his sound academic study, 
 and his color is reminiscent of the golden tone of Titian or 
 Correggio. Many of his portraits were of cabinet size. He 
 died in New York in 1877. 
 
 SEYMOUR J. GUY, N.A. 
 
 Te any American artist has painted a better genre picture 
 
 than “ Making a Train” the fact is yet to be discovered, 
 and this celebrated little picture is but one of a number of 
 excellent works, such as “ Taking a Rest,” “The Orange Girl,” 
 and ‘‘ Look, Mamma,’ which have brought reputation to Sey- 
 mour J. Guy. While he paints figures out of doors, and the 
 ordinary scenes of domestic genre, Mr. Guy has made a 
 
 37 
 
specialty of candle-light effects. He has studied such problems 
 of artificial light and shadow scientifically, but his knowledge is 
 brought to bear in painting his pictures with an art that con- 
 ceals anything like dry, uninteresting facts. He was bor in 
 Greenwich, England, in 1824, and came to New York when in 
 his thirtieth year. He was a pupil of Butterworth and Ambro- 
 sino Jerome in England, and obtained his first success as a 
 portrait painter. He was elected a National Academician in 
 1865, and was one of the founders of the American Water 
 Color Society. His conscientious methods of working and the 
 care he gives to every detail in his work make his production 
 comparatively slow, and his genre pictures are not very 
 numerous. For this reason and on account of their intrinsic 
 excellence they are eagerly sought for by collectors. 
 
 EDGAR SCUDDER HAMILTON 
 
 pre the age of nineteen Edgar Scudder Hamilton, who is the 
 son of a clergyman of Trenton, N.J., came to New York 
 to study art. He was born at San Antonio, Texas, in 1869. 
 He entered the Art Students’ League and became a pupil of 
 George de Forest Brush, A.N.A. ‘Three or four years later he 
 went to Paris and continued his studies under MM. Jean Paul 
 Laurens and Benjamin-Constant at the Académie Julian, and 
 under M. Géréme at the Ecole des Beaux-Arts. Returning to 
 New York in 1894, he made his appearance at the local exhibi- 
 tions, and his work is rapidly becoming familiar to the art pub- 
 lic. His color schemes are generally subdued, and picturesque 
 composition is a notable feature of his work. 
 
 WILLIAM ST. JOHN HARPER, A.N.A. 
 
 AS a painter of sympathetic figure subjects, etcher, and il- 
 
 lustrator, William St. John Harper’s work is favorably 
 
 known to a large public, and appreciated for its worth by many 
 
 connoisseurs. He was born at Rhinebeck, N. Y., in 1851, and 
 38 
 
first studied in the schools of the National Academy under 
 Professor Wilmarth. Later he was a pupil of William M. Chase 
 and Walter Shirlaw in New York, and of MM. Munkacsy and 
 Bonnatin Paris. Mr. Harper was president of the Art Students’ 
 League in 1881, and is an Associate of the National Academy. 
 He is a Member of the New York Etching Club. In 1892 he 
 was awarded the Clarke Prize at the Academy for his picture 
 called “ Autumn.” 
 
 ARTHUR HOEBER 
 
 isc landscape work of Arthur Hoeber is remarkable for its 
 
 evident sincerity and careful observation of nature. . His 
 favorite themes are quiet stretches of country with streams and 
 clumps of trees, such as are found in the rural recesses of Long 
 Island or New Jersey, and these he interprets under different 
 effects of light and atmospheric conditions, with sound drawing 
 and agreeable schemes of color. Mr. Hoeber was born in the 
 city of New York, and first studied at the Art Students’ League. 
 In the autumn of 1881 he went to Paris and became a pupil of 
 M. Géroéme at the Ecole des Beaux-Arts. He worked there 
 five years, and also had the benefit of criticisms from MM. 
 Courtois and Collin. He exhibited at the Salons of 1882, 
 1883, and 1885, and since his return to New York in 1886 has 
 been a regular contributor to the exhibitions of the Society of 
 American Artists and the Academy. He is a well-known 
 writer on art topics for the magazines and journals, and is at 
 present art critic of the New York Commerctal-Advertser. 
 Mr. Hoeber’s studio is at Nutley, N. J. | 
 
 WINSLOW HOMER, N.A. 
 
 12 is altogether probable that if the artists of the United 
 
 States were called upon to record their opinion of who 
 
 is the greatest living distinctively American painter, the majority 
 
 of tneir votes would be cast for Winslow Homer. This may be 
 39 
 
said without invidious comparisons, for while all would recog- 
 nize in Mr. John S. Sargent one of the greatest portrait painters 
 that ever lived, and admit that his magnificent achievements 
 place him quite hors 4igne, and while they would perhaps make 
 some reservations and speak about our great landscape painters, 
 it is practically certain that they would concede that the origi- 
 nality of Mr. Homer’s treatment of his subjects, the marked 
 individuality of his style, and the robust, vigorous character of 
 his interpretations entitle him to the highest place in our native 
 art. The painter of “ Maine Coast,” “ Eight Bells,” and other 
 works nearly as well known, appears as a figure of almost heroic 
 size in a survey of the American field of art. It is fair to say 
 that this prominence of the artist is not due to superlative — 
 academic and technical excellence, as in the case of Mr. Sargent, 
 but is owing to the strength and personal character of his artistic 
 temperament. Mr. Homer has really taught himself to paint. 
 He was born in Boston in 1836, and displaying a great deal 
 of skill as a draughtsman while at work in a lithographic estab- 
 lishment in that city, he decided when a youth of nineteen to 
 come to New York and strike out on an artistic career. He 
 entered the schools of the National Academy and also received 
 instruction from Frederick Rondel, a French artist of consider- 
 able reputation at that time, and in his hours out of the class- 
 rooms added to his support by making drawings on wood for 
 publishers. During the Civil War he went to Washington and 
 followed the armies in some of the campaigns, making illus- 
 trations for Harper's Weekly. About this time he began to 
 transcribe some of his subjects with brush and color. A series 
 of pictures painted at this period are of the greatest interest 
 artistically and historically. He sent one of the most impor- 
 tant of them, “ Prisoners from the Front,” to the National 
 Academy Exhibition in 1864, and was elected an Associate. In 
 the following year he was made an Academician. The year after- 
 ward he took an active part in the organization of the American 
 Water Color Society. He now worked in all mediums, and was 
 known as an artist of marked ability and individual talent. He 
 went to Europe, but did not make a long sojourn, and his art 
 was not influenced by his study of the masterpieces of the 
 40 
 
| 
 
 ancient and modern schools. It never has been influenced 
 apparently by any other work. He has continued to paint in 
 his own way, with nature for his sole guide and inspiration. 
 He has made great successes and some failures, but he is never 
 commonplace. He seizes the spirit of his subject, whatever it 
 may be, with a sort of grip that does not relax until he has im- 
 parted that spirit to his pictorial creation. He usually achieves 
 this by very simple, direct means. His manner of painting is 
 never tortured, but always free and bold. His drawing, if some- 
 times erratic, is always powerful and expressive of true artistic 
 virility. His color, once ordinary, has become distinguished. 
 It is veracious, it is harmonious, and it,is his, and as easily 
 recognized at a glance as that of Corot or Puvis de Chavannes. 
 For the past ten or fifteen years he has lived on the coast of 
 Maine, and there has painted. pictures of the sea, storm, and 
 night which belong with the finest things modern art has to 
 show. Previous work on the Newfoundland Banks and among 
 the Southern negroes was in its way no less remarkable. All 
 in all his achievement is one of our artistic glories, and Winslow 
 Homer isa name sure to be known to posterity as that of one 
 of the great artists of the century. 
 
 THOMAS HOVENDEN, N.A. 
 
 eee: at Dunmany, Ireland, in 1840, Thomas Hovenden 
 
 obtained his first instruction in art at the Cork School of 
 Design. Coming to New York in 1863, he worked in the night 
 classes of the Academy, and supported himself by various 
 occupations in business hours. In 1874 he at last found him- 
 self in a position to give his undivided attention to art, and 
 went to Paris to become a pupil of M. Cabanel at the Ecole 
 des Beaux-Arts. A few years later he joined the artists’ 
 colony at Pont Aven in Brittany; had a studio there, and 
 painted Breton subjects. In 1880 he returned to New York. 
 He was elected a National Academician in 1882, and was a 
 Member of the Society of American Artists and the American 
 
 Al 
 
Water Color Society. About the end of the eighties he went 
 to Plymouth Meeting, Penn., and made a permanent home 
 there, at the same time becoming a professor of painting at the 
 Pennsylvania Academy of Fine Arts, Philadelphia. He was 
 killed by a railway train at Plymouth Meeting station in 
 August, 1895, while in the act of heroically saving the life of a 
 child who was about to be run over. Among his most cele- 
 brated pictures are “Elaine,” “John Brown Being Led to 
 Execution,’ now in the permanent collection of the Metro- 
 politan Museum, New York, “In the Hands of the Enemy,” 
 “A Brittany Image Seller,’ “Chloe and Sam,” and “ Jeru- 
 salem the Golden.” 
 
 WILLIAM H. HOWE, N.A. 
 
 ILLIAM H. HOWE, one of America’s best and most 
 widely known cattle painters, was born at Ravenna, 
 
 O., in 1846. He began the study of art in 1880 at the Royal 
 Academy of Diisseldorf, Germany, and after working there two 
 years went to Paris. Here he studied with Otto de Thoren 
 and F. de Vuillefroy, and had a picture accepted at the Salon 
 of 1883. For ten years thereafter he was a successful ex- 
 hibitor at the Salon and other European exhibitions. Return- 
 ing to the United States, he was elected a National Acade- 
 mician in 1897, and a Member of the Society of American 
 Artists in 1899. His list of official honors abroad and at home 
 is a long one. At the Salon he received honorable mention in 
 1886, and a medal of the third class in 1888. At the Paris 
 Exposition of 1889 he was awarded a medal of the second 
 class. At London, 1890, he received a gold medal, and 
 the same year the Temple Gold Medal at the Pennsylvania 
 Academy of Fine Arts, Philadelphia, and a gold medal at 
 Boston. A medal was awarded to him at the Chicago World’s 
 Fair in 1893, a gold medal at San Francisco in 1894, and a 
 gold medal at Atlanta in 1895. He is an Officier d’Académie 
 and a Chevalier of the Legion of Honor, both by decree of the 
 
 42 
 
~ 
 
 French Government. He has pictures in the permanent collec- 
 tions of the St. Louis Museum of Fine Arts and in the Cleve- 
 land Museum. Mr. Howe follows the best modern traditions 
 in the art of cattle painting, as seen in the work of Troyon, 
 Van Marcke, and other great artists, and his work is of sterling 
 merit and personal style. 
 
 ALFRED C. HOWLAND, N.A. 
 
 ee art of Alfred C. Howland may well be described as 
 
 consisting of a combination of genre and landscape, and 
 he often invests his subjects with a touch of humor. He is also 
 a clever painter of street scenes. He was born at Walpole, 
 N. H., in 1838, and after studying several years in Boston went 
 to Diisseldorf, where he became a pupil of Professor Albert 
 Flamm. Later he went to France to study under Emile Lam- 
 binet. He was elected a National Academician in 1882, and 
 has his studio in New York. 
 
 WILLIAM MORRIS HUNT 
 
 ORN at Brattleboro, Vt., in 1824, it was the original inten- 
 tion of William Morris Hunt to becomea sculptor. He 
 
 went to Europe in 1846, and entered the Diisseldorf Academy, 
 but soon gave up modelling, and studied painting under Cou- 
 ture in Paris. He exhibited several years at the Salon, and 
 then, returning to America, took up his residence in Boston. 
 There, and at Newport, R.I., he had studios, and at these 
 places he painted and gave instruction to his numerous pupils 
 until his death in 1879. He made frequent visits to Europe, 
 and also spent some time in Albany, N. Y., where he was en- 
 gaged in painting in fresco, in the Capitol, two important com- 
 positions, ““The East and Moming” and “The West and 
 
 43 
 
Evening.” ‘These were among the earliest commissions for 
 mural painting given to American artists. 
 
 Preceding by several years in his return to the United States 
 the influx of American painters educated in Paris and Munich, 
 which gave such a decided turn in the direction of improved 
 technique to American art in 1877 and following years, the work 
 of Hunt attracted, no doubt, more attention and received more 
 critical notice than it would if he had come later. But there , 
 can be no question as to the genuineness of his talent and the 
 
 sincerity and artistic quality of his painting. It possesses a 
 - marked individual quality, and is especially notable for beautiful 
 color. His advice to students did much to bring about the 
 so-called “ renaissance of American art,” which is generally set 
 down as following the Centennial] Exhibition at Philadelphia in 
 1876. Portraits, figure subjects, landscape and marine paint- 
 ing were all included within his artistic scope. Among his 
 notable portraits may be mentioned those of Judge Shaw and 
 Governor Andrews of Massachusetts, James Freeman Clarke, 
 Charles Sumner, and Oakes Ames. Some of his principal figure 
 works are: “ The Street Musician,” “ The Bathers,” “The Mar- 
 guerite,” “The Drummer Boy,” “Child Selling Violets,” “The 
 Morning Star,” and “ Plowing.’’ Representative examples of 
 his work are in the permanent collections of the Fine Arts 
 Museum, Boston, and the Metropolitan Museum, New York. 
 
 GEORGE INNESS, N.A. 
 
 HE splendid career of George Inness, the greatest Ameri- 
 can landscape painter, was brought to an end by his 
 sudden death in Scotland, August 3, 1894, while he was on a 
 trip abroad undertaken for the recuperation of his health, im- 
 paired by unceasing hard work. He was born at Newburg, 
 N. Y., in 1825. Except for some elementary instruction in his 
 youth in Newark, N. J., and a few months’ study under Regis 
 Gignoux in New York, he received no academic art education. 
 He found out for himself by a long course of patient study from 
 
 44 
 
nature out of doors how best to express his ideals on canvas. 
 His work is distinctly divided into two periods—the first cover- 
 ing the years during which, in conscientious, analytical fashion, 
 he painted scenes in this country, Italy, and other parts of 
 Europe; the second embracing the time from about 1878 to 
 his death, during which he became more and more a synthesist. 
 In this latter period he painted passing effects with such power, 
 individuality, and beauty of color and composition as to place 
 his work among that of the greatest artists of the nineteenth 
 century. 
 
 Successful artists invariably go through a period of tentative 
 
 _ work. Some do so in the first years of their career, after having 
 
 gone through a period of study in the class-rooms, where they 
 have learned all they can by drawing and painting from the 
 model. ‘Then, setting out with a more or less adequate technical 
 equipment, they gradually come to their full development, hay- 
 ing in many cases more than once changed their point of view 
 in looking at the whole field of art. ‘Their academic training 
 serves them in good stead; and a change of view involves not 
 so much a change of method as of manner. Others—without 
 such technical education, acquiring skill at the same time that 
 they are unlearning what at first, owing to the narrowness of 
 their horizon, seemed well enough for the purpose in hand, even 
 if it was not entirely satisfactory—advance slowly but surely to 
 a point where technical difficulties trouble them no longer ; 
 where breadth of vision and fulness of thought find the hand a 
 ready interpreter, and nothing except the ever-growing desire 
 in the heart of the true artist to accomplish greater things than 
 those already achieved impedes the free expression of the 
 painter’s impressions of nature. Inness belongs in the latter 
 category. There are points of similarity in his development 
 and that of two great Frenchmen—Corot and Rousseau. Both 
 had more academical training than Inness, but both, in their 
 landscape work, went through the analytical stages that mark 
 the earlier pictures of Inness. The landscapes of George 
 Inness show the same sort of grasp as those of these two mas- 
 ters—the same intensity of purpose, the same general concep- 
 tion of nature—and they possess a quality of tone, a depth and 
 
 45 
 
variety of color, a dramatic force of composition, and a char- 
 acter entirely their own. 
 
 We see Inness as a synthesist at his best in such noble 
 works as “ Georgia Pines,” “Sunset on the Passaic,” “ Nine 
 O’Clock,”’ “ The Wood Gatherers,” “The Moon at Night,” or 
 “‘ After a Summer Shower.” In these and other pictures of his 
 second period the ripeness and maturity of his art are manifest, 
 and the artist is seen expressing his grand ideals unhampered by 
 any difficulties in the management of his medium. In works 
 of the earlier period, such as “‘ Conway Valley,” “ The Delaware 
 Valley,” or “In the Catskills,” we are impressed by the breadth 
 of his artistic vision, the virility of his processes, and his remark- 
 able knowledge of form. His art in both is of the most genu- 
 inely sympathetic quality. ‘Taking them as a whole, we find no 
 “ general scheme ”’ varied to suit different conditions of light and 
 atmospheric effect. Each picture is the result of the most intel- 
 ligent observation and thorough search for truth. Each work 
 bears the impress of the artist’s supreme individuality. If we 
 wish to see what he could do when at the maturity of his powers 
 he undertook to paint a purely naturalistic landscape, we have 
 only to look at that masterpiece of truthful observation and tech- 
 nical excellence, “Winter Morning at Montclair.” Nothing 
 could be better or more convincing, and it will always stand asa 
 proof of the soundness of Inness’s artistic equipment, while it 
 remains a real Zour de force in rendering an effect in nature by 
 means as simple and direct in execution as they are beautiful in 
 the ensemble of their completeness. 
 
 George Inness found one of his first patrons in Ogden Hag- 
 gerty, a drygoods auctioneer, in New York, who bought pictures 
 from him before the Civil War. In the early sixties he found 
 another financial supporter in Marcus Spring, who was one of the 
 strongest advocates of the artistic ability of William Page, N.A., 
 the portrait painter. Henry Ward Beecher greatly admired the 
 work of Inness, and at his death left several pictures which he 
 had bought from the artist. ‘Thomas Wigglesworth, of Boston, 
 was another of his earlier patrons. ‘Thomas B. Clarke, of New 
 York, began buying them about twenty years ago, and in the sale 
 of his noted collection in February, 1899, there was a large num- 
 
 46 
 
ber of Inness’s pictures. In the William T. Evans collection there 
 are seventeen, including the splendid “ Georgia Pines,” which 
 the artist gave to his wife, with the remark that it was his best 
 picture. James W. Ellsworth, Potter Palmer, Richard H. Hal- 
 stead, George A. Hearn, Benjamin Altman, Emerson McMillan, 
 and other well-known amateurs possess pictures by the great 
 American landscape painter. ‘The time has long since passed 
 when his work was discussed as to the place it should hold in 
 modern art. No one now disputes its supremacy. 
 
 DAVID JOHNSON, N.A. 
 
 Pee? JOHNSON was born in New York in 1827, and at 
 
 the beginning of his artistic career received a few lessons 
 from J. F. Cropsey, N.A. He has studied the works of the 
 great European masters of landscape painting, but his profes- 
 sional life has passed entirely in New York, and he has never 
 been abroad. He was elected a National Academician in 1861, 
 and was one of the founders of the Artists’ Fund Society. At 
 the Centennial Exhibition at Philadelphia in 1876 he exhibited 
 “Scenery on the Housatonic,” “ Old Man of the Mountains,” 
 and “ A Brook Study, Orange County, N. Y.,” and received one 
 of the first awards. His pictures are notable for fine color and 
 excellent drawing. 
 
 EASTMAN JOHNSON, N.A. 
 
 VA ses one of the most distinguished and most successful 
 
 of American portrait painters, Eastman Johnson is 
 equally well known as a painter of genre. His work in this field 
 is characterized by fine color quality, and realizes with sympa- 
 thetic feeling the spirit of his subject. His style is distinctive 
 and personal, and his compositions and portraits alike attest the 
 sincerity, breadth, and maturity of his achievements. Mr. John- 
 son was born at Lovell, Me., in 1824, and began, while quite 
 young, to make portraits incrayon. In 1845 he was at work in 
 
 47 
 
Washington, and later at Cambridge and Boston. In 1849 he 
 went abroad and took up oil-painting under Professor Leutze, 
 in Diisseldorf, spending two years afterward in painting at The 
 Hague and Paris. Upon his return to America he took a studio 
 _in New York, and was elected a National Academician in 1860. 
 He is a Member of the Society of American Artists. Mr. John- 
 son received a medal for his work exhibited at the Paris Expo- 
 sition of 1889. 
 
 FRANCIS COATES JONES, N.A. 
 
 Seca of domestic genre in which child life often plays a 
 
 part are for the most part the subjects to which Francis 
 C. Jones devotes his imaginative fancy and his skilful brush. 
 He frequently paints figures out of doors with landscape settings, 
 and all of his pictures are marked by graceful drawing and 
 agreeable schemes of color. Mr. Jones, who is a younger 
 brother of H. Bolton Jones, N.A., the distinguished landscape 
 painter, was born in Baltimore in 1857. He went to Europe and 
 joined his brother at the artist colony of Pont Aven, Brittany, 
 in the seventies, from whence he proceeded to Paris to study 
 under MM. Boulanger and Lefebvre at the Académie Julian and 
 at the Ecole des Beaux-Arts. He returned to the United States 
 in 1881, and has had a studio ever since in New York. In 1885 
 he received the Clarke Prize at the National Academy for his 
 picture “ Exchanging Confidences.” In 1894 he was elected 
 a National Academician. He is a Member of the Society of 
 American Artists, the American Water Color Society, and the 
 Architectural League of New York. 
 
 H. BOLTON JONES, N.A. 
 
 H UGH BOLTON JONES was born in Baltimore in 1848 
 
 and began his art studies in that city. He went to 
 
 France in the seventies, and became a member of the artist 
 48 
 
a 
 
 colony at Pont Aven, in Brittany, which was founded by the 
 eminent American artist, Robert Wylie, and where, when Mr. 
 Jones was a resident, the late W. L. Picknell, A.N.A., and other 
 well-known artists, French, British, and American, were work- 
 ing. ‘The climate of lower Brittany permits the artists to work 
 out of doors all the year round, and Mr. Jones’s studies from 
 nature during the years he lived at Pont Aven were close and 
 unremitting. Many good pictures from his easel date from that 
 period. Later on he travelled in Spain and in Northern Africa, 
 but for ten or fifteen years now he has found all his subjects in the 
 United States, whether in picturesque field and forest of New 
 Jersey or along the Massachusetts coast. He was elected a Na- 
 tional Academician in 1883 and is a Member of the Society of 
 American Artists and the American Water Color Society. A 
 medal of the third class was awarded to him for his fine land- 
 scape exhibit at the Paris Exposition of 1889. Mr. Jones has 
 a studio in New York, but, like many of our landscape painters, 
 spends more months of the year in the country than in town. 
 His work possesses sterling qualities of color and drawing, belongs 
 to the naturalistic school, and is widely known at home and 
 abroad. 
 
 Jor RENSET T, N.A. 
 
 ORE of the most distinguished American painters of the last 
 
 generation was J. F. Kensett, who was born at Cheshire, 
 Conn., in 1818, and began his artistic career as an engraver. 
 He finally went abroad to study painting, and in 1850 sent a 
 picture to the Royal Academy, London, which was-highly praised 
 by the critics. Travel and study followed in Switzerland, Italy, 
 and on the Rhine. When he returned to America with a high 
 reputation established by the work he had sent here from abroad 
 to our exhibitions, he took a studio in New York, and continued 
 his professional life in this city till his death, which took place 
 in 1872. Mr. Kensett was elected a National Academician in 
 1849, and in 1859 was a Member of the Art Committee which 
 
 49 
 
superintended the work of decoration of the National Capitol 
 at Washington. In the latter years of his career he devoted 
 himself to the depiction of American scenery, and his fame and 
 popularity were surpassed by that of no other artist. 
 
 FREDERICK W. KOST 
 
 AONE the comparatively younger men in the American 
 school of landscape painters none occupies a more promi- 
 
 nent place than Frederick W. Kost, whose achievements entitle ~ 
 him to high rank as an artist and whose work each year affords - 
 additional proof of the soundness of his methods and the fine 
 
 quality of his temperament. Such pictures as “The Driftwood 
 Gatherer,” a splendid piece of tone with the most virile technical 
 handling, or “ Moonrise, Foxhills,” with its tender atmospheric 
 
 _ quality and beautiful delicate color, are sufficient evidence of his 
 
 a i 
 
 great ability and fine artistic feeling, and all of his pictures bear 
 
 the stamp of individuality. Mr. Kost was born in the city of 
 New York in 1861, and first studied in the schools of the 
 National-Academy. Later on he continued his work in Paris 
 and Munich. — His studio is in New York, and his favorite paint- 
 ing grounds are along the shores and in the picturesque interior 
 of Staten Island. He is a Member of the Society of American 
 Artists, the Society of Landscape Painters, and the Artists’ 
 Fund Society. 
 
 W. L. LATHROP 
 
 Boe or five years ago an artist’s work appeared at the © 
 
 exhibition of the American Water Color Society which was 
 
 so excellent in method and so charming in sentiment that it 
 
 made a sensation. The pictures were landscapes with Ohio 
 
 scenery for their subjects, and the painter, W. L. Lathrop, was 
 
 not long in becoming a celebrity. In 1896 he was awarded the 
 50 
 
William aes Evans Prize at the water color exhibition for his 
 
 picture “ Twilight i in Connecticut.” . In 1897 he received the 
 gold medal of the Art°Club of Philadelphia for the best water 
 color in its exhibition. In 1899 the jury of the Society of 
 American Artists awarded him the Webb Prize for his picture 
 
 in oil called “Clouds and Hills.” His work continues to show 
 
 the absolute sincerity of his artistic purpose, and his water colors 
 
 yield to nothing in the American school in true beauty of con- 
 
 “ception and unobtrusive, all-convincing style. Mr. Lathrop was 
 
 i} 
 
 born at Warren, Ill., in 1859,.but passed his youth in Paines- 
 ville, in Northern Ohio. He has had no systematic instruction 
 
 from any school or master and is an indefatigable, consistent : 
 “ student of, nature. 
 
 WILL H. LOW, N.A. 
 
 EW American artists have devoted themselves with such | 
 intelligence and thorough technical equipment to the study , 
 
 of the nude, the classical, and the allegorical as Will H. Low. 
 
 _ He was born at Albany, N. 'Y., in 1853, and after accumulating 
 
 means by working for the illustrated periodicals in New York 
 
 _went to Europe in 1873. He studied for a time in the atelier 
 
 of M. Géréme, but joined the Carolus-Duran atelier, where he 
 found the master’s instruction more in line with his own artistic 
 sympathies, and remained a pupil there until 1877. He had 
 
 meanwhile exhibited pictures at the Salon. Returning to New 
 
 York, he was one of the founders of the Society of American 
 
 ' Artists in 1878, and shared in the general praise bestowed on 
 
 the young artists who created such a sensation by their con- 
 
 . tributions to the Academy that year. In 1890 he was elected 
 
 a National Academician. Portraits and such subject pictures as 
 
 the beautiful classical composition “The Portrait,” with an 
 
 occasional nude figure notable for graceful drawing and tender 
 
 color, constituted his principal work for several years, but of late 
 
 he has given much time to mural painting. In this field of art 
 
 he has executed some important commissions, notably the panels 
 51 
 
 any 
 
and medallions in the great ballroom of the Astoria Hotel. Mr. 
 Low is widely known as an illustrator through his beautiful draw- 
 ings for éd@itions de luxe of Keats’s “ Lamia” and “Sonnets” 
 and enjoys a literary reputation from his contributions to the 
 magazines on art topics, which he discusses with a refined style 
 and rare catholicity of judgment. His studio is at Lawrence 
 Park, Bronxville, N. Y, 
 
 JERVIS McENTEE, N.A. 
 
 Ret imaginative feeling, rich and vibrant color, and sound 
 
 execution are characteristics of the landscape painting of 
 Jervis McEntee. He was born at Rondout, N. Y., in 1828, 
 and began the study of art in the city of New York in 1850 
 under Frederick E. Church, N.A. A few years later he opened 
 a studio of his own, and in 1861 he was elected a National 
 Academician. His work is of sterling quality, and represents 
 with great fidelity various characteristic phases of the American 
 scenery and climate. His autumn studies are particularly re- 
 markable. His pictures at the Centennial Exhibition, Phila- 
 delphia, in 1876 were commended by the judges for artistic 
 excellence, and a picture exhibited at the Royal Academy in 
 1872 was received with great favor in London. He died in 1891 
 in the enjoyment of a well-won reputation. 
 
 C. MORGAN McILHENNY, A.N.A. 
 
 MORGAN McILHENNY, one of the cleverest and most 
 * esteemed of the younger group of American artists, was 
 
 born in Philadelphia in 1858. His work has attained great 
 
 popularity, and has been received with approbation by his 
 
 fellow-artists. The William T. Evans Prize at the American 
 
 Water Color Society, of which he is a member, was awarded to 
 
 him in 1892. At the Academy he received the first Hall- 
 
 garten Prize in 1893. The same year the judges at the 
 | 52 ent 
 
 : 
 | 
 . 
 
Chicago World’s Fair awarded him medals for painting in oil 
 and water color. He is an Associate of the National Academy 
 of Design and a Member of the New York Water Color Club. 
 Mr. Mcllhenny’s studio is at Shrub Oak, N. Y., and his subjects . 
 are generally landscape effects enlivened by figures or including 
 . cattle, which he paints with admirable truth to nature and fine 
 technical execution. 
 
 WILLIAM S. MACY 
 
 : iti" lala S. MACY, a landscape painter, whose work is 
 
 forceful in method and effective in color, was born at 
 New Bedford, Mass., in 1853. He received his first instruc- 
 ’ tion in art at the schools of the National Academy, New York, 
 - and from J. O. Eaton. In 1876 he went to Munich and 
 -studied four years under Velton. At the end of this time he 
 returned to New York, and had a studio in the Y. M. C. A. 
 building until five years ago, when his health was such that he 
 was forced, for the time at least, to give up painting. Mr. 
 Macy received a medal at the Mechanics’ Fair Association 
 Exhibition at Boston in 1883. 
 
 HOMER D. MARTIN, N.A. 
 
 each day since the death of Homer Martin in 1897 brings 
 
 greater glory to his name. ‘There was a time when such 
 a mere handful of people believed in his art that it scarcely 
 sufficed to bring in the necessaries of life. Later years brought 
 wider appreciation, but it is only in the past two or three years 
 - that his works have been estimated at their true valuation. He 
 was born in Albany, N. Y., in 1836, and studied painting with 
 William: Hart,,N.A. In 1875 he was elected a National 
 Academician, and in 1878 was one- of the founders of the 
 Society of American Artists. His early work followed the 
 conventional lines of the Hudson River School, and -he was 
 53 ‘ 
 
 * 
 
the first to break away from mannerisms and artificiality, be- 
 coming, in a sense, the first American impressionist. It must 
 not be understood by: this that his emancipated style resembled 
 the processes of the French impressionists and their followers. 
 He did seek to paint his impressions synthetically, however, 
 and at the time he was looked upon asa revolutionary. Martin’s 
 landscapes are invariably fine in ensemble, and are generally 
 sober and subdued in color. They are full of genuine senti- 
 ment, and impress the spectator by the charm of their poetic 
 naturalism. His noted works, such as ‘“ Normandy Trees,” 
 “ Adirondack Scenery,” “ River Scene”’ (Metropolitan Museum, 
 New York), and “Old Church in Normandy,” are among the 
 most individual productions of American art, and his work as a 
 whole occupies a place by itself owing to its intrinsic beauty 
 and admirable personal quality. 
 
 CHARLES H. MILLER, N.A. 
 
 (Qe H. MILLER was born in New York in 1842 
 
 and studied medicine. Before he graduated he had 
 been sufficiently interested in art to try his hand at painting as 
 a relief from his professional study, and a picture he sent to 
 the Academy in 1860 was hung in the exhibition. He grad- 
 uated in 1863 and began practice, but a trip to Europe so 
 influenced him that he finally gave up the medical profession 
 and went to Munich to study painting. He was there a pupil 
 of Professor Lier, and studied afterwards in Vienna, Berlin, 
 Dresden, and Paris. In 1875 he was elected a National Aca- 
 demician, and having now returned to America he took a studio 
 in New York. He finds most of his subjects on Long Island, 
 and his landscapes of picturesque spots in its fields, forests, 
 and villages are characterized by mellow color and synthetic 
 treatment. Many an old mill, or other building, whose erec- 
 tion dates back to pre-Revolutionary times, has been depicted 
 by his brush, and the whole series of his Long Island pictures 
 constitutes a historical record apart from its artistic value. 
 
 54 
 
_ FRANCIS DAVIS MILLET, N.A. 
 
 A GRADUATE of Harvard University in the class of 1869 
 
 and a graduate of the Royal Academy of Antwerp as a 
 pupil of Van Lerius and De Keyser, Francis D. Millet began 
 life well equipped for the dual profession of painter and writer 
 he has so successfully followed. As early as 1873 he had won 
 his gold and silver medals in the Academy class-rooms, and in 
 1878 he was the member from the United States on the Inter- 
 national Art Jury at the Paris Exposition. In the Russo-Turk- 
 ish War he was the correspondent of one of the great London 
 dailies, and in 1898 he went to Manila in a similar capacity 
 for the London Zimes and Harper's Weekly. He was elected 
 a National Academician in 1885, and has served one or two 
 terms as vice-president. A decade ago, after a more or less 
 continuous residence in New York, he went to live perma- 
 nentlyin England. His home there is at Broadway, in Worces- 
 tershire, and, surrounded by pleasant influences and with a 
 vast store of material at his hand, he paints the beautiful com- 
 positions of historic genre which have brought him a high 
 reputation as an artist. In 1893 Mr. Millet was the Chief of 
 Decoration at the World’s Fair, Chicago, and did yeoman 
 service in the cause of American art. He has lately been 
 called upon to act in an advisory capacity with similar duties 
 at the United States Building at the Paris Exposition of 1900. 
 Mr. Millet is a Member of the Society of American Artists 
 and of the American Water Color Society. He was born 
 at Mattapoisett, Mass., in 1846. 
 
 ROBERT C. MINOR, N.A. 
 
 OETIC sentiment with fine, resonant color effects are 
 found in the landscapes of R. C. Minor, who is an avowed 
 “Barbizon man” and has founded his art on the traditions of 
 
 55 
 
the famous group of artists whose works ‘have attained such 
 world-wide celebrity. He loves and understands nature, and 
 with thorough knowledge and enthusiastic. endeavor portrays 
 her moods with feeling as well as science. Simplicity of sub- 
 ject and completeness of composition are the main factors in © 
 his creations, and particularly in sunset and: in twilight effects 
 does he appear as a sympathetic interpreter of nature’s subtle 
 changes. His pictures possess a marked: individuality, and are 
 highly appreciated by American lovers of art. Mr. Minor was 
 born in the city of New York in 1840, and was a pupil of Diaz 
 in Paris, and of Van Luppen and Boulanger in “Antwerp. He 
 was elected a National Academician in 1897, having been an 
 Associate for a long time previously, and is a Member of the 
 American Water Color Society and the Society of Landscape 
 Painters. At the Paris Exposition of 1889 he was awarded a 
 medal of the third class. His pictures are in many important 
 collections. His studio is in New York, and he spends his 
 summers near New London, Conn., where he has a country 
 home. 
 
 LOUIS MOELLER, N.A. 
 
 Ape high reputation of Louis Moeller as a genre painter 
 
 dates from the exhibition at the Academy in 1884 of a 
 small picture called “ Puzzled.” It is a single figure of a ge- 
 ographer before his globe, and the precision of drawing and 
 microscopic yet comprehensive finish is most remarkable. 
 This picture has been followed by a series of compositions of 
 a like nature. Sometimes they contain as many as a dozen 
 figures, and in all cases the unity of the whole is preserved, 
 together with minuteness of detail. Mr. Moeller was born in 
 the city of New York and studied drawing at the National 
 Academy schools. Afterwards he spent six years in Munich as 
 a pupil of Duveneck and of Professor Dietz. In 1894 he 
 received the first Hailgarten Prize at the National Academy, 
 was elected an Associate, and in 1895 became an Academician. 
 
 56 
 
/ 
 
 THOMAS MORAN, N.A. 
 
 HOMAS MORAN was born in Lancashire, England, but 
 was brought to the United States when a little boy of 
 seven. He began his art career as a wood engraver in Phila- 
 delphia and in his hours of leisure taught himself to paint in 
 water-color and afterward in oils. His brother, Edward Moran, 
 gave him the benefits of the instruction he had himself received 
 preparatory to setting up his easel as a landscape and marine 
 painter. In 1862 Thomas Moran went to England and made 
 a study of the masters in the National Gallery, receiving a 
 strong impression from the work of J. Turner, and in 1866 
 made a second trip abroad, travelling this time in France and 
 Italy. In 1871 he visited the far West with Professor Hayden’s 
 expedition, and brought back many studies of the grandiose 
 scenery of the Rocky Mountains and the great arid deserts of 
 Arizona. In 1872 Mr. Moran established himself permanently 
 in New York. He spends his summers at his country home at 
 Easthampton, L. I. Hewas elected a National Academician 
 in 1884, and is a Member of the Pennsylvania Academy of Fine 
 Arts, the Artists’ Fund Society, the American Water Color 
 Society, the New York Etching Club, and the Society of Ameri- 
 can Etchers. ‘The subjects of his pictures are taken from one 
 or another of the:places he has visited and studied, now Venice, 
 now. the Yellowstone Park, now Niagara, and now the luxuriant 
 meadows of Kent and Sussex, or the quiet villages and pastures 
 of Long Island. To all he brings a fine sense of composition 
 and amazing cleverness of handling. His color effects are 
 brilliant and dramatic. As a water-color painter and. as an 
 etcher his skill and fertility of invention are equally notable. 
 
 H. SIDDONS MOWBRAY, N.A. 
 
 PUPIL of M. Bonnat in Paris, where he spent seven years, 
 the first four in the schools, H. Siddons Mowbray came to 
 New York in 1885 with a reputation already made by pictures 
 
 a7 
 
exhibited at the Salon or seen in London and New York in the 
 galleries of prominent art dealers. He was born of English 
 parents at Alexandria, Egypt, in 1854, but was brought to this 
 country when a child by his uncle, who was a resident of North 
 Adams, Mass. He received an appointment to the United 
 States Military Academy at West Point, but gave up his pros- 
 pective career as a soldier after the first year of the course, and 
 took up the study of art. He has created a little world of his 
 own in his pictures of Oriental subjects, in which lithe young 
 women, clad in delicately colored stuffs, embroidered silks 
 and satins, and gauze, dream away the idle hours'.in dimly 
 lighted Eastern palaces. In other works, he brings back in 
 pictorial form the romantic days of Florence, and Italian chateau 
 life at the time of the Renaissance. He paints cabinet portraits 
 of women with a rare degree of sympathetic understanding and 
 superlative technical skill, and of late years has given a great 
 part of his time to mural painting. Among his most recent 
 achievements in this branch of art is his beautiful frieze rep- 
 resenting “ The Transmission of the Law,” in the new building 
 of the Appellate Court in Madison Square, New York. In all 
 his compositions, ideal, imaginative, decorative, or realistic, he 
 brings to bear a profound knowledge of the human figure, 
 admirable accomplishment in drawing and painting, and a fine 
 sense of color. He is also well known as an illustrator and as 
 a designer of rare taste and ingenious fancy. Mr. Mowbray was 
 elected a National Academician in 1891, and is a Member of 
 the Society of American Artists. In 1888 he received the 
 Clarke Prize at the Academy. 
 
 J. FRANCIS MURPHY, N.A. 
 
 alee effects of landscape that J. Francis Murphy loves to 
 
 paint may not be called “striking,” for they are not such 
 
 as produce their impression by force of violent contrasts. Rather 
 
 are they subtile and tender, and their charm grows greater on 
 
 the spectator the longer he looks. Poetic in feeling and syn- 
 58 
 
thetically handled, but preserving the right amount of detail, 
 they are among the choicest products of this flourishing epoch 
 in American landscape-painting. The artist was born at Oswego, 
 N. Y., in 1853, and is self-taught. He has been abroad, but his 
 art has not been influenced by any ephemeral fashions. In 
 1887 he received the first award of the Webb Prize at the 
 . Society of American Artists for his picture “ Brook and Fields.” 
 In 1885 the second Hallgarten Prize at the Academy was his, 
 and in 1887 he was elected a National Academician. He isa 
 Member of the American Water Color Society, and received the 
 William T. Evans Prize at its exhibition in 1894 for his picture 
 “Under Gray Skies.” A Member of the Society of Landscape 
 Painters, he was represented at its first annual exhibition in the 
 spring of 1899 by a group of ten characteristic landscapes. His 
 work is highly appreciated by our amateurs, and pictures by him 
 are in many of the best American collections. 
 
 ROBERT L. NEWMAN 
 
 OBERT L. NEWMAN was born in Richmond, Va., in 
 1827, and went with his parents to Tennessee when he was 
 eleven years of age. As a youth he read much about art, and in 
 1850 went to Europe with the intention of studying at Dtisseldorf, 
 but having stopped in Paris, he entered the atelier of Thomas 
 Couture. He remained but a few months, and this was the 
 extent of his art instruction. After returning to Tennessee he 
 made a second trip to Paris in 1854, and formed the acquaint- 
 ance of William M. Hunt, who introduced him to Jean Francois 
 Millet. Mr. Newman was one of the earliest purchasers of 
 Millet’s work, acquiring “Le Vanneur”’ and other pictures, 
 which he afterwards sold. At the breaking out of the Civil 
 War he was employed as a draughtsman by the Confederate 
 Government, and in 1864 served in the Sixteenth Virginia In- 
 fantry. In 1882 and subsequently he made several trips to 
 Barbizon, and his work shows the influence of the group of masters 
 who made that modest village a household word in the realm of 
 59 
 
art. His pictures, which are principally in oils, are of cabinet 
 size, and consist of color harmonies of rare charm and fine deco- 
 tative effect. In 1894 a successful exhibition of a large number 
 of his canvases was held at Knoedler’s Galleries in New York, 
 and the collection was afterwards transferred to Boston, where, 
 at the Museum of Fine Arts, it received much appreciative 
 notice. Mr. Newman’s studio is in New York, 
 
 RHODA HOLMES NICHOLLS 
 
 RS. HOLMES NICHOLLS’S suavely painted and clev- 
 erly drawn pictures, whether of figure subject or land- 
 scape or street scene, whether in oil or in water colors, are well 
 known to the American art public, and appear in all the promi- 
 nent exhibitions. She was born in Coventry, England, and stud- 
 ied at the Bloomsbury Art School, London, and in Rome. The 
 Queen’s scholarship was awarded her in her school-days, and she 
 has received medals for her work at the Prize Fund Exhibition 
 of the American Art Association, New York, at Chicago, Atlanta, 
 Worcester, and Nashville. She isa Member of the Woman’s Art — 
 Club and the New York Water Color Club. Her studio is in 
 New York. 
 
 J. C. NICOLL, N.A. 
 
 OHN C. NICOLL, the well-known painter of marines and 
 landscape, was born in the city of New Yorkin 1845. He 
 painted for two years in the studio of M. F. H. De Haas, N.A., 
 and studied out of doors with Kruseman Van Elten, N.A., but 
 is, properly speaking, more a pupil of the school of nature than 
 of any master. His favorite subjects are coast views, and he has 
 found material for his pictures all the way from the Gulf of St. 
 Lawrence to Florida. Mr. Nicoll was one of the founder mem- 
 bers of the American Water Color Society, and was elected a 
 National Academician in 1885. His “ Foggy Morning, Grand 
 60 
 
Manan,” and his “ Gulf of St. Lawrence’ were at the Centen- 
 nial Exhibition at Philadelphia in 1876, and his “ On the Gulf 
 of St. Lawrence ’”’ and “ Showers on the Coast ’’ were at the Paris 
 Exposition of 1878. At the Paris Exposition of 1889 his work 
 received an honorable mention from the jury of award. His 
 studio is in New York. 
 
 LEONARD OCHTMAN, A.N.A. 
 
 ORN in Zonnemain, Holland, in 1854, Leonard Ochtman 
 was brought to the United States in his boyhood, and grew 
 up in Albany, N. Y., where he made his first essays in landscape 
 painting. He isself-taught. He first exhibited at the National 
 Academy in 1882, and has been a regular contributor ever since, 
 as well as to the Society of American Artists, of which body he 
 isa Member. He is an Associate of the Academy and a Mem- 
 ber of the American Water Color Society, the New York Water 
 Color Club, and the Society of Landscape Painters. He has 
 received prizes and medals at the Brooklyn Art Club (1892), 
 the World’s Fair at Chicago (1893), the Philadelphia Art Club 
 (gold medal, 1894), and at Boston. He is well represented in 
 private and public collections throughout the country. Mr. Ocht- 
 man’s pictures are agreeable in their selection of subject, broadly 
 but carefully painted, and possess color qualities of distinction. 
 His studio is in New York, and he spends his summers at Mianus, 
 Conn., where he finds many of the themes which inspire him. 
 
 ARTHUR PARTON, N.A. 
 
 faa a PARTON is a landscape painter whose reputa- 
 
 tion was made twenty-five years ago, but his work pos- 
 
 sesses the quality of holding its own in company with that of men 
 
 brought up with the most modern theories concerning light and 
 
 values. His pictures show his sympathy with the peaceful moods 
 61 
 
of nature, and he interprets his motives with evident understand- 
 ing and sincerity of artistic purpose. He was born at Hudson» 
 N. Y., in 1842, and studied in Philadelphia under William T. 
 Richards. In 1869 he visited Europe and obtained some effec- 
 tive studies of Scotch and English scenery. He was elected a 
 National Academician in 1884, and isa Member of the American 
 Water Color Society. His studio is in New York, though, like 
 other landscape painters, he passes a good part of the year in 
 the country. At the Paris Exposition of 1889 Mr. Parton was 
 awarded an honorable mention for his picture “ In the Month 
 of May.” 
 
 ERNEST PARTON 
 
 [Bre heet PARTON, a younger brother of Arthur Parton, 
 
 N.A., was born at Hudson, N. Y., in 1845, and studied, 
 at the outset of his career, for two years in his brother’s studio. 
 In 1873 he went to Europe, intending to pass a few months in 
 England, but meeting with success in London he has since re- 
 mained there,and exhibits rarely in the United States. His 
 landscapes, which generally depict typical English rural scenery, 
 are sympathetic in treatment and attractive in general aspect. 
 Mr. Parton is a regular exhibitor at the Royal Academy, and is a 
 Member of the Artists’ Fund Society. He received an honor- 
 able mention at the Paris Exposition of 1889. 
 
 CHARLES A. PLATT, A.N.A. 
 
 HARLES A. PLATT, one of the most distinguished of 
 
 the younger school of American landscape painters, was" 
 
 born in the city of New York in 1861, and was a pupil of the 
 National Academy of Design and the Art Students’ League. The 
 five years from 1882 to 1887 he spent in Paris, where he was a 
 pupil of the Académie Julian under MM. Boulanger and Lefebvre. 
 He is an Associate of the National Academy and a Member of 
 
 62 
 
the Society of American Artists and the American Water Color 
 Society. In 1894 he was awarded the Webb Prize at the Society 
 of American Artists for his beautiful composition “ Clouds.” He 
 is one of the most eminent American etchers, and his work in 
 this field, as in water-color painting, possesses the fine simplicity 
 of style and charm of ensemble that characterize his landscapes 
 in oil. Mr. Platt’s studio is in New York, and his summer home 
 at Windsor, Vt. Of late years he has taken up the practice of 
 landscape gardening and architecture with brilliant success. 
 
 A. PHIMISTER PROCTOR 
 
 fae PROCTOR, sculptor and painter, was born in 
 
 1862, his father being a Scotsman and his mother a native 
 of the State of New York. ‘The early part of his life was spent 
 in Michigan and in Des Moines, Ia. He grew to manhood in 
 Colorado, his home being in Denver. He showed a roving 
 disposition and spent much time in the Rocky Mountains, often 
 staying out alone for months on his hunting and sketching trips. 
 He studied the wild animals in their native haunts, and killed 
 his first grizzly bear and bull elk when he was but sixteen years 
 of age. He is a pupil of the French sculptors Puech and 
 Angelbert, and is now in Paris modelling a colossal quadriga for 
 the United States building at the Paris Exposition of tg900. A 
 good number of the wild animals and groups which decorated 
 the grounds and buildings of the World’s Fair at Chicago were 
 made by Mr. Proctor, and he received a medal from the jury 
 of award in the section of fine arts. Mr. Proctor is a Member 
 of the Society of American Artists. 
 
 ARTHUR QUARTLEY, N.A. 
 
 oo QUARTLEY, the subjects of whose stirring ma- 
 
 rines were generally found off the shores of the Isles of 
 
 Shoals, was one of the first American artists to discover the 
 63 
 
pictorial possibilities in New York Harbor. He made the pic- 
 turesque effects of the bay and the docks and rivers the subject 
 of a number of vigorous, freshly painted compositions, one of 
 which, “‘ Morning Effect, New York Harbor,” was sent to Paris 
 to represent him at the Exposition of 1878. He was born in 
 Paris of English parents in 1839, was self-taught, and spent the 
 early part of his artistic career in Baltimore. Later he removed 
 to New York, and became a prominent exhibitor at the National 
 Academy. He was elected an Academician in 1886, and died 
 the same year in the full tide of his success as an artist. 
 
 HENRY W. RANGER 
 
 A LANDSCAPE painter whose work entitles him to stand 
 
 among the leaders of the native school and who is first 
 in the group whose tendencies are toward rich decorative effect 
 and broad generalization, is Henry W. Ranger. He was born 
 in Central New York in 1858, and is self-taught. He belongs 
 to none of the art societies either at home or abroad except 
 the American Water Color Society. His pictures are shown in 
 a collection by themselves from time to time in some one of the 
 smaller New York galleries, and the artist not having been a 
 competitor for official honors or medals, has no prize record. 
 He has visited Europe and studied the masterpieces of the 
 ancient and modern schools, and has in the past six or seven 
 years evolved a style of his own which is now probably defini- 
 tive. The chief characteristics of his work are depth and rich- 
 ness of tone, synthetic method, and fulness and strength of 
 color. His execution is broad and forceful, and his pictures are 
 notable for unity of effect and harmony of ensemble. Mr, 
 Ranger’s sympathies in art lie with the masters who, like Jules 
 Dupré and other great masters of tone, paint with a parti pris. 
 He derives his facts from nature, and builds up his composition 
 and obtains his effect by judicious elimination in some portions 
 and concentration in others. ‘Thus he sometimes, with so simple 
 a subject as a rugged hillside, casts a deep shadow over his fore- 
 
 64 
 
ground, adjusts some strong, balancing notes in the middle 
 distance where he has made the play of sunlight as warm and 
 as brilliant as his rich pigments permit, and over all paints a 
 sky intense in color and graduated subtly with lower values to 
 the upper and outer parts of the canvas. In such effects, and 
 in others less arbitrarily conceived, he succeeds in brilliant style 
 in investing his compositions with great attractive force and 
 rare individuality. His pictures reveal a logical, virile tempera- 
 ment, and his methods are seen to be as sound and as solid as 
 his conceptions are lofty and powerful. Some of the artist’s 
 best known works are “ Becky Cole’s Hill,” “‘ Morning at High 
 Bridge,” “‘ An East River Idyl,” “ Connecticut Woods,” “ New 
 Jersey Oaks,” “A Clearing in the East Lyme Woods,” and “A 
 Veteran.” ) 
 
 F. K. M. REHN, A.N.A. 
 
 RANK KNOX MORTON REHN, the well-known painter 
 of marines and landscapes, was born at Philadelphia in 
 1848, and is a pupil of the Pennsylvania Academy of Fine 
 Arts. His first exhibition at the National Academy was in 
 1879. At the St. Louis Exposition in 1882 he was awarded a 
 first prize. A gold medal was awarded him at the second 
 Prize Fund Exhibition at the American Art Association, New 
 York, in 1886. He is an Associate of the National Academy 
 and a Member of the American Water Color Society. His 
 marine coast views and landscapes are vigorously painted and 
 realistic in effect. His studio is in New York. 
 
 WILLIAM T. RICHARDS 
 
 ie is fair to say that no painter in the United States enjoys a 
 
 wider popularity than William T. Richards. His delicately 
 
 colored and beautifully drawn pictures of the ocean with the 
 
 surf breaking on the beach in long symmetrical lines have 
 65 
 
made for the artist many admirers and brought him assured 
 financial success. He was born in Philadelphia in 1833, and 
 began his art studies at the age of twenty. In 1855 he went to 
 Europe, and on his return opened a studio in his native city. 
 He is a Member of the American Water Color Society and an 
 Honorary Member of the National Academy. A medal at the 
 Centennial Exhibition in 1876, the Temple Gold Medal at 
 the Pennsylvania Academy in 1885, and a medal of the third 
 class at the Paris Exposition of 1889 are among the official 
 honors of his career. Many of Mr. Richards’s pictures have 
 for subjects the rocky shores about Newport, R. I., and the 
 picturesque coasts and headlands of Cornwall, England. He is 
 equally at ease in handling either the oil or water color medium. 
 His studio is in Philadelphia. 
 
 THEODORE ROBINSON 
 
 HEODORE ROBINSON was well educated in the art 
 schools, having been a pupil of M. Carolus-Duran and of 
 
 M. Géréme, in Paris, during the five years from 1874 to 1879, 
 but he was never an academic painter. ‘The unconventional 
 and the novel in art appealed to him, and he sought inspiration 
 in nature out of doors. He hada studio in New York from 
 about 1880 to 1884, when he returned to France and spent 
 several years at Giverny, where he came under the direct 
 influence of Claude Monet, and the work he brought back to 
 our exhibitions was, of course, dubbed “impressionistic.” It 
 bore the mark of his own personality, however, and was in- 
 variably distinguished by individual qualities. Having finally 
 settled down in New York, he found in the later years of his 
 life congenial themes for his brush along the Delaware and 
 Hudson Canal, and interpreted American skies and atmospheric 
 effects with as much veracity and subtlety as marked the 
 Giverny landscapes. He painted figures in interiors and out 
 of doors with charming simplicity and originality of color 
 scheme. His work was regularly seen at the exhibitions of the 
 
 66 
 
~—- 
 
 Society of American Artists, of which he was a Member. In 
 1890, at the exhibition of this society, he was awarded the 
 Webb Prize for his “Winter Landscape,” and in 1892 at the 
 same society received the Shaw Fund Prize for a figure subject 
 
 . called “In the Sun.” Theodore Robinson was born at Iras- 
 "burg, Vt., in 1852, and died in New York in 1896. 
 
 ALBERT P. RYDER 
 
 A NOTABLE place in American art is occupied by Albert P. 
 Ryder, a painter of highly imaginative subjects, whose 
 color schemes with their rich, resonant notes are distinctly 
 individual, and whose manner of painting is entirely personal. 
 He was born at New Bedford, Mass., in 1847, and was at first 
 engaged in commercial pursuits. His first efforts at painting 
 led him to become a pupil of William E. Marshall, the eminent 
 engraver who had been a pupil of Couture, and probably Mr. 
 Ryder formed his first conceptions of color from the teachings 
 of his master, who must have been imbued with the spirit of 
 the mellow tonality of the great Frenchman. Afterward he 
 fortified his drawing by studying in the schools of the National 
 Academy, and enlarged his views by trips to Europe to study 
 the old masters in 1877 and 1882. “The Temple of the 
 hind, ine sisters.’ §* Jonah and the Whale,’ “Christ 
 Appearing unto Mary,” and “Charity,” titles of some of his 
 characteristic works, give an idea of the scope of his subjects, 
 while in landscape he gives evidence of the same idealistic 
 bent that marks his figure compositions. Mr. Ryder is a 
 Member of the Society of American Artists, and has his studio 
 in New York. 
 
 PLATT P. RYDER, A.N.A. 
 
 | eens POWELL RYDER, a well-known genre painter, 
 
 was born in Brooklyn, N. Y., in 1821. In 1869-70 he 
 
 was a pupil of M. Bonnat in Paris, and he also studied in 
 67 
 
Belgium and Holland. He was elected an Associate of the 
 National Academy in 1869. His studio was in New York, and 
 he died here in 1896. His “Boys Playing Marbles” was 
 exhibited at the Paris Exposition of 1889, and attracted favor- 
 able notice. Some of his other important works are “ Life’s 
 Evening,” “The Welcome Step,” “The Bill of Fare,” “‘ Warm- 
 ing Up,” and “ Watching and Waiting.” 
 
 SARAH C. SEARS 
 
 Sie C. SEARS (Mrs. J. Montgomery Sears) was born in 
 
 Cambridge, Mass., in 1858, and took her first lessons in 
 drawing at the Cowles Art School, Boston. She continued her 
 studies in the class-rooms of the Museum of Fine Arts, and 
 afterward in her home studio received criticisms from various 
 prominent American artists. Mrs. Sears’s subjects, outside of 
 her excellent work in portraiture, are generally ideal heads, and 
 her favorite mediums are water color and pastel. Her pictures 
 are notable for broad and effective handling and fine color har- 
 mony. In 1893 she was awarded the William T. Evans Prize 
 at the American Water Color Society for a beautiful creation 
 entitled “‘ Romola,” and the same year received a medal for her 
 work exhibited at the World’s Fair at Chicago. 
 
 WALTER SHIRLAW, N.A. 
 
 ee SEE Shearing in the Bavarian Highlands” and “ Ton- 
 
 ing the Bell” were the pictures which introduced Walter _ 
 Shirlaw to the American public in the historic year 1877, when 
 a band of young artists, returning from Paris and Munich, 
 started what has been called the ‘‘ American Renaissance,” and 
 he has been a prominent figure in the native school ever since. 
 He was born at Paisley, Scotland, in 1837, came to the United 
 
 68 
 
States with his parents at the age of fourteen, and began life as 
 a bank-note engraver. His practice in drawing stood him in 
 good stead when, in 1859, he went to the Rocky Mountains and 
 made studies of the grandiose scenery of that region, and in 
 1861 he exhibited a picture at the National Academy. In 1870 
 he went to Munich, where he studied with Roah, Wagner, Ram- 
 berg, and Lindenschmidt, and painted several important figure 
 compositions, which were highly praised by German critics. 
 His work since his return to the United States has been of such; 
 variety and excellence as to keep him in the front rank of 
 American artists and gain for him many honors. He was one 
 of the founders of the Society of American Artists and its first 
 president. He is a National Academician, elected in 1888; a 
 Member of the American Water Color Society and of the Chi- 
 cago Academy, where, in the early part of his career, before 
 going to Europe, he was an instructor. His easel pictures are 
 marked by opulent color and fine composition. He is one of 
 the few American artists who have successfully depicted the 
 nude. His water colors and etchings have brought him high 
 reputation in these branches of art, and his achievements in 
 mural painting are shown in the important commissions he has 
 executed in public buildings, such as the new Congressional 
 Library at Washington. His style is individual, his drawing 
 authoritative, and his work in all fields displays his scholarly 
 accomplishments and technical skill. Mr. Shirlaw’s studio is in 
 New York. 
 
 R. M. SHURTLEFF, N.A. 
 
 OSWELL M. SHURTLEFF, the well-known landscape 
 
 painter, whose specialty is the depiction of wood inte- 
 
 riors, was born at Rindge, N. H., and first studied art in the 
 
 Lowell Institute, Boston. Later on he came to New York and 
 
 continued his work in the schools of the National Academy. 
 
 His favorite painting ground is the Adirondacks, and his pic- 
 69 
 
tures of forest effects show the intimate knowledge of nature 
 he has acquired by patient study coupled with fine artistic feel- 
 ing. Mr. Shurtleff was represented at the Chicago World’s Fair 
 by an important composition, “‘Woods in Autumn.” He is a 
 National Academician, elected in 1890, and a Member of the 
 American Water Color Society. He is a regular exhibitor at — 
 the Academy, and has pictures in the permanent collections 
 of the Metropolitan Museum, New York, and the Springfield, 
 Mass., Art Museum. 
 
 WILLIAM T. SMEDLEY, A.N.A., 
 
 oan ee most widely known by his illustrative work—and 
 
 in this field he stands in the front rank of our designers— 
 William Thomas Smedley has always found time to give his 
 serious attention to painting in color, both in oil and water 
 color, and is a prominent contributor each year to the exhibi- 
 tions of the Academy, the Society of American Artists, and the 
 American Water Color Society. He is a member of all three, 
 having been elected an Associate of the National Academy in 
 1898. His work in the various branches of the pictorial arts 
 is remarkable for truthful observation of nature, keen study of 
 character, and excellent composition. Mr. Smedley was born 
 in Chester County, Penn., in 1858, and received his first art 
 instruction at the Academy of Fine Arts, Philadelphia. After 
 his reputation as an illustrator was well established by his work 
 for important New York periodicals he made a trip to Australia 
 in their interests and afterwards went to Paris, studying there 
 for two years in the art academies and public galleries. His 
 first picture was exhibited at the National Academy in 1881. 
 At the exhibition of the American Water Color Society in 1890 
 he was awarded the William T. Evans Prize for a delightful pic- 
 ture of American home life called “ A Thanksgiving Dinner.” 
 His studio is in New York, and he also has a home and studio 
 at Lawrence Park, Bronxville, N. Y. 
 
 70 
 
ae 
 ~ 
 
 GEORGE H. SMILLIE, N.A. 
 
 SON of James Smillie, the celebrated line engraver, and 
 brother of James D. Smillie, N.A., George H. Smillie 
 was born in the city of New York in 1840. He is one of the 
 most widely known of American landscape painters, and his 
 pictures are characterized by poetic sentiment and _techni- 
 cal skill of a high order. He is a pupil of James M. Hart, 
 N.A. He has made sketching trips in the Rocky Mountains, 
 the Yosemite Valley, and Florida, but the most popular of his 
 subjects are those he finds in picturesque spots in the interior 
 and along the shores of Long Island. Mr. Smillie was elected 
 a Member of the American Water Color Society in 1868 and a 
 National Academician in 1882. His studio is in New York. 
 
 EDMUND C. TARBELL 
 
 BRILLIANT technician, a progressive observer, and a 
 colorist of distinction, Edmund C. Tarbell is one of the 
 
 most prominent figures in the group of younger men who cast 
 lustre on the American school. He was born in West Groton, 
 Mass., in 1862, and when quite young proceeded straight to 
 Paris to begin his art studies, which he pursued there in the 
 ateliers of the Académie Julian under the direction of MM. 
 Boulanger and Lefebvre. When he returned to the United 
 States he took a studio in Boston, and belongs to the compara- 
 tively small but able group of painters who reside in that city. 
 He has a fine record as a prize-winner in the exhibitions in 
 New York and other prominent cities, his list of honors in- 
 cluding the Clarke Prize at the National Academy (1890), the 
 first Hallgarten Prize at the same institution (1894), the gold 
 medal of the Art Clubof Philadelphia (1895), a medal at the 
 World’s Fair, Chicago (1893), medals at the Pennsylvania 
 Academy of Fine Arts, and the Carnegie Institute, Pittsburg, 
 and the Shaw Fund Prize at the Society of American Artists 
 (1893). Mr. Tarbell was elected a Member of the Society of 
 
 bits 
 
American Artists in 1887, but in 1898 withdrew to join the 
 seceding body known as “’Ten American Painters.” Some of 
 his principal works are “ Girl with Violin,” ‘The Bath,” 
 “ Young Woman and Horse,” “The Gold Screen,” and “ Lady 
 in Gray.” 
 
 ABBOTT H. THAYER, A.N.A. 
 
 BBOTT HANDERSON THAYER was born in Boston 
 in 1849, and studied art in that city under Henry D. 
 Morse ; in Brooklyn, under J. B. Whittaker; and in New York, 
 under Professor Wilmarth, at the Academy of Design. He 
 went to Paris in 1875 and worked in the Ecole des Beaux-Arts 
 in the ateliers of Lehman and M. Géréme. His early predilec- 
 tions were for landscape and cattle painting, and he has never 
 abandoned landscape, but with the progress of time he became 
 distinctively a painter of the figure. As such he is known to- 
 day. His portraits and his subject and ideal pictures are, in 
 conception, in manner, and in color schemes, among the most 
 individual work in the American school of painting. With Mr. 
 Thayer the study of character is an art factor of supreme im- 
 portance. His compositions, such as “ Madonna” and “ Cari- 
 tas,’ are dignified and lofty. His portraits are the acme of in- 
 telligent synthesis. His single figures, such as “ Young Woman ” 
 in the exhibition of the Society of American Artists in the spring 
 of 1899, and even the slightest of his works, are suffused with 
 _ artistic feeling and bear the impress of a strong temperament, 
 revealing itself in every line and every touch of the brush. He 
 paints roses with unrivalled tenderness and beauty of color, and 
 invests all of his creations with an unmistakable vitality. He is 
 a Member of the Society of American Artists, whose exhibitions 
 have been for fifteen years the scene of his most notable suc- 
 cesses. In 1898 he was elected an Associate of the National 
 Academy. At the Paris Exposition of 1889 he was awarded a 
 medal of the third class for his beautiful “ Winged Figure,” 
 and in 1898 took the Clarke Prize at the Academy with a deli- 
 72 
 
cately realized picture of a young woman exhibited under the 
 simple title “ Portrait.” His home and studio are at Scarboro, 
 on the Hudson, New York. 
 
 WORDSWORTH THOMPSON, N.A. 
 
 cad aaa of the subjects of A. Wordsworth Thompson’s pic- 
 
 tures were taken from Italian scenes of life and manners, 
 and from the scenery of that classic country. In the latter part 
 -of his career he inclined to the depiction of native landscape 
 and incident, and in all of his work he appears as an accom- 
 plished master of his technical means. He was born in Balti- 
 more in 1840. In 1861 he went to Paris, where he was a pupil 
 of Gleyre, and afterwards of Emile Lambinet, the distinguished 
 landscape painter. In 1864 he worked in the studio of Pasini, 
 and in 1865 exhibited at the Salon his first picture, ‘‘ Moorlands 
 of Au Fargi.” In 1868 he settled in New York, and soon 
 achieved a distinctive rank in the art of America. He was one 
 of the first members of the Society of American Artists, and was, 
 in 1873, elected an Associate of the National Academy. His 
 election as an Academician followed in 1875. Hedied in 1896. 
 
 D. W. TRYON, N.A. 
 
 A he can be no question as to the high place occupied 
 
 in the school of American landscape painting by Dwight 
 W. Tryon. Whenever and wherever the subject is mentioned 
 his name is sure to be spoken as one of the masters. Since 
 Inness, Wyant, and Homer Martin have passed away, Mr. Tryon, 
 though yet a man of middle age, seems by common consent to 
 have succeeded to a place such as was allotted to these worthies, 
 and his admirable talent bids fair to long sustain him in the 
 front rank, where so many artists of individual temperament 
 and brilliant achievement are crowding each other for the 
 highest honors. He was born in Hartford, Conn., in 1849, and 
 
 73 
 
has enjoyed the advantage of a thorough training in academic 
 drawing in the Paris atelier of M. Jacquesson de la Chevreuse. © 
 He has also studied from nature out of doors with Daubigny and 
 Harpignies. When he came to New York, after his sojourn in 
 France, his work was almost immediately recognized as super- 
 latively excellent, and his triumphs in the exhibitions have 
 been numerous and emphatic. In 1889 he was awarded the 
 Webb Prize at the Society of American Artists for “The First 
 Leaves.” In 1886 he received a gold medal at the Prize Fund 
 Exhibition at the American Art Association, New York, for 
 “Daybreak”; in 1887 a Hallgarten Prize at the National 
 Academy, in 1895 a gold medal at Munich, and in 1898 the 
 first prize at the Carnegie Institute, Pittsburg. This is but a 
 partial list of his official recompenses. He is a National Aca- 
 demician, elected in 1891, and a Member of the Society of 
 American Artists and of the American Water Color Society. 
 His pictures combine poetic sentiment with sound technical 
 methods, and are distinguished and veracious in color. His 
 studio is in New York, but he spends the year, with the ex- 
 ception of the winter season, at his country home at South 
 Dartmouth, Conn. 
 
 ALFRED M. TURNER 
 
 CONTEMPORARY painter of genre subjects, especially 
 
 in the water-color medium, Alfred M. Turner was in the 
 
 eighties a conspicuous exhibitor at the National Academy and 
 
 American Water Color Society. One of his representative pic- 
 
 tures is “The Prayer,’ showing a mother and child engaged in 
 
 their devotions amid the simple surroundings of a fisherman’s 
 home. 
 
 C. Y. TURNER, N.A. 
 
 HARLES YARDLEY TURNER was born in Baltimore in 
 
 1850, and received a solid foundation in art instruction 
 
 at the schools of the National Academy and the Art Students’ 
 74 
 
League, New York. In Paris he was a pupil of MM. Bonnat, 
 Jean Paul Laurens, and Munkacsy. In 1882, when he returned 
 from Europe and settled in New York, he exhibited for the first 
 time at the Academy, attracting favorable notice and achieving 
 a position at once with two figure compositions, entitled ‘‘ Scene 
 on the Grand Canal, Dordrecht,” and “’The Days That Are No 
 More.”  SBoth displayed the soundness of his methods and 
 artistic quality of his vision. He has studied the history of our 
 colonial period and painted some important pictures with epi- 
 sodes of that time as their subjects, notable among them being 
 “The Marriage Procession,’”’ now in the Metropolitan Museum, 
 New York. As a portrait painter he is much appreciated for 
 the sincerity and fidelity of his interpretations of character, and 
 his numerous genre pictures attest the excellent quality of his 
 color schemes and his skill as a draughtsman. Of late years he 
 has given the greater part of his time to mural decoration. Im- 
 portant work in this field has been executed by him for the large 
 entrance hall of the Hotel Manhattan, the dining-room of the 
 Astoria Hotel, and the vestibule of the new Appellate Court build- 
 ing, New York. Mr. Turner is a National Academician, elected in 
 1886, and a Member of the American Water Color Society. 
 Among the awards he has received at the exhibitions is the 
 second Hallgarten Prize at the National Academy in 1884. An 
 honorable mention was conferred on his work shown at the Paris 
 Exposition of 1889. Mr. Turner’s studio is in New York. 
 
 CHARLES F. ULRICH, A.N.A. 
 
 es ape GLASSBLOWERS,” “The Orphan Asylum,” “ An 
 
 Amateur Etcher,’’ and some other figure works, 
 depicted with great fidelity of detail, very skilful and com- 
 prehensive execution, and agreeable schemes of color, exhib- 
 ited by Charles F. Ulrich at the National Academy, sufficed 
 to make for a young and theretofore unknown artist a repu- 
 tation second to none as a painter of original genre and sub- 
 ject motives. These were all shown from 1880 to 1884. In 
 
 75 
 
the latter year he sent to the Academy his most important 
 composition, and his place was from that time forward definitely 
 fixed in the world of American art. This picture was “In the 
 Land of Promise,” representing the large waiting-room in the 
 old Castle Garden, with immigrants sitting on the benches or 
 idly whiling away the weary hours standing about the room in 
 conversation and smoking. In the foreground is the seated 
 figure of a young mother with her infant child. This fine work , 
 gathers all of the artist’s best qualities, and exhibits in a con- 
 vincing manner the excellence of his technical methods, and his 
 rare ability as a student of types of character. He was born in 
 New York in 1858; studied under Professor Venino, a local 
 drawing master, and in the school of the National Academy, 
 and went abroad in 1873. He worked in Europe, principally 
 in Munich under Professors Lofftz and Lindenschmidt, for 
 seven years, and exhibited his first pictures in Germany. His 
 success was marked when he returned to this country and estab- 
 lished himself in a New York studio. The Clarke Prize at the 
 Academy was awarded to him in 1884 for “ In the Land of 
 Promise,’’ and for the same picture he received medals at the 
 Paris Exposition of 1889, and the World’s Fair, Chicago, in 
 1893. In 1886 he was awarded a $2,500 prize at the American 
 Art Association Prize Fund Exhibition for his “ Glassblowers at 
 Murano.” It became the property of the Metropolitan Museum, 
 New York. He was elected an Associate of the National 
 Academy in 1883. Several years ago Mr. Ulrich returned to 
 Europe and, after a sojourn in Venice, went to Germany, and 
 now lives in Munich. 
 
 HENRY O. WALKER, A.N.A. 
 
 HENY OLIVER WALKER was born in Boston, and 
 
 began life in commercial pursuits in that city. His 
 
 sympathy with art led him to take it up finally as a life profes- 
 
 sion, and he went to Paris in the early eighties to become a 
 
 pupil of M. Bonnat. His work there in the school and after- 
 76 
 
ward in his own studio showed him to be possessed of a re- 
 markable feeling for beauty of line and composition, and he 
 made rapid progress toward complete achievement. Returning 
 to the United States, he at first took a studio in Boston, and 
 held a very successful exhibition of his work. A few years later 
 he came to New York, and has been for a decade well known to 
 the art public as one of the best equipped, most sympathetic, 
 and imaginative of our artists. He is a Member of the Society 
 of American Artists and an Associate of the National Acad- 
 emy. At the exhibition of the latter institution in 1895 he was 
 awarded the Clarke Prize for “ A Morning Vision.” In 1894 
 at the Society of American Artists he obtained the Shaw Fund 
 Prize for “The Singers.” ‘These compositions, like “The Boy 
 and the Muse,” another celebrated picture from his easel, are 
 remarkable for graceful, accurate drawing, refined color quality, 
 and beauty of ensemble. Mr. Walker, apart from his reputa- 
 tion as a painter of easel pictures, is well known for his impor- 
 tant achievements in mural painting. He executed a series of 
 compositions and single figures illustrative of lyric poetry for 
 the new Congressional Library at Washington, and has recently 
 completed an important piece of work for the new Appellate 
 Court building, New York, representing Wisdom attended by 
 Learning, Experience, Faith, and kindred allegorical person- 
 ages. Mr. Walker received a medal and diploma for his work 
 exhibited at the World’s Fair at Chicago in 1893. He has his 
 studio in New York. 
 
 HORATIO WALKER, N.A. 
 
 poets and cattle are the favorite subjects of Horatio 
 
 Walker, though in his rural scenes he sometimes intro-. 
 duces horses, and he frequently paints sheep. He is a master 
 painter. His style seems to have been formed on intelligent 
 study of the modern Dutch school, but without imitation of 
 anybody’s painting, and as he is almost entirely self-taught his 
 own temperament has been the chief influence in developing 
 
 if 
 
his art. His color schemes are in the highest degree harmo- 
 nious, and he has a thorough knowledge of form. His work is 
 distinctly personal, and possesses the body, consistency, inspira- 
 tion, and technical excellence that entitles the artist to a high 
 place in the art of our time. His “In the Meadow,” “Spring 
 Ploughing,” and “Tree Fellers at Work,” to cite but three out 
 of the very considerable number of his most successful works, 
 have that attractive force and compelling power that belongs to 
 the best forms of art, and his work, even when less important 
 -than these pictures, is always sympathetically and vigorously 
 artistic. He excels in the use of the water-color medium, and 
 in this field has signed a host of delightful pictures. Mr. Walker 
 was born in 1858. He is a National Academician, elected in 
 1891, and a Member of the Society of American Artists and the 
 “American Water Color Society. At the exhibition of the latter 
 organization in 1888 he was awarded the William T. Evans 
 Prize for “ Evening.” At one of the prize fund exhibitions at 
 the American Art Association he obtained a gold medal. A 
 medal and diploma were awarded to him at the World’s Fair at 
 Chicago in 1893. At the Paris Exposition of 1889 his work 
 was recompensed by the jury with a medal of the third class. 
 His pictures are in many important private collections. Mr. 
 Walker’s studio is in New York. 
 
 J. ALDEN WEIR, N.A. 
 
 ULIAN ALDEN WEIR is the son of Robert W. Weir, N.A., - 
 the distinguished American artist, who was for a long time 
 official instructor in drawing at the West Point Military Acad- 
 emy, and was born there in 1852. Prof. John F. Weir, N.A., 
 of the Yale Art School, is his older brother. He received his 
 early instruction in drawing and painting from his father, and 
 then went to Paris, where he was a pupil of M. Géréme at the 
 Ecole des Beaux-Arts for several years. During his student 
 days in France he was intimately associated with Bastien-Le- 
 page and other young artists who afterwards became famous. 
 78 
 
Mr. Weir returned to the United States with that strong body 
 of Paris and Munich trained young men whose pictures ex- 
 hibited at the Academy in 1878 made such a sensation, and 
 was one of the founders of the Society of American Artists. 
 He withdrew from that organization in 1898 to join the seced- 
 ing group of painters who formed what is called the “Ten 
 American Painters.” He was elected a National Academician 
 in 1886 and is a Member of the American Water Color Society. 
 He was awarded a $2,000 prize at one of the prize fund ex- 
 hibitions at the American Art Association, New York, and has 
 received honorable mention at the Salon and medals of the 
 second and third class at the Paris Exposition of 1889. He is 
 very catholic in his choice of subjects, and paints portraits, 
 figure pieces, landscape, and still life with equal ability. His 
 figure work is distinguished by artistic arrangement and agree- 
 able color schemes. His landscapes are notable for truthful 
 observation of nature, broad handling, veracious and luminous 
 color, and harmonious tonal strength. One of his celebrated 
 works in this field is “‘ Lengthening Shadows,” which was ex- 
 hibited at the Paris Exposition of 1889 and at the International 
 Art Exhibition in Munich in 1895. Mr. Weir’s studio is in 
 New York, but he spends a good part of the year at his farm 
 at Branchville, Conn., where he has a studio and does much of 
 his landscape work. 
 
 C. D. WELDON, N.A. 
 
 ORN in Ohio, Charles D. Weldon studied art in New York 
 
 at the Art Students’ League, and in London and in Paris 
 under Munkacsy. He exhibited his first pictures at the Na- 
 tional Academy in 1883. With the exception of a visit to 
 Japan, where he painted several years, he has since been a 
 resident of New York and identified with the art life of the 
 metropolis. He was elected a National Academician in 1897, 
 and is a Member of the American Water Color Society. Mr. 
 Weldon’s usual subjects are found in the field of domestic 
 
 79 
 
genre. He is also known as a painter of Japanese motives, and 
 in all of his work gives evidence of his thorough training and 
 artistic temperament. His water colors show skilful manipula- 
 tion of the medium and are attractive in color and general 
 aspect. 
 
 WORTHINGTON WHITTREDGE, N.A. 
 
 ORTHINGTON WHITTREDGE is one of the veterans 
 of the American school, but his recent work preserves 
 the vitality and vigor that characterized that of his earlier 
 period. He was born in Ohio in 1820 and entered commercial 
 life in Cincinnati, studying art in his hours of recreation. He 
 finally took up the profession in earnest and became a local 
 portrait painter of note. In 1850 he visited Europe, studying 
 the masters in the galleries of London and Paris, and later 
 entered the studio of Andreas Achenbach in Diisseldorf. He 
 remained there three years, when he went to paint in Belgium 
 and Holland and in Rome. In 1859 he returned to the 
 United States and settled in New York. In 1861 he was elected © 
 a National Academician, becoming president of the institution 
 in 1874 and holding office for three successive terms. In 1866 
 he made a sketching trip to the Far West. Mr. Whittredge is 
 most widely known as a landscape painter, and his work is 
 notable for excellence of composition, dignity of style, and 
 frankness and simplicity of execution. He received an honor- 
 able mention from the art judges at the Paris Exposition of 
 1889. 
 
 CARLETON WIGGINS, A.N.A. 
 
 A CELEBRATED painter of landscape, cattle, and sheep, 
 
 Carleton Wiggins owes more to his own development as 
 
 an artist by intelligent study of nature, backed by a thoroughly 
 
 artistic temperament, than to school instruction. He was born 
 80 
 
at Turners, N. Y., in 1848, and studied drawing in the class- 
 rooms of the National Academy, but when he began to paint he 
 was his own master. He first exhibited at the Academy in 1870. 
 He took a trip to Europe in 1880, and spent several years in 
 the study of great works of art in the public galleries and in 
 painting from nature in the country, and has gone back again 
 once or twice for the same purpose. But his subjects are prin- 
 cipally American motives, and his pictures carry the evidence 
 of their truth to nature. His technical skill is great, his color 
 is warm and vibrant, and his construction shows that he has a 
 thorough knowledge of form. His pictures are highly appreci- 
 ated and widely known, and his place in our art is definitely 
 fixed. Mr. Wiggins is an Associate of the Academy, and a 
 Member of the Society of American Artists, the Society of Land- 
 scape Painters, and the American Water Color Society. His 
 studio is in New York. 
 
 IRVING R. WILES, N.A. 
 
 RVING RAMSEY WILES was born in Utica, N. Y., in 
 1862, and is the son and a pupil of the well-known artist 
 Lemuel M. Wiles. From his father’s studio he went to the Art 
 Students’ League, and from there to Paris. He studied two 
 years in Paris at the Académie Julian under M. Lefebvre and in 
 the atelier of M. Carolus-Duran. About 1879 he began to show 
 his pictures in the New York exhibitions, and at once made his 
 mark. He is well known as a painter of portraits, figure pieces, 
 genre, and out-of-door scenes. In water color he displays sur- 
 passing skill, his handling of transparent washes being almost 
 phenomenally clever. His drawing is accurate and subtle at 
 the same time, and his color schemes show agreeable harmonies 
 of tint. Mr. Wiles was elected a National Academician in 1897. 
 He isa Member of the Society of American Artists and the 
 American Water Color Society. He took the third Hallgarten 
 Prize at the Academy in 1886, and the Clarke Prize in 1889 for 
 his beautiful composition “ The Sonata.” For the same picture 
 8I 
 
he received a medal at the World’s Fair at Chicago in 1893. 
 At the Paris Exposition of 1889 he received honorable mention. 
 At the Water Color Society in 1897 he was awarded the William 
 T. Evans Prize for his picture “The Green Cushion.” Mr. 
 Wiles has his studio in New York. 3 
 
 A. H. WYANT, N.A. 
 
 | Eee and Wyant! We constantly hear these two great 
 names coupled whenever American landscape painting is 
 discussed, and by common consent they are placed at the top. 
 How different their work is; how different in conception, first 
 of all, and how different it is in carrying out the conception, 
 all those understand who know the pictures of both. Less of 
 a synthesist than Inness, but yet painting very broadly and 
 comprehensively while retaining detail, Wyant, in his land- 
 scapes, almost hesitates to make nature meet his purpose, and 
 generally makes his means provide the way to hold on to her 
 truth, and at the same time translate her mood into his own ex-_ 
 pression. A very strong colorist, he never indulges in unctuous 
 richness, but paints soberly and with great reserve force the 
 strongest and most brilliant of his effects. He loved the gray 
 skies and sombre tints of November, the subtle mystery of twi- 
 light, and the fading glory of the sunset. But when the mood 
 was on him he depicted with cheerful, buoyant color the pleas- 
 ant atmosphere of midday, or the fresh, clear tints of the foli- 
 age with its bath of dew drying in the morning sun. One of 
 his greatest pictures is “In the Adirondacks,” a forest effect 
 with a stream in the foreground, painted with the midday light 
 illuminating the recesses of the forest and bringing out the hun- 
 dred tints of green and gray of the leaves and trunks of the 
 trees and the carpet of grass and moss. In every effect he 
 painted he was veracious, and in every canvas he signed he 
 put his deepest feeling. 
 Alexander H. Wyant was born in Ohio in 1836, and at the 
 age of twenty was painting with considerable skill. He spent 
 82 
 
some years in Diisseldorf in academic study, and all the rest of 
 his art he taught himself with nature for his guide. He went to 
 the Adirondacks early in his career, and many of his best 
 works were painted from motives found in that region. He was 
 elected a National Academician in 1869, and was a founder 
 Member of the American Water Color Society. He died in 
 1892. His pictures are in numerous private collections and in 
 several public galleries. ‘View in County Kerry” is in the 
 permanent collection of the Metropolitan Museum, New York. 
 
 WILLIAM A. COFFIN. 
 
 83 
 
CONDITIONS OF SALE. 
 
 1, The highest Bidder to be the Buyer, and if any dispute arise © 
 between two or more Bidders, the Lot so in dispute shall be immediately 
 put up again and re-sold. 
 
 2. The Auctioneer reserves the right to reject any bid which is 
 merely a nominal or fractional advance, and, 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, i/ 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 ufon | 
 the conclusion of the Sale, and the remainder of the Purchase-money to - 
 be absolutely paid, or otherwise settled for to the satisfaction of the 
 Auctioneer, on or before delivery ; in default of which the undersigned 
 will not hold themselves responsible if the Lots be lost, stolen, damaged, 
 or destroyed, but they will be left at the sole risk of the Purchaser. 
 
 5. While the undersigned will not hold themselves responsible for the 
 correctness of the description, genuineness, or authenticity of, or any fault 
 or defect in, any Lot; and make no Warranty whatever, they will, upon 
 receiving previous to date of Sale trustworthy expert opinion in writing 
 that any Painting or other Work of Artis not what tt 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 declara- 
 tion of the aforesaid expert, he being hable to the Owner or Owners 
 thereof, for damage or injury occasioned thereby. 
 
 6. ‘To 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 shall be re-sold by public or private 
 sale, without further notice, and the deficiency (if any) attending such 
 re-sale shall be made good by the defaulter at this Sale, together with 
 all charges attending the same. ‘This Condition is without prejudice 
 to the right of the Auctioneer to enforce the contract made at this 
 Sale, without such re-sale, if he thinks fit. 
 
 THE AMERICAN ART ASSOCIATION, 
 
 THOMAS E, KIRBY, MANAGERS, 
 Auctioneer. 
 
FIRST EVENING’S SALE 
 WEDNESDAY, JANUARY 31, I900 
 AT CHICKERING HALL 
 
 BEGINNING AT 8 O'CLOCK 
 
CATALOGUE  .- 
 
 FIRST EVENING’S SALE 
 WEDNESDAY, JANUARY 31, 1900 
 
 AT CHICKERING HALL 
 
 BEGINNING AT 8 O’CLOCK 
 
 Kid Ah, flroed I 
 SERNEST- PARTON 
 
 /: £ a On the Arran 
 
 A charming Scotch landscape, with a river in the foreground with 
 slender trunks of birches and clumps of full-foliaged trees on its grassy 
 banks. A hill with graceful contours fills the middle distance, and over 
 all is a sky of pale blue, with white clouds piled up at the horizon. Fresh 
 and delicate in color and charming in composition. 
 
 Signed atthe right. Dated, 1880. Height, 17 inches ; length, 27 inches. 
 
 bh Pz 4d vo 2 
 
 C HM: CHARLES C. CURRAN. 
 aso” The Old Straw Stack 
 
 The great heap of straw fills the entire right half of the composition, 
 relieved against the gray sky. Four little children are having a frolic in 
 sliding down its sides to fall sprawling in the soft bed below, where the 
 straw lies piled thick about the base of the stack. Agreeable in color 
 and attractive in subject. 
 
 Signed at the left. Dated, 1890. Height, 18inches; length, 22 inches. 
 
3 et 
 mi THOMAS HOVENDEN _ fe :Mb 
 Jo: 
 
 A Brittany Image Seller 
 
 The image seller, with his embroidered Breton jacket of dark blue, 
 stands in the street at a window where are a woman and a child. He 
 holds up one of his images for inspection as he offers it at a bargain. 
 Sober color and sound drawing and painting characterize this excellent 
 piece of genre. 
 
 Signed at the left. Dated, 1878. Height, 18 inches; length, 13 inches. 
 
 4 
 SO” 4 FRANCIS MURPHY 
 A Cloudy Autumn Day or | 
 
 A brook in the foreground winds through the meadows.” In the 
 middle distance, on the right and left, are clumps of trees. A sky of © 
 broken gray clouds. Very tender in color and full of the sentiment of 
 the autumnal season. 
 
 Signed at the right. Dated, 1899. Height, 14 inches; length, 19 inches. 
 
 5 Pe | 
 | mo0 WILLIAM H. HOWE. i. ; é 
 al In the Orchard 7 
 
 I 5 \ Four or five calves stand under an apple tree or lie comfortably in the 
 \ shade nearby. A red-and-white one and a black-and-white one stand in 
 iit the immediate foreground, and form the main feature of the composition. 
 They are admirably painted, and the landscape setting, with its greens 
 in sunlight and shadow and gray tree-trunks, is in harmony with the red, 
 black, and white of the young cattie. 
 
 Signed at the left. Dated, 1898. Height, 16 inches ; length, 20 inches. 
 
6 
 
 ae Pred | 
 Wh. J. G. BROWN 
 
 Wt 
 —/_," 
 hs} 6 iE The Fruitseller 
 
 A bright-faced boy in his shirt-sleeves stands on the sidewalk of a 
 city street crying his wares, which consist of rosy-cheeked apples. He 
 holds up two in one hand, while with the other he grasps several others 
 snugly against his body. The lad’s honest face proclaims him to be 
 above the average of the street gamin, and he seems to have in him the 
 making of a successful man. 
 
 Signed at the left. Dated, 1879. Height, 30 inches; length, 20 inches. 
 
 = 
 
 Ll oofy.” 9 ir 
 
 fyyt tn GEORGE H. SMILLIE > 
 ‘& | “f 
 Mm pre A Long Island Farm 
 
 The farm fields lie on sloping ground at the left. Pastures fill the 
 foreground, where some ducks are sitting in the grass near a pool. On 
 i the right a clump of trees and on the crest of the hill a windmill. The 
 | farmers are loading wheat on awagon. A harvest pastoral characteristic 
 in treatment and attractive in color. 
 
 Signed at the left, Height, x19 inches ; length, 33 inches, 
 
 | my. 8 
 | c a SANFORD R. GIFFORD 
 
 The Villa Malta 
 
 One of Sanford Gifford’s famous works, engraved in Harper's Weekly, 
 and widely celebrated. The reddish-yellow walls and tiled roofs of the 
 Villa Malta appear with striking effect against a sky of cloudless, deep 
 blue. In the foreground the top of a wall encloses the garden which 
 surrounds the villa. A fine architectural study with attractive pictorial 
 quality. 
 
 Signed at the left. Dated, 1879. Height, 13 inches; length, 27 inches. 
 
9 “ 
 ARTHUR PARTON 
 
 A Highland Home, Loch Lomond 
 
 A low-roofed, thatched cottage by the shore of the lake, with a bridge 
 over the brook, in the foreground. On the farther shore the mountains 
 are wreathed in mist, and the light from the sky falls in a silver streak 
 on the water. Fresh and delightful in color. 
 
 Signed at the left. Height, 14% inches ; length, 21 inches. 
 
 Io 
 
 a 
 
 9 30 / 296.7 R. A. BLAKELOCK ACF é 
 
 Early Evening 
 
 A lake occupies the foreground. In the middle distance are hills and 
 clumps of trees. In the evening sky, with warmly tinted white clouds, 
 the pale moon rises, and its light is reflected in the water. Fine atmos- 
 pheric effect and an attractive color scheme. j 
 
 Signed at the right. Height, 16 inches; length, 24 inches. 
 
 Ad By 
 F. K. M. REHN c.M.a | 
 
 Ove ” 
 : Springtime 
 
 Through rolling country diversified by clumps of trees flows a 
 ) brook with steep banks. The sky is whitish gray, and the spring- 
 time effect is truthfully rendered. Excellent in color and frankly 
 painted. 
 
 Signed at the right. Height, 16 inches; length, 28 inches. 
 
al F. S. CHURCH 
 
 Pandora J 
 
 (Water Color) V * 
 This celebrated picture was the ‘‘ star attraction ” of the Water Color 
 Society’s exhibition of 1884. It was exhibited at the Chicago World’s 
 Fair in 1893, and was engraved for a frontispiece in Harper's Magazine 
 in 1885. It is one of the most original and most charming of all Mr. 
 Church’s creations. Pandora, a slender girl with dark-brown hair and 
 clothed in thin garments of rose-color, has opened the mysterious chest, 
 and the genii and sprites are making their escape. In the picture she 
 is seen on her hands and knees on the lid of the coffer, pressing it down 
 
 by her weight, and the gnomes are making off while they may, disappear- 
 ing in the air in hurried flight. 
 
 Signed at the left. Dated, 1883. Height, 27 inches; length, 15 inches. 
 
 oti‘ | 
 
 FRANCIS D. MILLET 
 After the Festival 3 m 
 
 Laer 
 
 ce 
 
 A young woman, blond in type, with a wreath of roses on her head 
 and clad in Greek draperies of white and salmon-pink, is sitting pen- 
 sively on a marble bench, her head leaning on her right hand, and hold- 
 ing a tambourine beside her with the left. A fluted column behind her 
 suggests that she is in the porch of a temple, and in the background ap- 
 pear the trees of a groveand a bit of blue sky. Beautifully painted and 
 very attractive in character and color. 
 
 Signed at the left. Dated, 1888. Height, zoinches; length, 16 inches. 
 
 pee 
 
 mire 4 
 Vag C. Y. TURNER 
 Althea 
 
 A young woman in summer gown of white with a pink sash ribbon 
 reaches high above her head to pluck the flowers from a rose of Sharon 
 tree which grows in a picturesque Easthampton door-yard. The sun- 
 
 ole 
 
 / 000. 
 
light filters through the trees and falls in bright patches on the grass, 
 
 Graceful in action and soundly painted. This is one of the rare exam- 
 ples of Mr. Turner’s out-door genre pictures. At 
 
 Signed at the left. Dated, 1884. 
 
 Height, 30 inches; length, 20 inches. 
 * 
 
 15 : # Wi Le 
 “LTO. WORDSWORTH THOMPSON ; q 
 Halt of the Diligence 
 
 A scene in Italy. The coach has stopped for a moment on the high. 
 road, and a peasant woman, with a child beside her, is seen at the door 
 soliciting a few coins from the English travellers. She has a guitar 
 
 slung over her shoulder, and apparently asks foralms in return for her 
 
 music. The picturesque Italian landscape is in full sunlight, and the sky 
 of blue shows a few white clouds. 
 
 Signed at the left. Dated, 1882. 
 
 Height, 18 inches; length, 24 inches. 
 
 : q 
 16 P| 
 
 20.7 J. B. BRISTOL LA Ware : 
 vi Old Bridge, Upper Connecticut | a 
 
 A charming New England scene, with an old covered bridge crossing 
 the river in the middle distance. Beyond, a meadow with distant hills. 
 Hh ; A sky of blue with white ridges of cloud at the horizon. A charming 
 ie and original example of a very popular painter. 
 
 Signed at the right, Height, 8 inches; length, 16 inches. 
 
 17 
 [Lb ig F. S. CHURCH 
 
 ~ ae | 
 a aay ae o “Who Are You?” a Kt foe 
 
 On the ocean beach, where the tide encroaches on a tongue of land, 
 stands a little girl with pail and shovel, greatly surprised by the appari- 
 tion of a child mermaid who emerges suddenly from the waves. The 
 
 meeting is a strange one, and the artist has depicted it in a pretty com- 
 position with a color scheme of light tints. 
 
 Signed at the right. Dated, 1885. 
 
 Height, 11 inches ; length, 16 inches. 
 
18 
 A. H: WYANT. ie 
 
 “u- we Y An Irish Landscape ! 
 
 A road leads into the picture through a valley to a lake in the middle 
 distance. Beyond are high hills enveloped in vaporous clouds. The 
 sky of broken white clouds hangs over the landscape and is full of 
 misty tenderness of color, The general aspect of this picture is exceed- 
 ingly fine, and its splendid quality makes it a very choice example. 
 
 Signed at the right. Dated, 1877. Height, 12% inches; length, 20% inches. 
 
 | 
 ; 
 | 
 | 
 
 19 3 
 mp’ igh SIDDONS MOWBRAY ae 
 
 6 0: -. Mei VOR 
 
 In a garden enclosed by a low stone wall and bench three young girls, 
 partly draped in fine, figured stuffs, are grouped on the grass and play 
 on musical instruments. One with a violin is standing up. On the 
 bench at the right is another maiden with a lyre, and a companion on 
 the other side of the wall leans over it to talk with her. Over alla 
 sky of tender pink and pale blue. This isa well-known and important 
 work, delightful in composition and very attractive in color. 
 
 Signed at the left, Height, 17 inches ; length, 26 inches. 
 
 ght CHARLES H. MILLER 
 
 ‘gs J J. An Old Mill, Long Island 
 
 The mill stands at the right of the composition, with the race cross- 
 ing the picture from the left. The old building is embowered in trees. 
 The sky is filled with great masses of white clouds, and at the right 
 upper corner there is a patch of blue, characteristically dark and rich 
 in color. 
 
 Signed at the right. Dated, 1899. Height, 12 inches; length, 24 inches. 
 
21 
 
 (Dy 0.” FREDERICK W. KOST 
 
 * 
 
 Evening—Westport Point, Rhode Island 
 
 An old pier juts out into the sea at the left, and a shallop is coming 
 forward in the middle distance, its dark body forming a strong note near 
 the centre of the composition. Beyond, the wide expanse of water is lit 
 up by the moon, which rides high in the sky amid the dark clouds. Very 
 simple in motive, this is a picture of great power and a very distinguished 
 piece of color. 
 
 Signed at the right. Height, 28 inches; length, 22 inches. 
 
 22 a 
 F. S. CHURCH if fll 4 
 I ? . = 
 
 1a 
 | 2 cy kt oe : 
 ees Sea Sirens 
 
 Four beautiful sea nymphs are seen in this charming composition in 
 
 ; a group amid the waves. Their long blond hair floats over their shoul- 
 
 { ders as they come forward, gracefully moving through the water. The 
 \ two behind are blowing on conchs, and she who is farthest in the rear 
 ‘ leans gracefully backward, buoyed up on the bosom of her native element. 
 
 Signed at the left. Dated, 1897. Height, 16 inches; length, 22 inches. — 
 
 yes ’ W. GEDNEY BUNCE | for 
 | 0: fs i, | 
 Morning in Venice a 
 
 A very beautiful example with clear, fresh, and tender color. A fleet” 
 of fishing-boats with dusky red and orange sails are picturesquely placed 
 on the left, where a point of land juts out into the water from the right, 
 and a cluster of piles marks the landing-place. In the offing a steamer 
 and a fleet of boats. The sky of breaking and dissolving gray and 
 white clouds fills the rest of the canvas above the low horizon. 
 
 Signed at the right. Dated, 188s. Height, 14% inches ; length, 17 inches, 
 
24. 
 
 Yu W. T. RICHARDS 
 
 ; Near Atlantic City 
 ye mo (Water Color) 
 
 A fine little picture showing the water spread out over the beach with 
 wide, glassy surfaces as the waves come rolling in with monotonous — 
 regularity. The gray sky shows the sunlight breaking through. Care- 
 fully and accurately drawn and highly finished. 
 
 Signed at the left. Dated, 1876. Height, 9% inches; length, 14 inches. 
 
 ae 
 ne 
 
 a 
 Pe 
 
 aD Val 25 
 OK: R. L. NEWMAN 
 R. i ee 
 
 rs Madonna and Child 
 
 Full-length figure of the Madonna, with robes of blue and red, hold- 
 ing the infant Jesus in her arms. Background of sombre landscape. 
 
 Signed at the left. Height, 13 inches; length, 9% inches. 
 
 26 
 
 yw" GEORGE H. BOUGHTON 
 yr a Gas. Divided 
 
 Here is a pair of young amoureux called upon to choose ‘‘ ’twixt love 
 and duty.” In a woodland path, where they have been strolling, the 
 guardian sister, in robes of black, and white coif,; has appeared, and is 
 leading off the pretty girl, admonishing her meanwhile, leaving the 
 swain, in his gay costume of red, disconsolate. Dejectedly he holds still 
 
 ' in his hand the nosegay intended for his sweetheart. The story is 
 charmingly told, and, artistically, the picture is remarkable for its re- 
 “served, forceful color and interesting composition. 
 
 66 9. 
 
 Signed at the right. Height, 15 inches; length, 20 inches. 
 
oo 27 
 
 A A. M. TURNER | | 
 age The Prayer ff 
 o | a. oy) ve G. (Water Color) 
 
 D A figure, painted in three-quarters length, of a young mother hold- 
 ing her babe in her arms, while her face, uplifted, shows an expression of 
 devout supplication. 
 
 Signed at the left. Dated, 1888. Height, 21 inches; length, 1414 inches. 
 
 Tune Ss * 
 
 , anv GEORGE INNESS yt 
 
 7 *“ Montclair by Moonlight 
 .- 
 The full moon appears in the sky, behind the trees, and its radiant 
 beams flood the landscape. In the middle distance, a streak of light on 
 the river. A village in the valley, with houses embowered among the 
 trees. 
 
 by 
 
 Signed at the right. Height, 16 inches; length, 24 inches. 
 
 29 
 
 .” MARIA A’ BECKET ge aurt 
 
 Massachusetts Coast 
 
 A declivity on the right slopes down to the sea. Two stunted and 
 storm-beaten oaks and a clump of bushes appear at the top of the slope, 
 and the sea rolls inshore with turbulent force, breaking on the rocks be- 
 low. The sky shows a great mass of white and gray clouds, with blue at 
 the upper corners of the composition. Very strong in color and dra- 
 matic in effect. 
 
 Signed at the right. Height, 22 inches; length, 30 inches. 
 
A C. SEARS wh 
 
 Re, V6 sd Romola eis 
 
 (Water Color) 
 
 A bust portrait of a beautiful young woman with blond hair, in an - 
 evening gown of black. Noble in type, refined in expression, and pos- 
 sessing admirable qualities of color. Awarded the William T. Evans 
 Prize at the American Water Color Society, 1893. 
 
 Signed at the upper left. Dated, 1893. Height, 30 inches; length, 22 inches. 
 
 31 
 C. HARRY EATON 
 A Normandy Landscape 
 
 aed 
 
 The meadow which occupies the foreground is traversed by a brook, 
 which in the middle distance flows past a farmhouse on the left embow- 
 ered among the trees. Overhead a noble sky with finely drawn masses 
 of white cloud. Cool and restrained in color and very attractive in general 
 aspect, this is one of Mr. Eaton’s most beautiful and successful land- 
 scapes. Exhibited at the Paris Exposition of 1889, and at the World’s 
 Fair, Chicago, in 1893. 
 
 Signed at the right. Dated, 1885. Height, 24 inches ; length, 36 inches. 
 
 was : 32 
 i 
 7 _ LOUIS MOELLER wt 
 
 Bluffing \ial OA 
 
 A party at the game of poker, where seven or eight men are seen 
 about a table in a room handsomely furnished and with pictures on the 
 walls. On a low table in the foreground are glasses and decanters. The 
 men are in their shirt-sleeves, and the scene is a convivial one, depicted 
 with plenty of detail, but the general effect is broad and comprehensive. » 
 
 Signed at the right. Dated, 1894. Height, 30 inches ; length, 42 inches. 
 
2 33 
 r,\.« ,¥PHOMAS MORAN 
 
 sh OF. \l ye A Dream of the Orient 
 
 A group of splendid boats and barges with a castellated nt rising 
 from the sea behindthem. On the left other high palace walls, and on the 
 right a donjon tower, ships, and gondolas in the distance. The water 
 reflects on its mirror-like surface all the beautiful colors of the sails and 
 | buildings, and the whole composition is wrapped in a morning. mist. 
 This picture is highly imaginative in conception and very decorative in © 
 color. Exhibited at the Centennial Exhibition, Philadelphia, 1876. — 
 
 _ Signed at the left. ‘Dated, 1876. Height, 33 inches ; length, 50 inches. 
 
 tL SO-" 34 | lit pate : 
 nt _h GEORGE H. BOGERT Hy. ; 
 Ww V Autumn Morning, Plymouth, Mass. 
 
 ‘ Rising ground on either side in the foreground, with a little stream 
 \I leading into the middle of the picture. This portion of the composition 
 is in shadow, and a tree with brown foliage comes against the sky with 
 fine effect. The distance, showing a plain and a range of hills, is in sun- 
 light, and the sky shows banks of white and gray clouds with an expanse 
 of tender blue near the top. Harmonious in color and unified in effect. 
 
 Signed at the right. Height, 28 inches ; length, 36 inches. 
 
 ut ‘ fs 
 e re O 35 
 ax ARTHUR QUARTLEY f 
 Va ~ oM orning—New York Harbor i 
 
 In the lower bay off Coney Island Point, now known as ‘‘ Sea Gate,” 
 are several vessels and barges in a group, moving slowly with the slug- 
 gish breeze. A high sky is clouded with gray and white, and the glassy 
 water reflects the warm white and yellow of a large sail on the right. 
 Effectively composed and striking in color, this is a representative work 
 by a famous painter of marines. 
 
 Signed at the right. Dated, 1880. Height, 20 inches; length, 36 inches. 
 
 f 
 ne aaa 
 
 5 rat Rape ee eee ee ee ee ee i i al at 
 ela ptm Pe em ear i ew ik tee one ee 
 
HORATIO i W ALKER \/ a a 
 
 In the Meadow i 
 
 _ A level plain traversed by a brook, with a row of willow trees reced- 
 ing into the distance, a poplar and a clump of thickly foliaged trees at 
 
 _ the right, and a few low-roofed houses. In the foreground, lying down in 
 the grass, are a white and a black cow. Over all a luminous gray sky. — 
 A fine composition, an admirable piece of landscape and cattle painting, 
 a lovely harmony of color, and a work of the most distinguished general 
 aspect. It is in every respect worthy of Mr. Walker’s high reputation, 
 and is certainly one of the most complete and beautiful of his works. 
 
 Signed at the left. Height, 183g inches; length, 26 inches. 
 
 37 
 
 a 4. 
 4 bpna LOUIS PAUL DESSAR apt 
 ar Df. i ae 
 
 , / ay Sheepfold at Night ye 
 
 The sheep, crowded together in the park, fill the foreground, their 
 woolly backs showing white under the light of the moon. The shepherd 
 stands among them, and beyond are two great haystacks, whose conical 
 masses are in silhouette against the clouded night sky. Exceedingly 
 poetic in feeling and in treatment, this picture presents, with true artistic 
 excellence, a rural scene of great beauty. 
 
 Signed at the right. Dated, 1897. Height, 13 inches; length, 18 inches. 
 38 
 t Lo, 
 hh nl 4 MARIA BROOKS =p, © [ 
 ; a % de 
 
 / 54 re “Very Careful” 7: 
 
 A little girl in long skirt, apron, and white sun-bonnet is carrying on i 
 a tray a cup of coffee or other liquid refreshment. She takes her steps 
 carefully, and with bent head keeps watch on her precious burden. 
 
 Signed at the upper left. Height, 14 inches; length, 9 inches. 
 
Ne 39 CM 
 
 car . FREDERICK DIELMAN 
 
 pe! rae La Chatelaine “ 
 
 Head of a beautiful young woman, whose head-dress of white is sur- 
 mounted by a wide velvet hat of gray. The bodice shows rich metal 
 embroidery. Charming in type and painted with great delicacy of touch 
 and refinement of color. 
 
 Signed at the right. Height, ro inches; length, 8 inches. 
 
 - ; 40 | 
 0 205 _. wt DAVID JOHNSON vy yp A Ke 
 
 i forge 
 i ord i Connecticut Landscape 
 
 ig The composition shows a great tree with wide-spreading branches in 
 i the immediate foreground. On the left is a pond with cattle standing in 
 the shallows, and a stretch of landscape ; on the right, meadows hemmed 
 in by a row of forest trees. The sky is filled with broken masses of 
 white clouds, among which there are glimpses of blue. Remarkable for 
 elaborate finish and unity of general effect. 
 
 Signed at the right. Height, 12 inches; length, rs inches. 
 
 a FREDERICK A. BRIDGMAN 
 \{ e/ o - 
 
 A cabinet picture of an Oriental beauty, with a white veil-dropping 
 from her face and disclosing her lovely features. In her hand she holds 
 some flowers, and her shoulders are covered by a wrap of terra-cotta 
 color. A fine little example, very skilfully painted in the artist’s best 
 manner. 
 
 A Lady of Constantinople 
 
 Signed at the right, Dated, 1881. Height, 14 inches; length, 1034 inches. 
 
42 
 ALBERT P. RYDER 
 
 “0 ies toga 
 
 Meadows and hills, with a tree on the right, near which stand two 
 figures, a woman and a child. The sky shows large masses of clouds. 
 The tone of this picture is mellow, and the atmospheric effect of hazy 
 autumn is well rendered. 
 
 Autumn Landscape 
 
 Signed at the left, Height, 18 inches; length, 24 inches. 
 
 R. we 43 
 
 CHARLES MELVILLE DEWEY yt 
 
 aed * 
 
 The Harvest in the Midlands 
 
 A man and a woman are at work in a wheat field in the foreground. 
 Beyond lie gently sloping hills, and there are groups of trees in the 
 ravine in the middle distance. The sky is full of clouds, lighted up in 
 the upper portion by the sun. Tender in color and unified in general. 
 effect. 
 
 . Signed at the left, _ Height, 20 inches ; length, 30 inches. 
 
 44 
 
 yA WILLIAM A. COFFIN | A *° 
 . | : 
 
 3S ¥ Ny Evening, Somerset Valley 
 
 A grassy valley, intersected in the middle distance by groups of 
 trees, with a prospect of forest and hills beyond. The sky is covered by 
 a thin veil of clouds, lighted up in rifts by the setting sun. Space and 
 atmosphere characterize the picture, and the color, with rich greens in 
 the foreground, blue and purple in the hills, and warm grays and opales- 
 cent tints in the sky, is truthful and effective. 
 
 Signed at the right. Height, 30 inches; length, 40 inches. 
 
~~ 45 ae | 
 
 * H. W. RANGER ok 
 /f od“ Connecticut Woods 
 
 A deeply toned picture, with a wealth of color. The sunlight falls 
 on a grand old tree with spreading branches, in the centre of the com- 
 position, and the surroundings are subordinated to give value to this 
 motive. Fine in color, and a splendid example. 
 
 Signed at the left. Dated, 1897-99. Height, 28 inches; length, 36 inches. 
 
 i; \4 / | — 72 po ee ee 
 
 T ave 
 No Dyprode “The Reflection Ye 
 
 A young girl, nude, stands beside a pool, and with a delicious move-. 
 ment of the arms extended, half balancing, half expressive of timidity, 
 prepares to put her foot in the water. ‘Tall reeds on the shore of the 
 pool, a stretch of meadow, and a thick clump of trees, furnish the setting 
 for this delightful creation. The figure is drawn with a thorough feel- 
 ing for style, and is beautifully and simply modelled. It is lovely in 
 color, and the entire composition is admirable in its unaffected, genuine 
 poetic feeling. One of the finest idyllic pictures the American school 
 can show. 
 
 Signed at the left. Dated, 1890. Height, 30 inches; length, 25 inches. 
 
 47 
 ay J. FRANCIS MURPHY 
 
 Sundown 
 
 A road leads into the picture, winding over a plain. In the right 
 foreground are several trees with autumnal foliage. Other trees on the 
 left in the middle distance. A cloudy evening sky of gray clouds and, 
 at the horizon, a band of golden light. Fine color and effective general 
 aspect. Exhibited at Munich, 1895. 
 
 Signedat the left. Dated, 1886. Height, 16 inches; length, 22 inches. 
 
48 
 
 a I Ave’ ‘W. L. LATHROP ae 
 
 A November Evening 
 (Water Color) 
 
 An old barn, gray and weather-beaten, stands in the foreground. The 
 effect chosen by the artist for the depiction of this simple motive is one 
 of evening, with a sky of gray clouds, illuminated at the horizon by a 
 rosy streak of light where the sun is setting. One of Mr. Lathrop’s 
 characteristic pictures, possessing fine quality of color, and remarkable 
 for its poetic sentiment and forceful treatment. 
 
 Signed at the right. Dated, 1896, Height, 164 inches ; length, 214 inches. 
 
 49 
 
 tA Wor] White Swans and Pink Lilies Fo 
 | “ iY 7 (Water Color) 
 
 A charming decorative picture, wherein, at one end of the long panel, 
 a maiden, in pale-pink draperies, stooping over on the shore of a pond, 
 the surface of which is thickly dotted with lily padsand blossoms, reaches 
 out her hand to feed the foremost of a long procession of swans. 
 
 Signed at the left. Dated, 1886. Height, 12 inches; length, 36 inches. 
 ai’ 
 “4 a O ® 
 g f 5 : 4 
 ) | ~ 
 tt. A.H) WYANT... of 
 
 ‘1 _a Oe 
 J | Solitude 
 
 A view over the dunes, with an old road leading from the foreground 
 ‘into the picture through a gap in the line of trees which is seen at the 
 left. A solitary house appears on the horizon in the right centre. The 
 landscape is dark and dreary undera leaden sky of gray, broken up in 
 the lower part by white cloud-masses, with a little patch of blue. Uni- 
 fied in effect and dramatic in general aspect. 
 
 Signed at the right. Height, 16 inches; length, 24 inches, 
 
51 rf UW 
 ae ‘ GEORGE INNESS J Vp A 
 
 Pay 
 
 The level foreground of meadow leads to a dark group of trees and 
 buildings, with a few lights in the windows on the right. The upper 
 part of the sky is overcast with dark clouds. Nalf way up from the 
 horizon, in a clear space, the full moon seems to slowly rise towards the 
 i clouds above. The scene is wrapped in the beautiful mystery of the 
 night, and the color scheme is rich and resonant. A work of fine poetic 
 | feeling. 
 
 Moonlight 
 
 : \ Signed at the left. Dated, 1890. Height, 16 inches; length, 24 inches. 
 by 
 
 : 52 
 ly n a? ze na ROBERT C. MINOR wee din? 
 Ady 
 
 A ey [ | “ KS af: °’The Hunter’s Moon 
 
 A deep valley, with hills filling Che ease at either side. Tree- 
 \J forms are indistinctly seen in the half-light of the moon, which, partly 
 veiled by clouds, peeps over the high hillat the left. A poetic and effec- 
 
 tive rendering of the night. 
 
 Signed at the right. Height, 18 inches; length, 24 inches, 
 
 ye 53 
 cocina he Sg R. M. SHURTLEFF 
 
 Woods in Autumn 
 
 A forest effect, with the trunks of trees, large boulders, and a pool in 
 * the brook in the foreground. Farther into the picture are the green 
 ; Nf foliage lighted up by the sun and a bit of sky appearing through the 
 leafy recesses of the woods. Charming in color and eminently truthful 
 in effect. This picture represented Mr. Shurtleff at the Chicago World’s 
 Fair in 1893, and was his sole exhibit. 
 
 Signed at the left. Height, 20 inches; length, 25 inches. 
 
54 
 
 ey EDMUND C. TARBELL ~ prt 
 Oa4 Girl with Violin 
 
 _A young woman in evening dress of black, seated in profile, playing 
 the violin. The action of the figure is exceedingly graceful, and the 
 face is one of fresh and girlish beauty. The bare neck and arms are 
 painted with simple modelling and great beauty of color, and the work 
 as a whole is full of distinction and charm. 
 
 Signed at the left. ; Height, 24 inches; length, 19 inches. 
 
 pi 55 : | 
 WALTER SHIRLAW wr 
 37 y jd¥ 
 a ao 3: Water Lilies a 
 
 An idyllic subject with a group of three nude female figures on the 
 grassy banks of a river, the surface of which is partly covered with lily 
 pads and blossoms. On the opposite shore is an expanse of green turf, 
 and beyond, the silver streak of the river reappears winding through the 
 meadows and disappearing amid the trees which frame in the middle 
 distance and appear in silhouette against a warmly tinted evening sky. 
 The group of nymphs forming the central point of interest is charming 
 in arrangement, and the figures are finely drawn and ably painted. The 
 picture is poetic in feeling and distinguished in aspect. 
 
 Signed at the right. Height, 20 inches ; length, 30 inches. 
 f np ov 50 om 
 | A 7, ye) ea am 
 | . Hy WYANT hy 
 : fe a Cine Sagittal 
 Gray Day 
 
 Meadows with clumps of trees at the left form the foreground in this 
 fine landscape—a characteristic and beautiful example. The sky is com- 
 posed of broken masses of gray and white clouds. The picture is ad- 
 mirable in its subdued scheme of color, atmospheric quality, and poetic 
 sentiment. 
 
 Signed at the left. Height, 16 inches; length, 22% inches. 
 
57 | 
 WILLIAM T. SMEDLEY > pA lod 
 5-7. A Thanksgiving Dinner + 
 (Water Color) 
 
 The dining-room is in an apartment high above the street level, and 
 ‘it through the wide window is a view of the city with its roofs and spires. 
 ih At the table in the middle of the room a young couple are seated, and 
 \ the mother has taken the baby from the maid who stands nearby, and 
 holds his little hands together in readiness for the grace before meat. 
 The figures, as well as the still life and picturesque accessories to the 
 scene, are well drawn and frankly painted. The effect of light and air 
 is admirably given. Awarded the William T. Evans Prize at the Ameri- 
 can Water Color Society in 1890. 
 
 Signed at the right. Dated, 1889, Height, 16 inches; length, 24 inches, 
 
 pe HENRY O. WALKER /¥¥ 
 Wr 
 {M ‘ The Boy and the Muse 
 
 The scene is laid in a classic wood where white lilies bloom at the 
 edge of the path which leads down to a calm pool in the dell. At the 
 right of the composition the Muse in draperies of pale gray color is 
 seated in profile to the spectator, and before her, nude but fora yellow 
 loin cloth, stands the boy holding an urn. His head is turned and his 
 eyes look questioningly into the face of the Muse. A beautiful example 
 of Mr. Walker’s ideal subject painting, bearing his best characteristics 
 of style, drawing, and color. 
 
 Signed at the left. Dated, 1894. Height, 22 inches ; length, 27 inches, 
 
 vr 
 iG? 59 
 rt HENRY W. RANGER é f 
 y> U New Jersey Oaks & . 
 
 A group of great oaks in autumn foliage with one felled trunk and 
 woodcutters standing near occupies the centre of the composition. The 
 immediate foreground is in shadow, and the sky shows warm white 
 
‘ase: "representative example, with characteristic color and handling. 
 ‘Signed at theleft. Dated, 1896. Height, 28 inches; length, 36 inches, 
 
 Lhd mt Conway Valley 
 
 Meadows in the foreground ; an orchard, with a white church, in the 
 middle distance. Farther away the great forms of the bases of the 
 mountains appear, and, higher up, their peaks partly covered with snow. 
 Over all a sky of blue with a few gray clouds. Very rich in general 
 aspect, and remarkable for its quality of style. 
 
 Signed at the right. Dated, 1875. Height, 20 inches ; length, 30 inches, 
 Conese 
 61 
 : 
 HORATIO WALKER C. 
 
 Nir’ | Low Tide bs 
 Fi vag 
 (20: (Water Color) 
 
 A white cow with spots of black stands in the marshes near a flat- 
 bottomed boat that has been pulled up on a point of land covered with 
 sedgy herbage. ‘The waters reflect the whitish gray of the sky and the 
 color notes in the picture are admirably disposed. Extremely attractive 
 in general effect. 
 
 Signed at the left. Height, 1314 inches; length, 19 inches. 
 
 62 
 
 by feat ih ALBERT. P...RYD ER S f 
 
 aod. the Little Maid of Acadie 
 
 A draped female figure with a background of landscape colorful . 
 
 and golden. She advances toward the spectator and forms with the 
 setting of warm landscape effect a beautiful little vision depicted with 
 all of Mr. Ryder’s poetic charm. 
 
 Height, 10 inches: length, 514 inches, 
 
 clouds with patches of deep blue in the upper portion. A very strong : 
 
 a ‘ . 7 
 7 a j*)- GEORGE INNESS ar | 
 
 22: 
 
63 Ts ae "oh aid 
 hat ; Aes : 
 a WILLIAM M. CHASE y) j fi wr 
 y™ ‘ 
 
 lo) i 4 
 J / O:- East River | 
 The wide expanse of the river fills the foreground where a man is 
 seen pulling a rowboat, and in the middle distance are the docks and 
 shipping of the Brooklyn water front. Crisply painted and fresh and 
 
 attractive in color, this is one of Mr, Chase’s delightful transcripts of 
 picturesque effects in New York that have justly become so celebrated. 
 
 | Signed at the right. Height, 10%4 inches ; length, 16 inches. 
 
 : o 
 
 | Ny a D. W. ‘TRYON gr, 
 
 | / ¢ iM Pea slg do A May Morning 
 
 " if | Meadows fill the foreground with a few clumps of willow trees in 
 r ON H early spring foliage. In the distance are low hills and over all a sky of 
 
 pale gray. The greens are delicate in color and the whole picture is 
 a suffused with the tender atmosphere of a May morning. A charming 
 example of Mr. Tryon’s landscape work in light tints. 
 
 Signed at theleft. Dated, 1890. Height, 11 inches; length, 22% inches. 
 
 65 
 
 mre” HERBERT DENMAN oS aa 
 nw 
 
 es a Psyche [Mex : 
 
 A youthful nude female figure with a pastoral landscape background. 
 She is depicted in a graceful attitude on a woodland bank near a pool 
 ie and her head is buried in her arms. Her slender wings form delicate 
 notes of pale mauve color and the landscape effect is one of nightfall. 
 Charmingly drawn and painted with simple, effective handling. 
 
 Signed at the right. Height, 22 inches; length, 1814 inches. 
 
66 
 GEORGE INNESS 
 
 4 fo : ae 
 Green pastures fill the foreground. In the middle distance are hills 
 
 and groups of trees. The sky shows white clouds with patches of blue. 
 A poetic interpretation of a summer day, and very forceful in color. 
 
 Meadowland in June 
 
 Signed at the right. Dated, 1880. Height, 18 inches; length, 26 inches. 
 
 ‘Praaadapessttaet 
 
 67 
 
 Bh BRUCE CRANE © 
 4. saa “y | Nv! 
 . ed vas 4, Evening after Rain 
 
 A road leads from the foreground into the middle of the picture, 
 with thickets seen beyond the fences on the right. The gray sky shows 
 | . ‘ warm yellow light at the horizon, and the greens of the meadows are 
 | lush and dark after the fall of rain. Very effective in its simple com- 
 position and harmonious color. 
 
 Signed at the right. Dated, 1888. Height, 20 inches ; length, 30 inches. 
 
 68 
 
 | Ga ie aed 
 i Gass 
 
 “CHARLES MELVILLE DEWEY yw” ~ 
 aca” ; 
 
 A shepherd with his flock on a wide plain under a sky of light gray ~ 
 are the simple features which make up the composition in this charming 
 landscape. Itis painted in a light key, and is tender and truthful in color. 
 
 An Autumn Pastoral 
 
 Signed at the right. Height, 16 inches; length, 24 inches, 
 
69 ~ 
 H. BOLTON JONES Z b we 
 
 November 
 
 A scene in New Jersey pastures, with a grass-grown, deserted road, 
 lined by tumble-down stone fences, leading into the picture from the fore- 
 ground. Somecows graze in the road, and leafless trees with underbrush 
 and thickets appear in graceful silhouette against the cloudy sky with a 
 rift of blue, or frame in the brownish-green stretches of meadow. In 
 the distance, through the branches, is seen a line of blue hills. This isin 
 every way a superior example, and is marked by the best qualities of color 
 and drawing that have made Mr. Jones’s landscape work so celebrated. 
 
 Signed at the right. Height, 22 inches ; length, 32 inches. 
 
 70 
 
 Gang oo WILL H. LOW ne thwart 
 | Ay | 
 
 . : al hed 
 
 The , Portrait 
 
 A maiden clad in Greek drapery of pink kneels on a marble bench, 
 
 the portrait art. A sundial on a fluted marble pedestal stands in the fore- 
 ground, and overhead is a trellis from which hang the green leaves of a 
 vine. The color is delicate and refined, and the drawing graceful and 
 accurate, 
 
 Signed at the right. Dated, 1890. Height, 25 inches; length, 14% inches. 
 
 K © 6 26 ‘* HOMER D. MARTIN PVE 
 
 i - 
 Mit & i, / { 
 | CS dae: & ¥ oo Lake George 
 
 a q 
 
 On the right a group of trees with autumn foliage; on the left a 
 } smaller group. The foreground is composed of rocks and herbage on 
 i i f » #® the shores of the lake. The water, calm under a clouded sky of great 
 é 4 delicacy of color, fills the middle distance. A picture containing much 
 of Homer Martin’s finest quality. Delightful in color. 
 
 Signed at the right. Height, 13 inches; length, 20 inches. 7 
 
72 
 
 di Mago F. S. CHURCH 
 ay Aa = Evening 
 
 A head of a young girl in profile, with a background of blossoms and 
 acrescentmoon. The golden head is bound with a fillet of pink ribbon, 
 and the face looks downward with a restful expression symbolical of the 
 quiet of the evening. 
 
 Signed at the left. Dated, 1889. Height, 14 inches; length, 12 inches, 
 
 ” 3 iy j ( 4 
 Are t om 
 SAMUEL COLMAN  § st 
 
 ' R. y . 
 Moonlight Near Rome 
 The walls and towers of a great building are indistinctly seen on the 
 left of the composition, and a sheet of water in the foreground reflects 
 the light of the moon, which appears in the middle of the sky, partly 
 veiled by clouds. Strong in color and rich in general effect. 
 
 Signed at theright. Height, 914 inches; length, 13% inches. 
 
 i Le" WYATT EATON nar 
 
 4 AIO Ariadne 
 
 A recumbent nude female figure with a setting of forest landscape. 
 This is one of those truly remarkable nudes which did so much to estab- 
 lish the high reputation of Wyatt Eaton. The figure is ably drawn, and 
 the whole composition is distinguished in color. The picture is full of 
 poetic feeling, and possesses that rare quality of style which so few mod- 
 ern painters have been equal to achieving in the depiction of classical 
 and idyllic subjects. 
 
 Signed at the left. Dated, 1888. Height, 14 inches ; length, 20 inches. 
 
0/7 oo 
 a wr A. H. WYANT A at 
 
 An October Evening . 
 
 Groups of trees on either side in the foreground, a pond in the mid- 
 
 pies dle distance, and rising ground beyond, with a fine sky of gray clouds 
 lighted up with warm, luminous tints at the horizon, are the principal 
 features of this composition, Rich and harmonious in color and charm- 
 | / ing in general effect. 
 | 
 
 Signed at the right. Height, 13 inches; length, 20 inches. 
 
 Pees), 76 we | 
 ... : oo CHARLES C. CURRAN (ee 
 he A oe | je eam (a 24" wD 
 
 we 
 
 . The composition shows innumerable great transparent globes ane 
 ing in space, resembling soap bubbles in their iridescence, with pink, 
 green, and violet hues, and each one bearsa figure. A large globe in 
 the foreground carries a young girl, from whose hands floats a long piece 
 of gauzy drapery. A pure creation of fancy, this picture possesses fine 
 decorative quality, and is marked by Mr. Curran’s skilful touch in draw- 
 ing and in handling of color. 
 
 Signed at the right. Dated, 1892, Height, 18 inches ; length, a2 inches. 
 
 77 
 ih Sed: ” F. S. CHURCH 
 
 |e f Ae The Dance | Vitle 
 
 (Water Color) 
 
 | A friendly white bear, clumsily stepping to the music of a violin 
 h 3 , 4 played by a young girl in pink, who is seated on a bank in the woods, 
 
 \ *}. Fa is acting as dancing master to a cupid who trips through the measure 
 | i> wd with gladsome grace. Two white doves sit in the grass in the foreground 
 ‘ and watch the merry scene. 
 
 Signed at the right. Dated, 1899. Height, 16 inches ; length, 24 inches. 
 
ae | | 78 
 Gude nancts C. JONES 
 
 ine WA gd: dd The Little Visitor 
 
 The little visitor is a pretty child in a white frock, who is seen sitting 
 at the lunch-table in a big armchair. The hostess, who may be an 
 aunt, perhaps, is a young woman seated near the child and tempting her 
 with good things. Back of the figures a sideboard with a silver urn and 
 blue china. Against the wallon the right a divan with cushions. The 
 story is well told, and the picture is delicate in color and very cleverly 
 painted. 
 
 Signed at the left. Height, 20 inches ; length, 27 inches. 
 
 79 
 WALTER SHIRLAW 
 
 maatid oF Roses 
 
 Pink and white roses in a glass vase of dark green. Rich and 
 éclatant in color. 
 
 Signed at the upper left. Height, 24 inches ; length, 19 inches. 
 
 80 
 
 2 /d-“ Christ in the Wilderness 
 
 ee ELLIOTT DAINGERFIELD . ea ve / rb) 
 
 The pensive figure of the Saviour, clad in a robe of drab color, is - 
 
 placed on the left in the composition, and is seen walking slowly, with 
 bended head and clasped hands, followed by a lion and lioness, emerging 
 from their cave among the great rocks on the right. Two or three trees 
 are in silhouette against the sky, their foliage forming effective masses 
 in the scheme of sombre color in which the work is executed. A work 
 of singular force and remarkable tonal quality. 
 
 Signed at the right. Height, 28 inches; length, 24 inches, 
 
 gaBNOO Laas 
 
a ae ht 
 
 fe CARLETON WIGGINS 
 (oA aaa _ Evening, After a Rain 
 
 A quiet evening effect, with the last rays of the sun gilding a distant 
 hilltop. In the valley, groups of trees and meadows. A flock of sheep 
 grazing in the pastures of the foreground. The eastern sky shows the 
 moon partially veiled as it rises through the clouds toward the open 
 spaces in the upper portion. Poetic in sentiment, and subdued but 
 powerful in color. 
 
 Signed at the left. Height, 30 inches; length, 40 inches. 
 
 : : oer _ 7 | 82 . 
 : er LEONARD OCHTMAN Hl die 
 
 ‘van Evening on the Mianus 
 
 A pastoral subject, interpreted with naturalistic force and great truth 
 of observation. On a bank in the foreground, at the right, is a seated 
 fig’ re, and three or four tall trees are silhouetted against the moonlit — 
 yxy. In the distance a river takes its course through a valley. Quiet in 
 * color scheme and poetic in general aspect, this is a notable example of 
 the work of a celebrated landscape painter. Medal, World’s Fair, 
 Chicago, 1893. 
 
 Signed at the left. Dated, 1893. Height, 36 inches ; length, 52 inches. 
 
 83 
 has GEORGE H. BOGERT 
 
 LY nae Sea and Rain \ , 
 
 The breakers fill the foreground, flooding the beach with white foam, 
 
 and, beyond, the broad expanse of the ocean stretches away to the 
 
 % horizon, where a few rays of light struggle through the dark clouds, and 
 8 a distant sail is seen in dreary loneliness. The sky is filled with storm 
 #) « clouds, with a mass of lighter gray in the central portion, where the 
 99 td light, breaking through, forms a faint rainbow to the right. An ad- 
 X a } mirable piece of tone, and a composition of great dramatic force, this 
 
 Ke is one of Mr. Bogert’s most justly celebrated pictures. 
 
 Signed at the left. Dated, 1893. Height, 30 inches; length, 45 inches. 
 
3 24. ? GILBERT GAUL 
 Charging the Battery 
 
 A stirring composition, with moonlight effect and snow on the 
 ‘ground. A company of blue-coated soldiers is hurrying up the hill on 
 the right to where, near the centre of the picture, the lurid atmosphere 
 shows the thick of the fight, and the dead and wounded are strewn on . 
 the other side of the slope. The moonlight glints on the bayonets and 
 accoutrements in the advancing mass of troops. Full of action, dra- 
 matic in effect, and very strong in color. Awarded'a medal at the Paris 
 
 Exposition of 1889. we t 
 * 
 Signed at the upper right. Height, 36 inches aylength, 44 inches. 
 7" 
 85 
 \ 
 a 
 ROBERT C. MINOR ney 
 
 a 
 @ IIE The Close of Day 
 
 A pastoral of simple beauty of line, mass, and color. A placid stream 
 flows through the meadows, and groups of full-foliaged trees border it on 
 either side and form effective silhouettes, while an evening sky clouded, 
 but very luminous, is reflected on the water. This picture is unified and 
 harmonious, and notable for its golden mellow tone and atmospheric 
 quality. Awarded a medal at the Paris Exposition of 1889. 
 
 x 
 
 Signed at the right. Height, 30 inches; length, so inches. 
 
 | 86 
 | ¢, ytte a der? | i 
 Je HENRY W. RANGER A) p! 
 
 , 
 \ Pa Lh go Morning at High Bridge 
 
 The view-point is from high ground north of the bridge. The river 
 ies in the valley below, spanned by the bridge in ise middle distance. 
 At the extreme right rises the tower, ang inthe 
 
walls, roofs, and spires of the great city. The effect shows part of the 
 bridge illumined by the morning sunshine, which also covers the city 
 beyond, and a broad shadow is cast over the foreground. ‘The sky is © 
 flushed with amber-tinted clouds. The color quality of this picture ig, 
 notably fine, and the composition is remarkably complete and beautiful. 
 
 a Signed at the left. Dated, 1897. Height, 23 inches ; length, 36 inches. 
 
 2307 ‘ ao: 
 go ae Ww) 
 Le 1 pigeon” inness @.! 
 
 AN’ unset on the Passaic 
 
 ». 4 } The spectator looks down upon the river in the foreground, where 
 iA several sailboats are seen at anchor, and on the left the road leading 
 ; own to the water is shaded by trees. On the opposite bank a hill 
 rises up crowned with groups of trees. Over all, a sunset sky filled with 
 . golden light, which pervades every part of the picture and wraps the land- 
 scape in its effulgent glory. This splendid work wascalled by the French 
 of painter, M. Benjamin-Constant, ‘‘an apotheosis of the sun.” It is a 
 magnificent piece of beautiful, glowing color. 
 
 Signed on the right. Dated, 1891. Height, 30 inches ; length, 45 inches. 
 
 @ q 
 es ; q 
 ae F. S. CHURCH Law / 
 % Vt A : 
 / age * Una and the Lion 
 NI The tall, lithe figure of Una is clothed in white. She advances 
 
 through the wood accompanied by the splendid lion, who walks by her 
 o 0) “side obedient to the touch of her hand on his shaggy neck, and turns his 
 a * head toward her with submissive, but in no wise humble, expression. 
 Una lightly holds in the fingers of her right hand a white rose in the 
 guise of a sceptre. Her face is frank and noble in expression, and the 
 lion looks, indeed, the King of Beasts. 
 
 Signed at the right. Dated, 1895. Height, 48 inches ; length, 27 inches. 
 
\ 89 ; ey uk ; ef | 
 © gATHOMER D. MARTIN a NAME RS 
 aa Westchester Hills ay tf : 
 
 A magnificent landscape, showing a winding road in the foreground, 
 lined with stone fences, leading to the hills which rise up in the, middle 
 distance. Splendidly anatomical in modelling, and ver ph ut if | aba 
 color. One of the finest of all the Homer Martins. # f nix fenee 
 
 Signed at the right. Height, 32 inches; length, 60 inches. 
 
 | a 4 | ; A 
 lon : j SBBOTT H. THAYER © caer 
 ro) G oi : Ny ee Pall 
 
 Young Woman a 
 A three-quarters length figure of a young woman with white drapery,. 
 painted in life size. The pose is natural and expressive of dignity. The: 
 face is beautiful in character, and the entire work breathes a lofty senti-- 
 ment. Very distinguished in color, and admirable in general: aspect, 
 this picture ranks with the finest works of the painter of ‘‘ Madonna,” 
 ‘* Caritas,” and other beautiful ideal creations. 
 
 Signed at the right. Height, 40 inches ; length, 32 inches.. 
 
 ; 
 
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 Bs Nr sLe cai RAOT EA HALN ESS TRAN OE Yh Men ie 
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ae 
 
 fi 
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 = ihn ta Ta ae arly 
 
i 
 
 PeGCOND /EVENING'S SALE 
 
 THURSDAY, FEBRUARY I, I900 
 AT CHICKERING HALL 
 
 BEGINNING AT 8 O’CLOCK ( 
 
 | 
 | 
 f 
 | 
 
SE EN EID 
 
 ES 
 
 * SECOND EVENING’S SALE 
 
 THURSDAY, FEBRUARY I, 1900 
 
 CRS ERE NE TT OP TE 
 
 AT CHICKERING HALL 
 
 BEGINNING AT 8 O'CLOCK 
 
 OI 
 
 ag. S J. H. DOLPH 4 
 
 The Right of Possession 
 
 A cat sits in a cushioned armchair disputing the right of a seat with 
 a Yorkshire terrier, who looks up appealingly from his place on the 
 | floor. In the background a chest of drawers. A good, characteristic 
 | example. 
 
 Signed at the left. Height, 12 inches ; length, 14 inches. 
 
 92 
 Fe 
 os oO: H. BOLTON JONES 
 
 The Road to the River 
 
 An old road overgrown with herbage leads over the stony pastures to 
 the river, which lies in the middle distance, reflecting the hills on its 
 farther bank. On the left a line of trees and bushes. A sky of pale 
 gray with much depth of atmosphere. Frankly painted and agreeable 
 in color effects. 
 
 _ Signed at the right. Height, 16 inches; length, 24 inches. 
 
: 93 
 wD ' 
 / va ak WILLIAM H. HOWE 
 Morning, Korten Hof Meadows 
 (Water Color) 
 
 A group of cattle in the foreground. In the distance, beyond a 
 canal, a windmill. Sky of gray, and fine atmospheric effect pervading 
 the picture. A characteristic Dutch motive, very ably rendered. 
 
 Signed at the right. Height, 14% inches; length, 20% inches. 
 
 94 
 Poe 
 Vi ARTHUR PARTON 
 
 In the Month of May 
 
 An apple orchard in blossom. A pool in the left foreground reflects 
 the spring sky of blue and white. The tree trunks and branches are 
 crooked and bent, and the delicate pink and white of the blossoms con- 
 trast effectively with their gray bark and the sparse, green foliage. 
 Awarded an Honorable Mention at the Paris Exposition of 1889. 
 
 Signed at the left. Height, 26 inches ; length, 36 inches. 
 
 ede 95 
 
 CHARLES C. CURRa 
 
 Music of the Waves in Fingal’s Cave 
 
 _ | The night effect on the sea is framed in by the cliffs and overhanging 
 mal rocks of the entrance to the cave. Three nude female figures are indis- 
 | | tinctly seen amid the shadows, and the moon lights up the wide expanse 
 
 of the ocean in the distance. 
 
 Signed at the left. Dated, 1897. Height, 32 inches; length, 18 inches. 
 
96 
 CHARLES A. PLATT 
 ie. A Spring Flood — 
 (Water Color) 
 
 The river in the middle distance has overflowed the meadows, and 
 clumps of willow trees are seen in the water. There are some boats in 
 the river near the opposite shore, where there is seen a village on a hill. 
 The color scheme consists of pale, tender grays and greens, and the 
 effect of the picture as a whole is extremely beautiful. One of Mr. 
 Platt’s most notable successes in water-color painting. 
 
 Signed at the left. Height, 16 inches ; length, 2314 inches, 
 OT 
 / 7 g.2 HORATIO WALKER Ha 
 P ht 
 
 Cattle and Landscape 
 
 Two cows are lying down together in the meadow. One is black 
 with white spots, the other dull red. <A fine group of trees appears in 
 the middle distance. The sky shows masses of gray clouds illuminated 
 near the centre by bright white light on the edges, F orcefully com- 
 posed, and very lovely in general effect. 
 
 Signed at the left, Height, 18 inches; length, r5 inches, 
 = as. ROBERT C. MINOR AY 
 ; Twilight : 
 
 A beautiful composition on classical lines, with trees on the left 
 reaching up above the top of the canvas, the silhouette of roofs and 
 towers beyond, and a lake at the left. The landscape is wrapped in 
 darkness, for the daylight is all but gone, and the last light of the sun 
 appears at the horizon, tinting the sky with pale yellow and rose. 
 Above, it is darker and blue, and the crescent moon peeps through the 
 boughs of the trees. ’ 
 
 Signed at the right. Height, x2 inches; length, 16 inches, 
 
99 
 a ABBOTT H. THAYER 
 %? 
 Lf: oi g: Roses 
 
 A simple bunch of pink roses in a vase. The flowers are beautifully 
 drawn and painted with great delicacy and truth of color. The back- 
 ground of gray and the green leaves lend their aid in making of this 
 picture a delightful work of art. 
 
 Signed at the right, Height, 12 inches; length, 20 inches. 
 
 I0O 
 eo we A; a 
 ; war WYATT EATON 
 x i . | s rh Me v ‘ & 
 if. (7{ “La Cigale, O got: 
 
 Lh t ; 
 
 A partly nude female figure (the ee draped in a pale-blue 
 covering) is seated leaning against the trunk of a great tree. The lute 
 is held across the knees with delightful grace of action. The exquisite 
 delicacy of color in the torso, head, and arms; the fine modelling, the 
 robust strength of the general tone, and the masterly simplicity of the 
 composition make this creation a work of superlative excellence. 
 
 nt Signed at the left. Dated, 1888. Height, 15 inches; length, 12 inches. 
 
 ii sa na “) rat 3 
 | | | *) ) er ¥ Fark le] : *, 
 | WALTER SHIRLAW 
 
 i f . » 3 
 
 ! i x » we a 
 
 Vh Tae Among the Old Poets 
 iy 
 Pu 
 
 | | A young woman, with a rich, embroidered cloak covering her shoul- 
 | ders, bends over a large volume in ancient binding which she holds on 
 her knees while she reads from the old poets. Charming in type and 
 depicted with fine color harmony. Engraved for ‘‘ Harper’s Portfolio.” 
 
 Signed at the upper right. Height, 16% inches; length, 21 inches. 
 
I02 ; 
 a 7¢@- GEORGE INNESS fy \y 
 Summer in the Catskills iM 
 
 A wooded valley with grassy slopes in the foreground, where cows 
 are grazing ; beyond rises a mountain peak. In the distance a line of 
 blue mountains. The partly clouded sky includes tints of warm white, 
 gray, and blue. An Inness of his earlier period, thoroughly characteris- 
 tic, and fine in general aspect. 
 
 Signed at the left, Dated, 1867, Height, 20 inches; length, 30 inches. 
 a 
 | 103 | 
 Ly pp. LOUIS PAUL DESSAR 4 }%, 
 e Ye ge g 
 aeiaer © 
 sie 
 
 Evening in Picardy 
 
 A sheep park in the foreground with the shepherd folding his flock. 
 
 On the left, two haystacks, and on the right, in the distance, a stretch 
 
 of landscape with a hill and clump of trees. The sky, partly clouded, 
 
 obscures the moon, whose light fills the picture together with the linger- 
 
 - ing light of day. The general effect shows a diffused atmospheric feel- 
 ing, and the color aspect of the picture is exceedingly luminous. 
 
 Signed at the right. Height, 24 inches; length, 29 inches. 
 104 / oem i 
 7 ~ gt at " i 
 HOMER D. MARTIN @ %/™ 
 a 
 Gi? 
 A Mountain Brook 
 
 The mountain brook comes rippling over its stony bed from the re- 
 cesses of the forest, the bare branches of a dead tree overhanging it on 
 the left. A bit of gray sky shows among the trees in the distance. A 
 fine color scheme of sober browns, greens, and grays. 
 
 Signed at the right. Dated, 1894. Height, 13 inches; length, 20 inches. 
 
ype Cia ‘ 73a 
 o/ AD en ae PO ‘ I05 
 eet oS AL WILLIAM A. COFFIN 
 suey D A Rainy Day 
 
 A meadow with clumps of trees occupies the foreground, beyond 
 which rises a gently sloping hillside with a road. Over all, a gray sky 
 | \ soaked with rain. The landscape is seen to be enveloped in moisture, 
 1 and the color scheme includes delicate tints of green and brownish 
 i yellow. Though different in composition, this picture resembles in effect 
 Mr. Coffin’s picture ‘‘ The Rain,” awarded the Webb Prize at the 
 Society of American Artists in 1891, and now in the permanent collection 
 of the Metropolitan Museum of Art, New York. 
 
 Signed at the right. Height, 14 inches; length, 20 inches. 
 
 A307 106 
 ARTHUR HOEBER ‘ 
 The Road to the Sea 
 
 i A white, sandy road leads from the foreground into the middle of 
 3 ; the picture, winding over the dunes, and losing itself in the forest 
 ‘ which crowns the hills in the distance. The sky is filled with gray 
 clouds, which are drawn with careful attention to form, and the color is 
 sympathetic and veracious. Shown at the Retrospective Exhibition of 
 
 \ i the Society of American Artists. 
 
 Pe) 
 
 i | Signed at the left. Height, 13% inches; length, 21% inches. 
 
 ar) 
 St a 5: 107 
 ‘as A. H. WYANT 
 Autumn in the North Woods 
 
 An opening in the forest, the composition showing tall trees on either 
 side and a vista of woods and mountains between them. The sky is filled 
 with white clouds except at the top of the canvas, where patches of blue 
 i appear.. A pool of water in the’foreground. A strong and effective 
 
 | example. | ~ dow 
 Mp ' Height, 18% inches; length, 2434 inches. 
 
 Signed at the left. 
 
108 
 
 ov 
 ee MARIA A’BECKET 
 
 Moonrise on the Swannanoa 
 
 A scene near Biltmore, N.C. In the foreground a great tree spreads 
 its branches from the bank on the left, and obscures the face of the 
 moon, whose light falls on the water of the river. Strong in color and 
 attractive in general aspect. 
 
 - Signed at the right. ven Height, 22 inches; length, 30 inches, 
 
 , 37 09 
 FREDERICK A. pee fA 
 "F 
 
 My Pets it val at ; 
 
 A pretty little girl of seven or eight years, sitting in a “i chair, hugs 
 her cat in her arms, and seems very happy in her possession. Crowded 
 in beside the arm of the chair is her rag dolly. The picture is painted 
 with great skill, and is in every way pleasing. 
 
 Signed at theleft. Dated, 1881. Height, 23 inches ; length, 18 inches. 
 
 oe IIO , 
 poo, 
 
 R. A. BLAKELOCK el id 
 Evening on the Sound 
 
 | The water, lighted up by the moon, is seen in the middle distance 
 behind some trees, which stand up in the foreground, and at the right 
 there is a headland with a lighthouse. The sky, partly overclouded, 
 iY shows a large opening into the blue in the middle of the composition, 
 where the moon is hidden from the spectator by the foliage of the trees. 
 | Fine atmospheric effect and classic-looking composition. 
 
 | 
 
 | 
 
 Signed. Height, 22 inches; lencth, 30 inches. 
 
III pee 
 BEN FOSTER eo 
 
 “Amid the Cool and Silence” 
 
 a/7 7 
 
 A sous-bois with a carpet of red pine needles. On the right are the 
 trunks of two great trees, light gray in color and with shaggy bark, 
 while in the recesses of the grove are deep masses of green foliage, with 
 the light of the sky appearing amid their dark branches. A fine inter- 
 pretation of an attractive spot. Full of nature and excellent in color. 
 
 Signed at the left, Height, 36 inches ; length, 30 inches. 
 
 i Sete on NY BFE St 112 
 ie eo UY ni GEORGE H. BOGERT 
 nt ; . Afternoon—Haarlem, Holland 
 
 il f A view of the canal, with the bank in the immediate foreground on 
 
 : i the left, and the surface of the water reflecting the walls and roofs of 
 
 ! ; the quaint old buildings on either side. A gleam of sunlight illumines 
 i the towers and windmills in the middle distance. The sky, blue, with 
 
 large masses of white and gray clouds, is finely composed and forceful 
 
 in color. A fine example, characterized by vigorous handling and rich 
 
 color quality. 
 
 Signed at the left, Height, 28 inches ; length, 36 inches. 
 
 i : ie fe oO 0: 113 
 i . # 
 
 mf fw ys 5 SeGua 
 
 (Lee “Took, Mamma!” 
 
 | i A young mother, of brunette type, holding her little golden-haired 
 
 4 girl on the coping of a stone wallin a garden, witha glimpse of the sea on 
 
 the left. The figures are painted in life size. The principal color notes 
 
 Ke are formed by the dark-blue skirt and white sleeves of the mother’s cos- 
 
 tume and the child’s dress of dull pink. One of Mr. Guy’s best known 
 and most important works. 
 
 Signed at the left. Height, 33 inches; length, 29 inches, 
 
aie : 
 
 II ay 
 GEORGE INNESS J rad 
 
 we 
 
 Returning from Pasture, Milton. Ng 
 
 Level meadow lands, diversified by brook and pool, SK with some 
 cows coming slowly forward in single file, occupy the foreground. On 
 
 the right a massive group of trees. On the left a distant prospect of 
 
 plain and hills. The sky is covered with gray clouds. This is a fine 
 example of Inness at his best in a sober, subdued scheme of color, con- 
 sisting of low-toned, luxuriant greens. The general aspect of the picture 
 is supremely restful and idyllic. 
 
 Signed at the right. Dated, 1880. Height, 22 inches ; length, 34 inches. 
 
 A we eae a iy a 
 
 CHARLES F. ULRICH a? 
 In the Land of Promise 
 
 In old Castle Garden’s waiting-room are many immigrants whiling 
 away the hours of their probation before entering on the life in the land 
 of liberty. In the foreground a young German woman suckles her babe, 
 and a little girl is seated near her on an antiquated trunk. Nearby, a 
 man wearing a flat-topped cap banded with red sits on one of the benches 
 and pulls contentedly at his pipe with white China bowl, and other men 
 and women sit about the room. The types of character are well studied, 
 and the scene is most truthfully depicted. The color scheme abounds in 
 notes of quiet tints, and the numerous figures, without exception, are 
 excellently drawn. Clarke Prize, National Academy, 1884; Medal, 
 Paris Exposition, 1889; Medal, World’s Fair, Chicago, 1893. 
 
 Signed at the left. Dated, 1884. Height, 29 inches; length, 36 inches. 
 
 bares oP oe 116 
 
 jY Fl 
 W. ST. JOHN HARPER Was | 
 
 Autumn 
 
 At the edge of the woods in a thicket of shrub oaks stands a graceful 
 figure of a young woman draped in gray and tender brown. The autumn 
 
 pet 
 
 i s a ; 
 
% 
 
 leaves are flying in the evening breeze, and in the distance the amber 
 glow of sunset illumines the sky. The figure is a delightful ideal crea- 
 tion, and the landscape setting is in harmony of line and color. 
 Awarded the Clarke Prize at the National Academy in 1892. 
 
 Signed at the left. Dated, 1891. Height, 30 inches ; length, 44 inches. 
 Kin J. nf 
 o 117 
 24 
 CP FREDERICK W. KOST 
 
 Moonrise, Brookhaven, L. I. 
 
 A country road in the foreground crosses a brook by a ford, while at 
 the left is a foot-bridge. A wagon, with the horse drinking, stands in 
 ' the water, and on either side are trees. Beyond, in the distance, the full 
 
 moon rises from behind the hills. The sky is very luminous and atmos- 
 
 pheric with its clouds of gray, and the moonlight is diffused’ throughout 
 | the picture with poetic effect. A rare piece of cool, sober color with fine 
 \ general aspect. 
 
 Signed at the right, Height, 32 inches ; length, 40 inches. 
 
 sth Dae cr cons 118 
 
 ! » FF. KM RES 
 ! Ye iw ~é nlite Where Waves and Moonlight Meet” 
 
 | In this excellent marine the moon rides high in the sky, and sheds 
 
 \I its light on the waves which spread out as they touch the beach in the 
 
 i foreground. The effect is exceedingly luminous, the color tender, and 
 i the execution virile. A fine rendering of a beautiful phase of nature. 
 
 % 
 i | Signed at the left. Height, 30 inches ; length, 40 inches. 
 
 a a 119 
 re FE. S GHURGE 
 “ wer Air 
 
 One of three designs for stained glass. Air is symbolized by a female 
 . figure with violet drapery, her long hair floating in the wind, and accom- 
 | panied by doves, one of which lights on her upraised left hand. 
 
 Signed at the upper left. Dated, 1895. Height, 26 inches; length, 311% inches. 
 
I20 
 
 bs 
 F. S. CHURCH 0 a 
 Earth 
 
 i 
 
 One of three designs for stained glass. Earth is symbolized bya 
 female figure clad in light green, who holds a fawn by a ribbon around 
 its neck, while she caresses it on the back with her other hand. 
 
 Signed at the upper left. Dated, 1895. Height, 26 inches; length, 31% inches. 
 
 I2I | 
 — ? | wh } 
 old O- F. S. CHURCH ; = 
 Water 
 
 One of three designs for stained glass. Water is symbolized by a 
 female figure floating in the depths of the ocean, the fingers of her left 
 hand intertwined in her hair. 
 
 Signed at the upper left. Dated, 1895. Height, 26 inches ; length, 31% inches. 
 
 I22 
 
 cad 
 
 st OW HOMER 
 
 Sunday Morning in Virginia \ ’ 
 
 A group of four negro children, seated on a bench and stools in the 
 chimney corner, are spelling out the words in a bible which they hold on 
 their knees. Beside them sits an old plantation ‘‘mammy” leaning on 
 her staff and listening to the halting, but grateful, words. This is one 
 of Mr. Homer’s finest character studies, and is a strong piece of rich, 
 sober color. The reds, blues, and browns are full of depth, and all are 
 admirably harmonized in a powerful ensemble. Exhibited at the Paris 
 Exposition of 1878. 
 
 Signed at the upper left. Dated, 1877. Height, 18 inches; length, 24 inches. 
 
ae 4 
 oo ee a. 123 
 J. FRANCIS MURPHY 
 
 Under Gray Skies 
 (Water Color) 
 
 A plain with a pool in the foreground. On the left, in the middle 
 distance, the edge of a forest. The sky shows cloud-forms of white and 
 gray. The landscape is enveloped in atmosphere, and the color is true 
 and tenderly modulated. Awarded the William T. Evans Prize at the 
 American Water-Color Society, 1894. 
 
 Signed at the left. Dated, 1893, Height, 14 inches; length, 19 inches. 
 
 \ oF 124 
 W. L. LATHROP 
 
 Twilight in Connecticut 
 (Water Color) 
 
 In the valley in the foreground, on the left of the composition, stands 
 a gray barn, and past it, down hill, winds a road which climbs the wide 
 slope of the hill on the other side of the valley. Over the crest of the 
 hill appears the rising moon. The subject is a simple one, and it is de- 
 picted with rare poetic feeling, breadth of handling, and exquisite truth 
 and beauty of color. Awarded the William T. Evans Prize at the 
 Wi American Water-Color Society, 1896. 
 
 Signed at the left. Height, 14 inches ; length, 15% inches. 
 
 MARIA BROOKS 
 
 “6 a ad a2 12 
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 A little girl stands in profile view, her face peeping out from a hood 
 trimmed with white fur. She wears a cloak of brown and white woolly 
 cloth, and holds a large muff of white fur. A charming interpretation 
 of childhood. 
 
 Signed at the upper left. Height, 14 inches; length, 9 inches. 
 
126 
 
 CHARLES C. CURRAN 
 woe Night 
 | (Water Color) 
 
 A nude female figure, with black wings and long, gauzy draperies, 
 floats gently downward through the ethereal space. The dark-blue sky, 
 with a few silver stars, forms the background. A charming fancy real- 
 ‘ized with skilful treatment in drawing and attractive color. 
 
 Signed at the right. Dated, 18or. Height, 15 inches; length, 6,inches. 
 
 . Pi 127 
 tt: >“ 
 
 HOMER D. MARTIN soe ad 
 Trouville at Night | 
 
 A precipitous hill with lights gleaming from its rocky sides appears 
 at the left, with its forms and sparkling points of illumination reflected in 
 the sea. At the headland stands the lighthouse. The hour is twilight, 
 and the picture is painted in delicate tints of blue and gray. 
 
 Signed at the right. Height, 7 inches; length, 184 inches. 
 
 ey aie 128 
 if ‘ 
 
 A. C. HOWLAND wr 
 Rue sous le Cap, Quebec 
 
 A view in a narrow street lined with picturesque old houses. Most 
 of the buildings are in shadow, but the sunlight falls on some of those 
 on the right, and in the distance is a summer sky of blue and white. 
 
 Signed at the left. Height, 12 inches ; length, ro inches, 
 
129 
 ROBERT C. MINOR 
 Nightfall 
 
 Groups of trees on right and left, a lake in the middle distance, and 
 hills beyond. ‘The dusky sky shows near the horizon the last of the light 
 of day. Characteristic example, with fine quality of color. 
 
 Signed at the right. Height, r2 inches ; length, 16% inches. 
 
 130 
 sy H. SIDDONS MOWBRAY 
 A Idle Hours 
 
 Two beautiful girls with dark hair, wearing rich Oriental costumes 
 of pale red and figured stuffs, are idling in an apartment furnished with 
 a long divan with cushions placed in a row against the wall. A stand 
 placed on the mosaic floor in the foreground bears a large brass tray, on 
 which is a bowl with some pink roses. The figures are béautifully drawn, 
 and the color scheme, abounding in charming notes, is harmonious and 
 unified. One of the best of the artist’s works in his famous series of 
 Oriental subjects. 
 
 Signed at the left. Height, r2 inches ; length, 16 inches. 
 
 vy, Sine 131 
 
 ) Nees 9 aller | J. FRANCIS MURPHY 
 iM f v ’ Avnw“ An Autumn Sunset 
 i a CN 
 VE 
 ait \ Trees on the left and a stream in the middle distance are here de- 
 
 “i picted under a sunset sky, with clouds and golden light at the horizon. 
 Frankly painted and convincing in general effect, this small work con- 
 tains much of Mr. Murphy’s best quality of color, 
 
 Signed at the right. Height, 9 inches; length, 1234 inches. 
 
132 
 
 £ ; }. 
 % 
 
 SO.” | 
 SAMUEL COLMAN 
 Sunset at Amsterdam, Holland 
 A fine little piece of color, with the rich tints of the walls and tiled 
 
 roofs of the town, the dark sails of boats, and the blue, white, and gray 
 of the sky reflected in the water of the port. ; 
 
 Signed at the left, Height, 5% inches ; length, 6 inches. 
 , a iter 133 
 a7 7. GEORGE INNESS 
 Leeds, New York ; 
 
 Effect of autumn weather. Through the hazy atmosphere, across a 
 wide valley, a range of hills appears dimly, while in the foreground a tree 
 with brown foliage forms a note of dark, and gives value to the perspec- 
 tive beyond. 
 
 Signed at the left. Height, 9% inches; length, 13% inches. 
 
 134 
 pe +? 
 DIT w. GEDNEY BUNCE 
 
 Venice 
 
 Boats with yellow and tawny red sails on the right ; the city of Venice 
 in the distance on the left. The calm water reflects the sails and towers, ~ 
 and the sky, which is warm gray in tone with delicate indications of 
 blue. 
 
 Signed at the right. Height, 1354 inches; length, 17 inches. 
 
eee 135 
 
 ROBERT L. NEWMAN 
 The Bird 
 
 Two girls are sitting by the roadside in the open country, and the 
 younger points to the spectator’s right, where the bird is soaring in the 
 heavens. The color scheme is subdued and forceful. 
 
 Signed at the left. Dated, 1808. Height, 18 inches; length, 22 inches. 
 
 136 
 wl WILLIAM T. SMEDLEY 
 yl y 
 v One Day in June ‘ 
 
 An interior with figure of a young woman standing near an open 
 window, while a country gallant in his shirt sleeves outside leans forward 
 on the window sill and addresses his compliments to his attractive neigh- 
 bor. A meadow and trees, brilliant in the June sunshine, are seen 
 through the window, contrasting agreeably with the darker tone of the 
 room and the figure of the girl. A pleasing piece of genre painted with 
 skilful touch and evident truth to local conditions. Engraved by Wel- 
 lington for ‘‘ Harper’s Portfolio,” 
 
 Signed at the left. Height, 24 inches; length, 16 inches. 
 
 137 
 KENYON COX 
 we 
 
 a 
 
 A nude female figure reclining on a grassy ge with a piece of yellow 
 drapery under her. Trees covered with spring blossoms fill the left of 
 the composition. Beyond, at the right, a stretch of landscape. The 
 young girl is painted with rare knowledge of form, and the figure is deli- 
 cious in color. Medal, World’s Fair, Chicago, 1893. 
 
 5 
 
 ; 
 
 j 
 ot 
 sf 
 
 Signed at the left. Dated, 1890. Height, 15 inches; length, 30 inches. 
 
. : a Avie “ey 
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 Relve fy oy ne < f) 
 
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 ‘ 4 ow or | 
 D Noite 
 — 138 ae 
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 Pa [Ee % 
 
 p y \: 
 
 K al 
 i 
 
 CHARLES MELVILLE DEWEY 
 Shadows of the Evening Hour 
 
 Rarely delicate in treatment and poetic in feeling. The foreground 
 of waste pasture land rises to a slight eminence in the middle distance, 
 where slender trees denuded of leaves, and a house, with wood smoke 
 
 _ rising from the chimney, are in vague silhouette against the evening sky 
 of greenish blue with rose tints at the horizon and gray clouds above. 
 The landscape is wrapped in a misty haze, the sign of fast-falling night, 
 and the picture shows in all its parts the impress of the artist’s poetic 
 
 temperament. 
 
 Signed at the left, Height, 18 inches; length, 24 inches. ) by f 
 Lye 7 SEORGE DE FOREST BRUSH oe aay : 
 | Before the Battle ss V 
 
 One of Mr. Brush’s finest Indian pictures, and a work possessing his 
 best qualities of drawing and dramatic composition. An old chief, 
 whose weight of years prevents him from going on the warpath, is seen 
 on the right addressing five young braves, who, in full war-paint and 
 feathers, are drawn up in a line before him. In the distance, on a head- 
 land, rises the smoke from the bonfire which announces the coming bat- 
 tle. Tents and other warriors are seen in the middle distance beyond 
 the group of principal personages. The evening sky shows a streak of 
 light at the horizon. 
 
 Signed at the left. Dated, 1881. Height, 15 inches; length, 29 inches. 
 
 140 re - a 
 sete he : 
 cl & WILLIAM MORRIS HUNT WY , 
 
 Spouting Whale . 
 
 te" 
 A marine showing the open sea and a high sky with a great bank of 
 white and gray clouds. A sail is seen on the horizon, and in the fore- A 
 
 ground a jet of water with falling spray indicates the presence of a whale 
 blowing on the surface. This composition is impréssive in its simplicity, 
 and is majestic in general aspect. It possesses rare beauty of color. 
 
 Signed at the left. Height, 20 inches ; length, 16 inches. 
 
 Ee, re a 
 
I4I 
 
 fo ~~ A. PHIMISTER PROCTOR 
 
 A Puma 
 
 (Water Color) 
 
 A puma is here depicted going down a slope in the foreground with 
 stealthy step. Far down in the valley is a stream. The animal is finely q 
 drawn and excellent in action, while the landscape setting is very appro- 
 priate, with its noble lines and simple treatment. 
 
 Signed at the left. Height, r5 inches; length, 18% inches. 
 
 142 
 
 Bd “4 | a 
 
 ROBERT L. NEWMAN 
 
 The Letter 
 
 Head-and-bust picture of a young woman in profile, reading a letter 
 which she holds up in her hand. The bodice of dark blue, and the 
 soberly colored cheek and neck, form effective notes in the quiet color 
 scheme. Painted with breadth, and simply modelled. 
 
 Height, 14 inches; length, rz inches. 
 
 at 143 
 . ALBERT P. RYDER c 
 ag Charity 
 
 A young woman coming through a wood carries one child on her arm, 
 rl while she leads another by the hand. The principal color notes are 
 | pink, and the brown and yellow tints of the autumn foliage. 
 
 aN Height, 12 inches ; length, 6 inches. 
 
a 
 ; 
 
 37- « 
 : H. W. RANGER 
 
 Afterglow 
 
 A river in the foreground ; a cottage and clump of trees in the left 
 centre ; a figure and boaton the right. A sunset sky of great brilliancy, 
 with large masses of clouds, fills the upper half of the composition, and 
 floods the landscape with its rich glow. 
 
 Signed at the left. Dated, 1896. Height, 12 inches; length, 16 inches. 
 
 ait.” ee 
 WALTER SHIRLAW 
 
 The Sonnet 
 (Water Color) 
 
 A figure of a stately young woman standing in a pensive attitude 
 while she turns the leaves of a book. A background of tapestry showing 
 a vista of columns. Distinguished in color and attractive in general 
 aspect. 
 
 Signed at the left. Height, 19 inches; length, 12 inches. 
 
 ya 146 
 PUG ti 
 THEODORE ROBINSON wy 
 Twachtman’s House . 
 
 The house roofs and the stone wall surrounding the garden are partly 
 covered with snow and are in shadow, while the late afternoon sun falls 
 on the white-mantled slope beyond and on a strip of the foreground. 
 This is a celebrated picture, and one of the finest of Theodore Robinson’s 
 beautiful transcripts of winter. 
 
 Signed at the left. Dated, 1892. Height, 18 inches ; length, 22 inches. 
 
| 147 : 
 H. BOLTON JONES 
 A Late October Afternoon 
 
 A creek, lined with trees almost bare of foliage, winds through the 
 meadows and reflects the sky and the twisted shapes of the tree trunks 
 and branches. The sky is composed of gray clouds broken by rifts, 
 i through which is seen the tender blue of space. The fields are still 
 
 green, and the willows still carry their greenish-yellow leaves. Sunshine 
 
 fills the picture and casts shadows on the grass. The general effect is 
 
 very attractive, and the subject is rendered with great truth to nature and 
  veracious quality of color. 
 
 Signed at the right. Height, 20 inches; length, 30 inches. 
 
 nih 148 
 
 SAMUEL COLMAN 
 
 ‘\* ~~ Rocky Farm in Autumn, Newport 
 
 A fine piece of color composed of the ae red and brown of the 
 | rocks and earth, the deep blue of the sea, and the warm light gray of the 
 i sky. The composition is simple, and the execution direct and compre- 
 ; hensive. 
 
 Signed at the right. Dated, 1880. Height, 12 inches; length, 27 inches. 
 
 ae 
 
 : pe « Bae 7 
 : “s. . YA of wr | 
 
 ex; 
 na’ Sf , .  HORATIO: WALKER 
 i ii fg ' A Spring Morning 
 i NaF 
 | (Water Color) 
 é 
 “| Two calves, one black, the other dun color with spots of white, stand 
 
 in the barnyard. A tree with spring blossoms grows in the foreground, 
 and over the fence appears a view of hilly country with groups of trees. 
 A beautiful water color, marked by Mr. Walker’s best qualities of color 
 and simple but effective handling. 
 
 Signed at the left. Height, rs inches; length, 21 inches. 
 
150 : a 
 D. W. TRYON ey 
 The River, Evening 
 
 _ The placid river fills the foreground, and on the bank in the middle 
 distance a line of trees appears in graceful silhouette against a tender 
 evening sky. At the right, farther away, the moon is just rising over 
 dense masses of foliage. The general effect conveys the mystery and 
 poetry of the hour, and the picture is one of refined but virile quality 
 of color. 
 
 Signed at the right. Dated, 1892. Height, 1434 inches; length, 2014 inches. 
 
 A. H. WYANT i. 
 (Nv 
 
 Early Autumn 
 
 In the middle of the plain, bordered by trees with foliage touched by 
 the early frosts, a stream finds its way through the brown grass and 
 herbage. A cowdrinks from its waters in the middle distance. Over all, 
 a clouded sky of delicate gray and white. A picture most characteristic 
 of the great artist who painted it, and remarkable for simplicity of means 
 and charm of color. 
 
 Signed at the left. Height, 12 inches ; length, 16% inches. 
 
 — ft 152 | u 
 A Fs a LOUIS MOELLER Qe 
 A Doubtful Investment 
 
 On the sidewalk before a gloomy looking doorway with a pawn- 
 broker’s sign are two men. One is apparently selling a pawn ticket to 
 the other, who reaches into his waistcoat pocket for the purchase money. 
 His face shows that he is doubtful about the transaction, while the other 
 places his hand on his shoulder and talks to him with confidential encour- 
 agement. A remarkable example, very closely finished, and a unified piece 
 of quiet color. 
 
 Signed at the right. Height, 1114 inches ; length, 7% inches. 
 
rf ’ 
 ae 153 
 
 A Y an H. W. RANGER 
 Woods at Trouville 
 
 (Water Color) 
 
 A woodcutter’s hut with sloping thatched roof, the eaves coming 
 nearly down to the ground, stands in the forest where there is a partially 
 cleared space, and some tall trees, bare of foliage, grow in the foreground. 
 The sky is gray, and the general effect is one of fine, sober color. 
 
 Signed at the left. Dated, 1889. Height, 13% inches; length, 10% inches. 
 
 154 
 THOMAS MORAN 
 
 Morning on the St. John’s 
 
 The scene is at the mouth of the river, with the buildings of Jackson- 
 ville on either side. The effect is one of sunrise, with tender tints of 
 the morning glow in the clouds. Absolutely lovely in color and in every 
 way a rare piece of painting. 
 
 Signed at the right. Dated, 1881. Height, 10!4 inches; length, 15% inches, 
 
 Hb ae 
 
 155 
 fii" J. FRANCIS MURPHY 
 The Deserted Farm 
 
 Gray and lowering weather enshrouds the old farmhouse standing 
 lonely and neglected among the trees on the right. The hills on the left 
 in the distance are brown and cheerless, and the gray sky is troubled and 
 threatening. A strong, simple piece of color, broad and effective in 
 treatment. Exhibited at Munich, 1895. 
 
 | ae 
 
 Signed at the right. Dated, 1889. Height, 12 inches ; length, 19% inches, 
 
PS... CHURCH ; 
 Cph 
 “ Good-by, Sweetheart”. oo 
 (Water Color) 
 
 Four Polar bears hitched to a long, low sleigh, with another bear as 
 driver on the back seat, are sitting in their harness in the deep snow of 
 the arctic regions, while a little cupid of the North Pole, clad in warm 
 blanket-coat and hood, embracesa little girl equally well protected against 
 the frost, and three jack-rabbits and two snow-birds in the foreground 
 look on approvingly. A quaint conceit Ls auen with delicate re 
 
 and skilful technical force. f* Be 
 G28 oded 
 Signed at the right. Dated, 1888. _ Height, 2% faches length, 29 inches. 
 ne ool 
 
 [Bor 157 
 
 WILLIAM S. MACY 
 | The Meadow Brook 
 
 A midsummer pastoral, showing green meadows traversed bya brook, 
 a herd of cows, and a group of trees, and a bit of high ground covered 
 with bushes. It lookscool and pleasant at the brookside, for gray clouds 
 obscure the sun, and the rain may come to gladden the wild flowers that 
 grow in the pastures. This is an excellent example of the work of an 
 artist who has been compelled of late by ill-health to give up painting. 
 His pictures are now very rarely seen outside of private collections. 
 
 Signed at the right. Dated, 1878. Height, 1214 inches; length, 19% inches. 
 
 ei rial 
 
 PocH. hagas * 
 
 Gamekeeper’s Hut, Kerry, Ireland 0°" 
 
 A hut with stone walls and low, thatched roof is seen on an eminence 
 among the mountains; and beyond, the misty atmosphere envelopes the 
 peaks which are farther away. Fine in color and delightfully simple in 
 its interpretation of a vaporous effect. 
 
 Signed. Height, 11% inches; length, 19% inches, 
 
 ah ABD . a ey 
 
 156 . ee 
 
oP 
 
 R. A. BLAKELOCK 
 
 i o- OM er eG ne 
 
 The Nymphs 
 
 The composition shows a nook in the edge of a forest, with a brook 
 trickling down a rocky bed, while three small figures with draperies of 
 white, blue, and red form a group seated amid the herbage. In the 
 distance the walls and turrets of a castle are seen, and the sky of dark 
 blue is varied by cloud masses of white and gray. A semi-classical motive 
 treated in Mr. Blakelock’s characteristic manner. 
 
 Signed at the right. Height, 16 inches; length, 24 inches, 
 
 De 1k 160 
 
 4. WILL H. LOW . 
 
 > The Brookside 
 
 A sylvan idyl, charming in the grace of the nude female figure seen 
 seated in profile on the bank of astream, and the harmony of the color 
 
 scheme, with its notes of green and pink, contrasting with the delicate 
 
 flesh tints. The figure is drawn and modelled with delicate touch, and 
 the work is delightful in sentiment. 
 
 Signed at the right. Dated, 1890. Height, 734 inches; length, ro inches. 
 
 (ace oe 161 Aap 
 
 in SY") OALBERT P. RYDER 
 
 q We” ut 
 4 
 ~~ 
 
 Launce and his Dog 
 
 A young man in red hosen and doublet of gray stands in a wood with 
 his dog looking up at him. This picture, a color suggestion merely, with- 
 out intention of finished detail, is warm and rich in general tone. 
 
 Height, r2 inches; length, 6 inches. 
 
162 
 ROBERT C. MINOR 
 Eventide 
 
 A fine piece of color, and a most representative example. Groups 
 of trees are seen in the foreground on either side of the composition, and 
 in the distance are some houses. An evening sky, very atmospheric in 
 quality and cool in color. This picture is remarkable for its sterling 
 painting and beautiful, poetic sentiment. 
 
 Signed at the left, Height, 22 inches; length, 30! inches. 
 
 yd 7: ee 163 
 
 J. ALDEN WEIR ny [oe ae 
 Lengthening Shadows Bis 
 
 One of Mr. Weir’s most celebrated landscapes. It was exhibited at 
 the Paris Exposition of 1889, and at Munich in 1895. The subject isa 
 steep hillside with a winding road, groups of trees, and several saplings, 
 and over the brow the gable and roof of a white house. The afternoon 
 sky is blue, with a few white clouds. The foreground is dark under the 
 long shadows which creep up the hillside, throwing the interest in the 
 picture into the central part of the composition, where the sun lights up 
 the grassy slopes. Extremely artistic in FORE 2On, admirably paibiedeg 
 
 and fine in color. i sy" Aa Fee Aton ff 4 
 
 Signed at the left, Dated, 1887. Height, 21 ¥, Paphen ; length, 25 inches. 
 
 ee Ete: ae 
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 ergot 
 
 F/O ‘ v7 - 164 pH ; 7 oe a fe eee nape : 
 
 Jf fF 4 senses 
 F. S. CHURCH GA seems 
 The Mermaid and the Sea Wolf 
 This is the first picture by Church purchased by Mr. Evans. It was y 
 exhibited at the National Academy in 1883. Engraved for a frontispiece 
 
 in Harper's Magazine in 1895. ‘The composition shows a young mer- 
 maid riding a sea wolf through the water, her blond hair streaming be- 
 hind her, as she urges her swimming mount upward through the flood. 
 A purely fanciful subject treated with characteristic force and originality. 
 
 Signed at the left. Dated, 1883. Height, 14 inches ; length, 25 inches. 
 
Cg | 
 JG io) : ee 
 CHARLES A. PLATT 
 Clouds 
 
 Erroneously catalogued elsewhere as ‘‘Spring.” Awarded the Webb 
 Prize at the Society of American Artists in 1894. A hilly foreground, 
 with a valley beyond, and distant hills, the whole overcast by a sky of 
 broken clouds of white and gray with patches of blue. A fine sweep of 
 country with beautiful atmospheric effect. Exceedingly fine in composi- 
 tion. 
 
 Signed at the right. Height, 26 inches ; length, 35 inches. 
 
 ee. 166 
 M. F. H. DE HAAS 
 A Breezy Day on the Tyne 
 
 The scene is at the mouth of the Tyne, witha rocky shore in the fore- 
 ground, where the waves of the sea come rolling in. Steamers and 
 saiting vessels are seen in the middle distance, in the offing, and head- 
 lands mark the farther shore on the right. The sky—a very luminous 
 one—is filled with masses of gray and white clouds save at the left, 
 where the blue shows through. Several figures are seen in the fore- 
 ground. An important composition, and a representative example of De 
 Haas. 
 
 Mi Signed at the right. Height, 24 inches; length, 38 inches. 
 
 \ p + a a 167 
 
 | |" Pe a ; vd wn / 
 
 iI we om tS. we 3 H. W. RANGER 
 | | el v 
 
 i tle A Veteran 
 
 | ‘ | A great oak with autumnal foliage stands in a valley encircled by 
 i wooded hills. Near the middle of the composition a portion of the hill 
 appears cleared, with a white house on the crest. Over all, a fine sky 
 with troubled clouds of white and gray. There is a remarkable feeling 
 of space in this picture, and the composition is striking. In color, the 
 work shows Mr. Ranger’s best qualities. 
 
 Signed at the left. Dated, 1894-7. Height, 28 inches; length, 36 inches. 
 
it. 
 
 690.7 168 
 
 CARLETON WIGGINS 4 VA! 
 
 Lowland Pasture 
 
 Two fine cows, one black and white, the other white with head and 
 neck dark red, are grazing in the foreground. The sky is filled with 
 gray clouds. The animals are splendidly rendered, and the composition 
 is extremely effective with its fine color notes and simple treatment. 
 
 Signed at the left, Height, 24 inches ; length, 33 inches, 
 
 169 
 
 3 S Q: ‘ a felt al 
 Pa a! re, P 
 
 A. H. WYANT ak 
 Driving Mists od 
 
 A plain in the foreground, rising ground and clumps of trees and 
 bushes in the middle distance ; and béyond, some steep-sided blue hills, 
 over which, partly obscuring them, float clouds of white mist. The 
 sky is breaking up in the increasing power of the sunlight which, near 
 the top of the picture, is straggling through the clouds. A splendid 
 piece of color, with sober browns and yellows contrasting with gray tints 
 in a sky of peculiar delicacy. Subtle in its scheme of color, this picture 
 is, at the same time, very powerful in attractive force, and unified in 
 general aspect. 
 
 Signed at the right. Height, 26inches; length, 4o inches, 
 
 7 ele 170 
 
 GEORGE H. BOGERT 
 
 Morning at Haarlem 
 
 On the right, the great gate of the city, from which, by the bridge 
 crossing the canal, leads the road to Amsterdam. Windmills and houses 
 on the left bank beyond the bridge. A man pulling a bulky rowboat 
 in the water in the foreground. Overall, asky of great white clouds with 
 here and there a patchof blue. Soberly rich in color, and impressive in 
 general aspect. 
 
 Signed at the left. Height, 28 inches ; length, 36 inches. 
 
 vA 
 
os ALP: Ac 171 
 wie sé. S. CHURCH 
 St. Cecilia 
 
 One of Mr. Church’s most celebrated pictures, and one which dis- 
 plays the delightful qualities of his art in their greatest perfection. The 
 graceful, youthful figure of the saint is depicted seated on a bench be- 
 fore an organ, with two angels listening with wrapt attention to her 
 divine music. A background of dark-green foliage and a distant glimpse 
 of sky at night effectively relieve the heads and figures of the three 
 personages. The head of St. Cecilia, seen in profile, is distinctively re- 
 fined in type and lovely in expression. 
 
 Signed at the right. Dated, 1898, Height, 27 inches; length, 30 inches, 
 
 ” 
 
 172 
 2° g%° GEORGE INNESS 
 The Valley “| a vil Day 
 
 No more individual and colo darn is if existence than this beau- 
 tiful picture. Meadow lands afd trees fill the foreground, and some 
 houses are seen amid the foliagein the distance. The sky is filled with 
 heavy clouds, and the scheme of color abounds in warm, rich notes. 
 
 Signed. Dated, 1892. Height, 30 inches; length, 45 inches. 
 
 a QS/Fad: 
 Hi : 4 | : 173 
 a Wy. A. H. WYANT 
 
 a fAutumn)) Keene Valley 
 
 Cd ‘ 
 a aoe 
 
 | \A superb oemnle The view shows a shallow stream in the fore- 
 
 F ground, and a sandy road crossing it by a culvert in the middle distance, — 
 ie ‘ f On the right, high ground and a group of trees. Beyond stretches the 
 ii ™ valley, with a range of hills at the horizon. Over alla gray sky of lovely 
 
 quality. Very beautiful in its quiet color scheme and unified in general 
 effect, this is undoubtedly one of the most perfect Wyants in exist- 
 ence. 
 
 Signed at the right. Height, 20 inches; length, 30 inches. 
 
+ 
 Aaa ¢- 174 ay 
 GEORGE FULLER |‘ 
 Bringing Home the Cow 
 
 Meadows fill the foreground, and a group of trees is seen at the left, 
 on the crest of a gently sloping hill. A girl comes through the pastures, 
 guiding a white cow. The sky is warm gray, and shows the fading 
 evening light at the horizon. <A very beautiful composition, and one of 
 the most notable of George Fuller’s pastoral creations. 
 
 Signed at the left. Height, 30 inches; length, so inches. 
 
 | 175 ? 
 fi oe J. G. BROWN pg ff. 
 
 The Longshoreman’s Noon 
 
 _A pile of bales of cotton on a pier of the New York water front: 
 forms a convenient and comfortable resting place for fifteen or sixteen 
 longshoremen, who are grouped about it at the dinner hour. One, who 
 has laid down a newspaper, is seen addressing four or five companions: 
 and bringing his horny palms together in an expressive and emphatic: 
 gesture. Others are too tired for politics and are contentedly dozing.. 
 In the background the great hull of a steamer, an oyster boat, tugs, and' 
 general shipping are seen, and a pulley horse is munching his hay.. 
 The different types of character are well rendered, and the picture as a: 
 whole is true to nature and full of local interest. Honorable mention,, 
 Paris Exposition of 1889. 
 
 Signed at the left. Dated, 1879. Height, 33 inches; length, 50 inches.. 
 
 > 176 » * : oe 
 ell ee 
 
 B.S CHURCH Qe 
 The End of Winter 
 
 Winter, a young woman in robe of lilac, accompanied by polar bears, 
 is chased away by smiling Spring, clad in white. The figure personi- 
 fying Spring holds in leash a young Cupid, who has two lambs gam- 
 bolling at his side, Spring pelts Winter with blossoms, which turn into 
 snowflakes as they fall. An important work, executed with great charm 
 of color. 
 
 Signed at the right. Dated, 1899. Height, 24 inches ; length, 48 inches. 
 \ 
 
I ; 
 aw 15 RT sail 77 
 x ae GEORGE INNESS 
 | Ny 
 vo Georgia Pines, Afternoon, 1886 
 
 Te a a 
 Of this great work, a masterpiece of landscape painting, it is re- 
 
 corded that George Inness gave it to his wife with the remark that it was 
 his best picture. As the title shows, it was painted in 1886, when the 
 artist was in the full vigor of his power and maturity of his achievement. 
 A broad expanse of bottom lands fills the foreground. On the right are 
 the pines, with straight trunks and massive tops. On the left, a house 
 and thicket. In the distance the country is lighted up by straggling 
 sunshine. The sky, clear and blue at the horizon, is covered with clouds 
 above, one great mass of white appearing just to the left of the pine trees. 
 The predominating color notes are the greens of the foreground and the 
 pine trees, the blue of the sky, and the white and gray of the clouds. 
 These tints, cool and intense in quality, are combined with a wonderful 
 sense of sympathetic harmony into an ensemble of the greatest distinc- 
 tion and beauty. 
 Signed at the right. Height, 24 inches; length, 36 Sova ¢ 
 
 Normapgs Tr Tees 
 
 A splendid group of great treepfin the left pelea rises to the top of 
 the picture. On the right, a stream and a stretch of meadow, with a line 
 of tall, stately trees farther off. The sky of blue and white envelops the 
 an whole, and with its color, very characteristic of Martin, harmonizes de- 
 lightfully with the warm greens, browns, and yellows of the trees and 
 foreground. This picture gathers in its ensemble Martin’s finest qualities, 
 
 i Signed at the right. Height, 28 inches ; length, 36 inches. « 
 i 
 So BOA 
 Rs Zh 179 
 ny rs alae a” is GEORGE INNESS 
 i a - if pe a ig ~ e: y (‘ , 
 yr V4) &, .. Nine O'Clock 
 
 \ The village street fills the foreground, and on the right are some gray 
 : houses with candle-light showing through the windows. On the left, 
 some thickly-foliaged trees, beyond which rises the spire of the church, 
 
with illuminated clock-face showing the hour of nine. A girl anda dog — 
 are coming along the road. High in the sky is the silver moon at full, 
 shedding light over the landscape. Rarely delicate in color, and suavely 
 painted, this picture stands as one of the most beautiful and poetic works 
 signed by the master. 
 
 oe Signed at the right. Dated, 1891. Height, 30 inches; length, 45 inches. 
 a : ve 
 
 bate Ne | 
 WINSLOW a yl. ay 
 
 Weather-beaten 
 
 A magnificent marine on the coast of Maine, i ad at masses of 
 brown rocks on the shore in the foreground, and a surging sea beating 
 over them, and crashing as they break intowhite foam. The sky is dull 
 gray, and the wide expanse of ocean lies under it in the distance, showing 
 dark green, with a white crest or two where a wave is breaking. (A pic- Ot 
 ture eminently worthy of the great American painter, and possessthg all 
 his most virile qualities of color and execution), Awarded the Gold 
 Medal of Honor at the Pennsylvania Academy of Fine Arts, Phila- 
 delphia, 1896. 
 
 Signed at the right. Dated, 1894. Height, 28 inches; length, 48 inches. 
 
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 FRIDAY, FEBRUARY 2, I900 
 
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 THIRD EVENING’S SALE 
 FRIDAY, FEBRUARY 2, 1900 
 
 AT CHICKERING HALL 
 
 BEGINNING AT 8 O’CLOCK 
 
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 JERVIS McENTEE 
 
 /$e 
 
 Autumn in the Catskills 
 
 A stream flowing through the woods in the heart of the mountains. 
 The trees are in ful) autumn dress of yellow, red, and brown, but the 
 tints are in no sense glaring. <A sky of light gray and white, at the right, 
 offers a pleasant contrast of color, and the white trunks of birch trees at 
 the left serve to balance the note. 
 
 Signed at the left. Height, 15 inches; length, 24 inches. 
 | / a pal 182 
 vy, ? i, WILLIAM M. CHASE 
 
 * pod. Fairy Tale 
 
 One of Mr. Chase’s delightful renderings of Shinnecock Hills land- 
 scape, with a pretty group of a young mother and her little girl in the 
 meadow, in the foreground. Their summer costumes of white and pink 
 form charming notes amid the landscape tints of green. Far away over 
 the hillocks is a strip of blue ocean, and over all the sky of paler blue, 
 with a white cloud floating in space. 
 
 Signed at the right. Height, 16 inches; length, 24 inches. 
 
\I 
 
 Y 
 
 oe) BeBe $s 183 
 H. BOLTON JONES 
 no 
 
 An Autumn Afternoon 
 
 A placid river lined with slender trees nearly bare of foliage. Beyond 
 are green fields and some houses. A gray sky with a stretch of white 
 at the horizon. A quiet autumnal scene, truthfully depicted. 
 
 Signed at the right. Height, 16 inches; length, 24 inches. 
 
 4 184 
 J: H, 2BORERT 
 ye 
 An After-dinner Nap 
 
 A great grimalkin, sleek and comfortable, with a pink ribbon bow, 
 sits contentedly dozing on a table covered with a dark green velvet cloth. 
 Leaning against the wall is a large brass plaque, and a pewter flagon 
 stands near it. The composition is most effective, and the cat is depicted 
 with unrivalled knowledge of his nature, and fine technical skill. En- 
 graved in the Century Magazine. 
 
 Signed at the left. Height, 24% inches; length, 32 inches. 
 
 oy 
 p ~! o2J 185 a K rb. 
 
 W.. JT. RICH ARIS 
 
 ” hd | Land’s End, Cornwall et?" 
 
 * 2 ¥ 
 
 High cliffs with castellated rock faces, and gre®f pastures on top, fill 
 the right foreground ; and on the beach, at the left, are masses of rocks. 
 The sea comes gently rolling into the cove, and breaks on the distant 
 headland. Far away on the horizon isa vessel, hull down. The sky is 
 clear in a strip below, but rises over all, to the upper part of the composi- 
 tion, in successive curtains of gray and white. A fine example of the 
 work of one of the most popular of American artists. 
 
 Signed at the right. Dated, 1882. Height, 25 inches; length, 35 inches. 
 qoute e 
 
Eerie <a eee 
 
 oo 
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 ms 37: “a 186 
 ] 50 MARIA A’BECKET 
 
 New Hampshire Woods 
 
 A few trees in the foreground constitute the motive of the landscape. 
 Beyond is a forest, and the whole is painted with warm, rich color. 
 
 Signed at the right. Height, 20 inches; length, 24 inches. 
 G0 ig : Ve oe 
 oY JRO 
 fF 
 
 The Last of the Snow 
 
 Under a dull gray sky lies a landscape in the outskirts of a country 
 town, with houses and groups of trees in the middle distance. In the 
 foreground are patches of snow that have not yet melted away before the 
 advance of the warmer weather of early spring. Strong in color and 
 veracious in general effect. 
 
 Signed, Height, 25 inches; length, 30 inches, 
 
 J Sd“ 188 
 
 jy © MORGAN McILHENNEY we AY 
 
 Morning 
 (Water Color) 
 
 A pastoral composition, showing a young shepherdess with her flock. 
 She sits on a bank at the right, where there are some tall trees with 
 slender trunks. In the middle distance is a lake, and the morning sky, 
 of delicate gray, shows a pale pink flush at the horizon. Charming in 
 sentiment and forcefully painted. 
 
 Signed at the right. Height, 21 inches ; length, 29 inches. 
 
Be SF Or tee 
 Pe | 
 , oe GEORGE H. BOGERT 6: 
 
 »® rate 190 if wr 
 
 | 
 | 
 4 
 
 A Showery Day near Delft, Holland 
 
 The houses and windmills are seen against the sky of broken gray and 
 white clouds in picturesque silhouette in the middle distance. In the 
 foreground a pond, and a meadow with some cows. A picture of fine 
 general aspect, attractive in composition, and full and rich in color. 
 
 Signed at the right. Height, 25 inches; length, 37 inches. 
 
 an A. H. WYANT kt Db. 
 
 A Cloudy Day 
 
 A wide expanse of moor, with a thicket of small trees at the left, and 
 blue hills in the distance, is enveloped in the chilly atmosphere of an 
 October day without the friendly warmth of the sun. The autumn tints 
 are sober and reserved. Over alla beautiful sky of pearly gray, accented 
 by a central mass of vapor with whitish crests. Very simple in motive, 
 this picture is admirable in its subtlety of color and unity of effect. 
 
 Signed at the right. Height, 18 inches ; length, 24 inches. 
 
 af coe C yor 
 
 598 eh GEORGE INNESS 
 
 Pine Woods me See err aro? 
 
 The trees, with their tall, straight eine! pee in level ground car- 
 peted with pine needles. Several figures dotted about the grove give life 
 to the silent prospect. A sort of avenue or roadway leads from the fore- 
 ground into the distance of the picture. In color this work is subdued 
 and forceful. 
 
 Signed at the right. Dated, 1879. Height, 18 inches; length, 24 inches. 
 
 RF age 
 
 Siliiee 
 R. L. NEWMAN a eK 
 Christ Stilling the Tempest 
 
 The ship, with sails torn and fluttering, and the bow thrown high up 
 out of the water by a great wave, occupies the centre of the composition. 
 At the stern is the upright figure of Christ, clad in red, with arms out- 
 stretched in a gesture of command. ‘The blue and green of the sea, the 
 sky filled with storm clouds of black and gray, and the dark mass of 
 figures crowded together in the bow of the ship, are the other features 
 of the composition. An important example, suggesting the work of 
 Delacroix in the richness of its color scheme. 
 
 Signed at the right. Height, 14 inches ; length, 18% inches. 
 
 na? 193 
 
 advo FS. CHURCH | ay 
 Air 
 Twilight 
 
 The slender female figure typifying Twilight is riding through the 
 evening mists on the back of a white owl. Behind her head a crescent 
 moon. Diaphanous white draperies float from her figure as she travels 
 through the clouds, and her hair streams behind her, pe upward by 
 the wind. 
 
 Signed at the left. Dated, 1888. Height, 20 inches ; length, r2 inches. 
 
 Te ial 
 
 SANFORD R. GIFFORD 
 
 Mount Katahdin from Lake Milnoket 
 
 The lake in the foreground, the granite tops of the mountains in 
 the distance. An Indian canoe full of men is seen making its way 
 across the waters. Fine in color and full of atmosphere. 
 
 Signed at the left. Height, 8% inches; length, 16 inches. 
 
Mert, 
 
 782. ak Os 195 
 
 jy. RHODA HOLMES NICHOLLS 
 
 A Venetian Canal 
 
 A radiant little picture, with a smiling sky of white and blue re- 
 flected in the waters of the canal, which is lined with buildings with 
 white, red, and pink walls, and bridged by an arch in the distance. Still 
 farther away, the white mass of a church with high dome and towers 
 appears with charming effect. 
 
 Signed at the left. Height, 12 inches ; length, 6 inches. 
 
 Hoel SO: ad 196 
 
 0 oi 
 V'" 4 FREDERICK DIELMAN 
 
 - My Lady a ye 
 
 Head of a pretty young woman in modern costume, with black hat 
 and jacket. A frill of lace encircles the neck, and a white rose is fas- 
 tened on the breast. The forehead and eyes are in shadow. Charming 
 in expression and forceful in reserved color. Background of gray. 
 
 Signed at the upper left. Height, 9% inches; length, 714 inches. 
 
 Xd. 197 
 jv? P 
 oy R. SWAIN GIFFORD 
 Sask 
 iy Salt-works at Dartmouth 
 
 A little picture of excellent quality, showing a green plain with 
 patches of sand in the foreground, and the sheds and windmill of the 
 salt-works beyond. A gray sky. 
 
 Signed at the left. Height, 7 inches ; length, 11% inches. 
 
<o ' 
 O77. ee wd ag ae 
 ROBERT C. MINOR me 
 
 An Autumn Sunset 
 
 A piain with several great trees, whose upper branches reach to the 
 top of the composition. The sky is dark above, and shows spaces of 
 deep, dark blue; while at the horizon, where the clouds are clustered, 
 there are brilliant tints of red, orange, and yellow. 
 
 Signed at the right, ; Height, 12 inches ; length, 16 inches. 
 
 S Jo” 199 
 he F. S. CHURCH At 
 
 er ; " 
 The Shepherdess \ 
 
 - A young girl in pink, depicted in three-quarters length, carries a 
 lamb against her breast with her left arm, while with the right hand she 
 holds a shepherd’s crook. The mother sheep at her side looks up at her 
 with a questioning but confident expression, 
 
 Signed at the left. Dated, 1899. Height, r9 inches ; length, 14% inches. 
 
 oA a WE a 200 : r ri 
 160 WALTER SHIRLAW VY y 
 
 Autumn id 
 
 A nude female figure, with a piece of blue drapery, seated on a grassy 
 bank in the forest, by the side of a pool. The color shows a fine golden 
 tone, and the figure is relieved, with agreeable effect, against the shadowy 
 background of woodland, with a bit of sky showing between the tree 
 trunks in the distance. 
 
 Signed at the left. Height, 20% inches; length, rs inches. 
 
0 J 4 0: " 201 
 , Nt ‘JOHN C. NICOLL 
 
 On Vineyard Sound 
 
 A strongly painted marine, with some jagged rocks sticking out of the 
 water in the foreground, the distant shore on the right, and a streak of 
 light at the horizon, where is seena singlesail. The sky is gray, and the 
 
 effect one of lowering weather. 
 Height, 12 inches; length, 2x inches, 
 
 Signed at the right. 
 
 oy her & pay ot: rs 
 
 ° 202 
 
 _ "EASTMAN JOHNSON 
 Puss in the Corner 
 
 A cat sits up in the corner of a sofa covered with a rich Oriental rug. 
 
 A boy in a black blouse, with gray stockings, holds up his finger and 
 An attractive, well-painted genre picture. 
 
 teaches Pussy his manners. 
 Height, 19 inches; length, 15 inches. 
 
 Signed at theleft. Dated, 188z. 
 
 e 
 
 oe 
 - vo Sid: 203 
 *~ GEORGE INNESS 
 
 The Moon at Night 
 
 a 
 ee ae 
 Wes 
 
 Sheep are grazing in the foreground, and a bonfire smoulders at the 
 right. The shadowy figure of the shepherd is seen nearby. The moon 
 is seen high in the sky, at the left, and the poetry of the night is admirably 
 realized. Truthful in effect and synthetically treated. A noble land- 
 
 scape. 
 
 Signed at the left. Dated, 1890. Height, 2234 inches; length, 27 inches. 
 
eg. 204 
 330 LOUIS MOELLER ont 
 
 “Beat that!” 
 
 } 
 
 Five men about a table. One has just thrown the dice, and invites 
 
 his companions to beat his score if they can. An excellent study of 
 character, and very skilfully painted. The white shirt-sleeves of one of 
 the men in the immediate foreground constitute an effective note. 
 
 Signed at the right. Height, 20 inches; length, 25 inches. 
 
 WEFT. 205 | ; 
 Wve FS. CHURCH < 
 The Chafing-dish 
 
 On a carpet of grass, in a glade, in springtime, a young girl is on her 
 knees before a chafing-dish, stirring a smoking porridge, while a Cupid 
 brings some new ingredient in a bowl; and a brown bear, with napkin 
 tied under his jowl, sits close by, and holds his platter in expectant atti- 
 tude. ‘Two white doves, perched on a bit of log in the foreground, are 
 also included in the company constituting this fanciful picnic party. 
 
 Signed at the right. Dated, 1897, Height, 18 inches; length, 22 inches. 
 
 ag Zi - 206 r 
 THOMAS W. DEWING yal 
 Bpre 
 A Lady in Blue 
 
 A charming example, showing a young woman seated, in three- 
 quarters length, clad in a ball gown of light blue. The face, neck, and 
 arms are painted with that rare delicacy of color and subtlety of drawing 
 which characterize Mr. Dewing’s work, and the ensemble is one of dis- 
 tincuished beauty. The head, turned toward the spectator, reveals a 
 delightful type of maidenly grace. 
 
 Signed at the left. Height, 19!4 inches; length, 17 inches. 
 
 od) (f Yad 
 
6 ad 207 
 
 y- F. K. M. REHN 
 
 ‘ A Fisherman 
 
 Ae. 
 
 A fisherman’s boat under full sail coming toward the spectator over 
 the heaving sea. The sky is composed of gray and white clouds. 
 Strong in effect and frankly painted. 
 
 Signed, Height, 12 inches; length, 16 inches. 
 
 Se 208 
 Cain A. H. WYANT 
 
 p ; ‘ a Early Twilight E oe pon i 
 
 A level tract of land, with a pond and winding road. At the horizon 
 some clumps of trees. A strong sky of tumultuous masses of clouds, 
 and the sombre foreground growing slowly darker as the night comes on, 
 form the interesting features of this forceful landscape. 
 
 Signed at the right. Height, 13 inches; length, 18 inches. 
 
 py? ote 
 
 Ne J. FRANCIS MURPHY 
 ty bo : 
 od A Clump of Trees 
 
 r 4 
 
 Pa Cee EF ——e 
 “he 
 . 
 
 Tall, slender, white-trunked trees, with sparse autumnal foliage, are 
 in a group on the right. Beyond, at the left, a forest. Sky of gray. 
 This is a fine little picture, marked by charming qualities of color. 
 
 Signed at the right. Height, 9% inches; length, 7% inches. 
 
ae ace | “ein 
 
 The Indian Hunter 
 
 This small figure of an Indian returning from the hunt, with a red 
 crane slung over his shoulder, has as much character as a bit of Greek 
 sculpture. It is drawn with precision and modelled with academic 
 accuracy. With its dark background the picture forms a striking piece 
 of color and possesses a fine dignity of aspect. 
 
 Signed at the right. Dated, 1890. Height, 13 inches; length, 9% inches. 
 
 ARTHUR B. DAVIES 
 
 ee WE 
 
 at es 
 
 On the Road to the Enchanted Castle 
 
 A sombre forest, through which a knight on a white horse and little: 
 bands of children are taking their way to the enchanted castle seen in 
 the distance through a gap in the trees. The color is warm, the com-. 
 position decorative, and the knight’s cloak of scarlet forms a telling: 
 
 note. 
 Height, 7% inches; length, 16% inches... 
 
 | a 
 Va , 212 . 
 : CHARLES D. WELDON ate 
 
 Use Temple Court of Nikko, Japan 
 
 (Water Color) 
 
 Two figures are seen in the distance, on the paved walk of this spa- 
 cious courtyard, and the buildings, with their architecture showing or- 
 namentation and sculpture in bronze and marble, are depicted with 
 truthful observation and much beauty of color. The picture contains a 
 great deal of detail, but it is broad and comprehensive in general aspect. 
 
 Signed at the right. Height, 9% inches; length, 14 inches, 
 
Pete. 2 
 
 CHARLES: HME 
 
 The Farm 
 
 , The farm-house and a great oak tree reaching high above its roof 
 iW occupy the middle of the canvas. The farmer is astride his white horse 
 at the door, and a stream with dam and sluice fills the foreground. 
 The sky shows great masses of white clouds mingled with gray, and a 
 spot or two of blue. . 
 
 Signed at the left. Height, 14 inches; length, r2 inches. 
 
 Pie EE 214 
 AY ALBERT P. RYDER 
 
 : 
 J 
 4 
 
 es Stas 
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 ay 
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 te ll 
 & 
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 io 
 ws 
 4 
 
 The Sisters 
 
 One of the sisters in this pretty little composition is standing up, 
 the other seated. The principal color notes are red, pink, gray, orange, 
 and brown. The two figures are relieved against a dark background, 
 with the trunks of trees showing on the right. 
 
 Height, r2 inches; length, 6 inches. 
 
 . A) 
 } ne Lad: 215 
 wee J. F. KENSETT 
 4 
 
 A Quiet Day, Manchester Beach 
 
 Formerly owned by the celebrated portrait painter G. A. Baker, 
 N.A. The scene shows a headland on the right, with the sea filling the 
 foreground and the middle distance ; a white sailon the horizon. A fine 
 little picture, with all of Kensett’s best characteristics. 
 
 Signed at the right. Dated, 1868. Height, 10 inches ; length, 18 inches. 
 
fee: 216 > 
 
 )60 E:S. HAMILTON (¥¥ 
 Slumber 
 
 A wide marble seat crosses the composition in the foreground, and 
 beyond lies a stretch of landscape under an effect of evening light. 
 Two young girls, who have laid down their lyres, have cast themselves 
 in graceful attitudes—one, whose robe is dull yellow, on the seat of the 
 bench ; the other, clad in green, on the step before it, with her head 
 resting on her arm. Subdued but forceful in color, and very well com- 
 posed, this is a picture of attractive aspect and sterling general quality. 
 
 Signed at the left. Dated, 1896, Height, 20 inches; length, 14 inches, 
 
 ON een itil ie 
 b SD Kes. CHURCH yf f 
 aw Vv 
 
 A Spring Song 
 
 A Puritan maiden, whose hood has fallen back on her shoulders, 
 stands in an orchard in springtime, listening to the song of the birds. A 
 charming figure in gray and white, with a setting of pale green and the 
 pink and white of apple blossoms. 
 
 Signed at the right. Dated, 1896. Height, 24 inches; length, r2 inches. 
 
 MG Jo” 218 a , 
 bev HOMER D. MARTIN ~wWY" 
 
 A restful composition with delightful pastoral feeling. Anirregularly 
 built house with white walls and thatched roofs appears in the left centre, 
 embowered in trees, and its lines reflected in the pond which nearly fills 
 the foreground. On the right are fields stretching away to distant woods, 
 and over all a summer sky of white and blue. A very fine example of 
 Martin’s landscape painting from French motives and embodying his 
 best characteristics. 
 
 A Normandy Farm Ve Ch 
 
 eotemogmncee TE 
 
 Signed at the right. Dated, 1895. Height, 18 inches; length, 30 inches. 
 
 Shas 
 
 ane 
 
ow OF 
 Sg? a3: 219 
 per D. W. TRYON we \ 
 é 
 
 wv Daybreak vq r é 
 
 A view, at early morning, of New Bedford Harbor. A few lights on 
 the boats anchored near the docks on the opposite shore. Towers and 
 roofs of the town in silhouette against the morning sky, where day is 
 breaking. Luminous in effect and beautifulincolor. The waters of the 
 harbor, in the foreground, reflect the tender tints of the sky. A very cele- 
 brated example. Gold Medal of Honor, Prize Fund Exhibition, Ameri- 
 can Art Association, 1886. Shown at Munich International Exhibition, 
 
 1895. 
 Signed atthe right. Dated, 1885. Height, 18 inches; length, 30 inches. 
 
 iy oP Od: a 220 
 > “CHARLES MELVILLE DEWEY 
 
 Reflections 
 
 In a broad, shallow stream some cows are standing beneath the shade 
 of the trees growing on the bank. The summer sky and the dark foli- 
 age are reflected in the water. 
 
 Signed at the left, Height, 22 inches; length, 30 inches. 
 A Od” 
 221 
 yj 4 4. HORATIO WALKER 
 : j | Was Return of the Flock 
 } Led 
 
 The shepherd in blue blouse is bringing his flock of sheep and lambs 
 to the fold at evening. The shelter, with thatched roof, occupies the 
 right of the composition, and on the left appears a plain with a hay- 
 stack. The sky is warmly tinted with the evening light. A fine exam- 
 ple, admirable in color and in technical achievement. | 
 
 Signed at the left. Dated, 1890. Height, 20 inches; length, 28 inches. 
 
to” 222 
 
 Peo GHURCH 
 
 The Lion in Love ’ 
 (Water Color) & jue Nillew 
 
 A beautiful maiden, in a clinging robe of white, is seated on a grassy 
 bank, leaning forward, with her hands in her lap, and holding captive 
 with a rope of flowers a noble lion who lies at her feet. The figure of 
 the young woman is exceedingly graceful, and the lion is a splendid 
 specimen of his race. The color scheme includes, besides the principal 
 notes of white and the tawny brown of the king of beasts, the green of 
 the grass and foliage and the blue and white of the sky. 
 
 Signed at the left, Dated, 1883, wf Height, 17 inches ; length, 32 inches, 
 
 COT 223 
 hed v? | H. W. RANGER oa 2 ¥. 
 A Connecticut Pasture é jae Me ihe if rd 
 
 In the foreground a gently sloping hill, cut up by stone fences. On 
 the brow of the hill somecattle are grazing. Thesky is blue, with white 
 _ clouds, and very deep and fine in tone. Beautiful in general aspect. 
 
 Signed at the left. Dated, 1899. Height, 28 inches; length, 36 inches. 
 
  e Vantk et ey 
 GEORGE H. SMILLIE AD 
 
 3o0 Gray Autumn 
 
 Behind the Long Island dunes, where a road goes over Sai slope to 
 the sea, a few sheep are grazing on the scant pasture, and a boy lies 
 idling by the wayside. Near the top of the slope are groups of fir trees 
 and some great boulders, and in the distance, at the right, is a glimpse 
 of the sea. The sky is overcast with clouds of white and gray. A 
 strong landscape, harmonious in color, and well composed. 
 
 Signed at the left. Height, 19 inches; length, 33 inches. 
 
rv? rs: 225 
 
 i g é Wau. Xo 
 | j L Se SAMUEL COLMAN : 
 { ~—a | 
 ! NJ At Paradise, Newport 
 A view from the cliffs, looking seaward. Dark clumps of trees in the 
 foreground, the sea beyond, and a sky of blue with white clouds. 
 i Signed on the right. Dated, 1887, Height, 16 inches; length, 26 inches. 
 ne od 
 1 TO 226 
 I a HOMER D. MARTIN 
 
 fr £h ® 
 
 v Zf ‘ 
 
 has Autumn on the Susquehanna 
 
 A view in the wide valley of the Susquehanna, with the round-topped 
 Pennsylvania mountains framing in the distance. Three trees with 
 blackened trunks and ragged, broken branches stand up in the fore- 
 ground and form an effective note in the rich but sober color scheme. 
 The hazy sky is reflected in the river which winds among the hills. A 
 picture of much dignity of aspect, and intensely colorful. 
 
 Signed at the right. Dated, 1879, Height, r5 inches; length, 25 inches. 
 
 an a ne, 
 
 i r5d 
 ‘i ae P.'S. -CHUais 
 ‘i AA! Beauty and the Beast 
 
 (Water Color) 
 
 | A magnificent tiger is crouching on the bank of a stream in the jungle, 
 | stretching out his neck to drink. Just before him, on the placid surface 
 ) of the water, is a pink lily in full, beautiful bloom. But while the lily is 
 indeed a thing of beauty, and the tiger takes the other réle in the title of 
 the picture, he too is beautiful in his powerful feline strength, and the 
 glossy sheen of his tawny striped coat. An admirable piece of color. 
 
 od 
 Ps 
 SEE, Se 
 
 Signed at the left. Height, rz inches; length, 30 inches. 
 
GEORGE INNESS- wv , 
 
 Landscape near Florence, Italy 
 
 In the foreground are bottom lands with a stream, and cattle grazing. 
 On the rising ground at the left, a white villa and clumps of trees. In 
 the distance, a wide stretch of country illuminated by the sunshine. The 
 foreground and middle distance are all in the shadow of the great clouds 
 which partly obscure the sun. The sky shows a burst of light in the 
 upper part, and the whole picture exhibits a fine feeling for atmosphere. 
 The color scheme is rich and harmonious. 
 
 Signed at the left. Dated, 1875, Height, 20 inches; length, 30 inches, 
 aa? | 
 229 . 
 R. A. BLAKELOCK aye 
 
 Moonlight ke 
 
 A very important example. Low-lying country with a broad river 
 fills the lower part of the canvas. All above is sky, deep, transparent, 
 and harmonious in color. The full moon, half-way up from the horizon, 
 sheds its light with gentle luminousness on the bosom of the water, and 
 vibrates through every part of the landscape. Imposing in general 
 aspect and eminently impressive in its mysterious nocturnal beauty. 
 
 Signed. Height, 27 inches ; length, 37 inches. 
 
 SLO . 230 
 KY, CHARLES C. CURRAN 
 
 Silent Night ~ 
 A female figure, partly draped, with great spreading wings, is de- 
 picted standing on the globe of the earth, which fills the lower part of 
 the canvas. Executed in a low-toned scheme of color, with tints of dark 
 blue, purple, and gray. 
 Signed at the right. Dated, 1896. Height, 32 inches ; length, 18 inches, 
 
> 
 H® FAPO- 934 
 tt LOUIS PAUL DESSAR 
 The Return to the Fold 
 
 In the street of a French village at night, the moonlight illuminatiug 
 the white plaster walls of the houses with thatched roofs, a shepherd 
 is guiding his flock into the fold through the low doorway in the building 
 nearest the spectator. The candle-light, gleaming through the opening 
 between the shutters of another window, shows that it is part dwelling 
 and part sheepfold. A few stars and a few clouds give variety to the 
 sky. The masses of light and dark are very skilfully disposed in the 
 composition, and the general effect is remarkably artistic and satisfying. 
 
 Signed attheright. Dated, 1896. Height, 18 inches ; length, 24 inches. 
 at 7 — 
 & ot e . % 
 y ,ye> «J. FRANCIS MURPHY 
 / ACN a US arta vote 
 dg An Autumn Landscape 
 
 ‘ An open space in the woods, with a fine group of trees in the left 
 
 \ foreground, all in shadow. Farther away the hillsides are bathed in the 
 sunlight. The sky, almost filled with white clouds, shows a patch of blue 
 near the top. This is an important work by Mr. Murphy, and is ex- 
 tremely pleasing and satisfying in color. The sentiment of the autumn 
 season is charmingly given, and the picture is dignified and impressive 
 in general aspect. 
 
 Signed at the left, Dated, 1899, Height, 24 inches; length, 33 inches. 
 “4 Tike 
 iw ’ 2 
 peo 33 
 A ‘ag 
 fi Le i} WILL H. LOW 
 ve, Asad Aes 
 ; “ey gee The Harvest Procession 
 \ | : | 
 \e A classic harvest festival procession is here depicted passing through 
 N a wheat field. The figures are in three groups of three persons, In 
 
 each is a young man with a maiden on either side. The three in the 
 
immediate foreground play on pipes or carry baskets of fruits and flowers. 
 The next three are empty-handed, but walk with arms interlocked. The 
 effect is one of pale sunshine, and the sky is partly covered with hazy 
 clouds of delicate white and gray. The color-notes given by the 
 draperies of the figures are pink, lilac, green, and blue. One of Mr. 
 Low’s most important and excellent classical compositions. 
 
 Signed at the right. Dated, 1893. Height, 19 inches; length, 31 inches. 
 
 o>, 234 
 
 nh 
 A. H. WYANT .. QA . 
 
 Jae 
 
 (a A Cloudy y Day) Keene Valley : 
 
 A sombre canvas with rich color effects and fine atmospheric feeling. 
 The foreground, with great trees on the right, is entirely in shadow ; and 
 beyond, a distant hillside is warmed by the late afternoon sun. The 
 sky, vaporous and hazy, shows tints of blue near the horizon, while 
 above it is filled with gray clouds. 
 
 Signed at the right, Height, 16 inches ; length, 22 inches, 
 
 Veo 235 
 HORATIO WALKER 
 
 /so or 
 
 A Rainy eee 
 
 Veet tite Me, 
 2. arbre nom d olor) vy 
 i.0\. 
 
 Two calves, one red, the other white with t Pack spots, are standing in» 
 the rain at a paling gate. The roadway swims in water, and the trees 
 and grass are drenched. A sky of gray. <A representative example of 
 Mr. Walker’s work in water color. 
 
 Signed at the left. Height, 15% inches; length, 2114 inches. 
 
af pao” a 
 
 i ; 
 i | | a, wi ¥- D. W. TRYON 
 sed On the Seine 
 
 A busy scene on the Paris quays, in the outskirts of the city. 
 Barges are tied up at the wharves. Men are loading and unloading carts 
 on the shore, and a tug sends its white steam upward. Beyond is the 
 stone bridge, with its arches spanning the river, and over all a sky of 
 gray with patches of pale blue. Realistic in treatment and attractive in 
 color, 
 
 Signed at the right. Dated, 1880. Height, 16 inches; length, 24 inches. 
 
 SOO oe 
 
 ff: FREDERICK W.. FREER 
 
 @ ; a 
 “tees os wl 
 
 FS ued 
 ay 
 
 Morning | 
 
 / A figure of a young girl in white drapery seated on a high-backed i 
 ' bench which is covered with a cloth of yellow. On the ground beside 
 i m* i her is an incense-pot, with blue smoke floating upward, and in the back- 
 i] ground is a fruit tree in full blossom. An attractive subject, painted with 
 delicacy and skill. 
 
 Signed at the left. Dated, 188s. Height, 13% inches; length zo inches. 
 
 oe Oi 
 , 238 
 
 / ‘Kahu .4~ CHARLES H. MILLER 
 ys: At Stony Brook, Long Island 
 
 ( 
 ; \| Along the roadside, where the stream takes its way on the left, there 
 | are houses and trees. A woman drives her cow homeward to a white 
 cottage on the right. A color scheme of warm tints characterizes this 
 picture—a representative example of Dr. Miller’s work, composed with 
 much knowledge and feeling for the picturesque. 
 
 Signed at the right. Height, 13 inches ; length, 19 inches. 
 
a7” x9 
 
 In the Catskills 
 
 The deep, wide valley takes up the lower half of the canvas, and the 
 irregular forms of the mountains which fill the distance reach up toward 
 the top of the composition, leaving a narrow space of sky. The general 
 aspect of this picture reminds the spectator of ‘‘ The Delaware Valley,” 
 ““ New England Valley,” and other works by Inness in his interesting 
 middle period. It is very rich and strong in color. 
 
 Signed at the right, Height, 9% inches; length, 13% inches. 
 
 we 
 
 G52? | 240 om 
 .¢ 
 
 350 HENRY PETERS GRAY —y f. 
 The Origin of Our Flag ' 
 
 A female figure partly nude, and draped with the American flag, 
 personifies the Genius of Liberty. Over her head is the eagle. One 
 of the last works executed by the artist, and exhibited at the National 
 Academy in 1875. 
 
 Signed. F Height, 12 inches; length, 8 inches. 
 
 SAO” a 
 
 MARIA BROOKS 
 iw | 
 
 P oa 
 Bashful yr x 
 
 A pretty little tot in a white frock sits on a low stool, with her fingers 
 in her mouth, in an attitude of shyness. Her blond hair and white 
 frock, under a full effect of light, are effectively relieved against a dark 
 atmospheric background. 
 
 Signed at the upper right. Height, roinches; length, 6% inches. 
 
 Se 
 5 
 : 
 i 
 
ad er SAS gue ome 
 wy ah WALTER SHIRLAW 
 ©, The Kiss 
 
 Head and bust of a young woman with auburn hair, in Empire 
 gown of pale yellow, upon whose shoulder is perched a white dove. The 
 bird’s wings are extended as it balances itself in bringing its bill within 
 reach of the lips of its handsome mistress. A landscape in subdued tints 
 makes a fitting background. 
 
 Signed at the upper left, Height, 12 inches ; length, rx inches. 
 
 = we 7: 243 
 , i * 
 | al, ®, PLATT P. RYDER 
 
 "Waa 
 
 f Boys Playing Marbles 
 
 i f A group of four little boys intent upon their game of marbles. Two 
 | \ } are leaning over to watch the effect or the ‘‘ plump” which a third is 
 XG about to make at the ring ; while a fourth, smaller than his companions, 
 looks on with evident interest. Pleasing in color and attractive in sub- 
 ject and execution. Exhibited at the Paris Exposition of 1889. 
 
 Signed at the right. Height, 12 inches ; length, 17 inches, 
 
 > Meese ery. MOP 244 
 HENRY W. RANGER 
 
 a 
 
 i 
 j A Nocturne 
 f 
 am i The full moon, in a beautifully toned sky, rises over meadows and 
 : ‘ i hills on the farther shore of a river which reflects the light in a broad 
 tH Ne band of glittering silver. In the immediate foreground, on the right, a 
 
 cabin, with a man on horseback near the door; on the left, two trees. 
 Just about to disappear behind the trees is a great barge making its way 
 up the river under sail, with a skiff trailing at the stern. Exceedingly 
 luminous in effect and a beautiful color harmony. 
 
 Signed at the left. Dated, 1896. Height, 18 inches ; length, 26 inches. 
 
an oa 
 ald ROBERT L. NEWMAN e ph : ; 
 
 The Mystery 
 
 A group of figures, with notes of blue and red in the draperies, with 
 a classical landscape setting, the whole executed in a color scheme of 
 warm, rich tints. A fine piece of tone, and a work attractive in general 
 aspect. 
 
 Signed at the left. Height, 24 inches ; length, 20 inches. 
 
 oz oa = ee 246 
 
 43§ FREDERICK W. KOST 
 ‘é , 
 The Driftwood Gatherer \/ 
 
 On the shore in the foreground, standing among the rocks, is a man 
 in the act of hauling in a timber which has been carried in by the waves 
 that beat on the beach with crashing force, shooting clouds of spray 
 in the air, The sea toward the horizon lies dark and threatening under 
 a stormy sky with black clouds. This is a splendid piece of tone, and 
 one of the best works of a painter whose pictures are characterized by 
 superlatively artistic qualities. 
 
 Signed at the right, Height, 22 inches; length, 28 inches. 
 
 cme at 
 we : 
 fj CHARLES MELVILLE DEWEY () yA Yee 
 Return of the Hay Boats 
 
 A celebrated picture. Two men seated in the bow of a barge loaded 
 high with dried marsh grass are pulling down the river with long 
 sweeps. The flat country and some low-lying hills occupy the middle 
 distance, while above is a sky of clouds and broken masses of light. 
 The misty atmosphere is admirably rendered, and the general effect is 
 exquisitely poetic, Exhibited at the Munich International Exhibition, 
 1895. 
 
 Signed at the left. Height, 20 inches; length, 30 inches. 
 
Soo 
 
 a 
 
 248 
 IRVING R. WILES 
 The Sonata 
 
 Two young girls in evening gowns—the one, in white, seated at the 
 piano, and the other, in blue, with a violin, standing beside her compan- 
 ion—form a charming group, skilfully composed, and painted with subtle 
 and forceful execution. This picture is one of Mr. Wiles’s best-known 
 works. It was awarded the Clarke Prize at the National Academy in 
 1889, and took a medal at the World’s Fair, Chicago, in 1893. En- 
 graved by Henry Wolf in the Century Magazine. 
 
 \ 
 
 Signed at the left. Dated, 1889. Height, 44 inches; length, 26 inches. 
 oO v2 
 2 © 4 J 
 . 2d _ 249 
 / <7" WORTHINGTON WHITTREDGE 
 val ve ; An Old House by the Sea 
 
 A picture of the Berkeley Homestead at Newport, R. I. The house 
 stands at the left, and a light in the kitchen betokens good cheer within. 
 A well-sweep and a clump of trees are the other features of the fore- 
 ground. Therosy sky looms up in the distance, and a glimpse of the 
 sea shows that the house stands on the shore. The composition is effec- 
 tive, and the color very sympathetic in tone. 
 
 Signed at the left. Height, 20 inches ; length, 26 inches. 
 
 bod. fs . 
 PAP is 250 
 
 pe THEODORE ROBINSON 
 fe Valley of the Seine from Giverny Heights 
 
 The composition shows a wide stretch of country, with a river flowing 
 
 through the valley, in the middle distance; a white bridge crossing it, 
 
 * houses scattered about in the bottom-lands, and blue hills in the distance. 
 
 The effect is in pale sunlight, with cloud shadows floating over the land- 
 
 scape, and a summer sky of blueand white. A distinctive work, possess- 
 
 ing the fine qualities of color, the realistic aspect and luminous atmos- 
 phere, which are characteristic of Robinson’s landscape painting. 
 
 j dus 
 Signed. \ Ne Al A dove Height, 26 inches ; length, 32 inches. 
 ae 
 
 > 
 
 eM a “ 
 
 ———— 
 
) pt?  W. GEDNEY BUNCE peer: ; 
 
 Sunset, San Giorgio, Venice 
 
 A group of boats with splendidly colored sails looms up in the fore- 
 ground, at the right. In the middle distance the city of Venice appears 
 almost as if floating on the flood. The gay colors of the sails are re- 
 flected in the water, and a high sky of blue, broken with warmly-tinted 
 clouds, frames in a scene of picturesque, individual beauty. 
 
 Signed at the left. Height, 29 inches; length, 36 inches. 
 
 OCT” | 2x2 
 See BEN FOSTER 4 4 > 
 The Lonely Road 
 
 The road winds from the foreground, between the outskirts of the 
 forest which appears on either side in the middle distance. In the 
 clouded sky is an open space at the left upper part of the composition, 
 where the moon sheds its light on the landscape and tips the clouds 
 with silver. Subdued, quiet color and fine harmony. 
 
 Signed at the right. Height, 30 inches; length, 36 inches, 
 
 ih a 253 
 
 CARLETON WIGGINS AM 
 
 ed evn Ww 
 After Wind, Rain 
 
 A flock of sheep, with the shepherd ahead and the dog bringing up 
 the rear, is seen going along a road which leads from the foreground 
 through a valley in the middle [distance, where clumps of trees are in 
 
\ 
 
 shadow. Beyond, a plain bathed in sunlight. The sky shows great 
 storm clouds coming across the picture from the right and a patch of 
 blue in the upper portion. The effect depicted is one where the wind 
 before the storm has massed the gray clouds in the sky; and the rain, 
 following after, is beginning to pour in the distance. Admirable in 
 general aspect and very rich in color. One of Mr. Wiggins’s finest 
 works. 
 
 Signed at the left. Height, 40 inches ; length, so inches. 
 
 Ah FO es 
 
 1s J 
 y FRANK DE HAVEN 
 / 7 
 Oe Bn, i Autumn Evening 
 \ ss A composition of impressive style, showing great masses of trees on 
 x the right, with the foliage of one reaching above the top of the canvas; 
 
 a winding path in the centre foreground, and a gently sloping hill and a 
 tree on the left. All this is in shadow. Beyond is a glimpse of hills 
 lighted up by the last rays of the sun. The sky, partly filled with clouds, 
 warm white at the horizon and dark gray above, shows the crescent moon 
 and the evening star. 
 
 Signed at the left. Dated, 1892. Height, 28 inches; length, 36 inches, 
 
 a 
 Lod O. 255 
 
 ") gy ELLIOTT DAINGERFIELD 
 usr My Lady Rhododendron 
 
 | V Seated figure of a young woman clad in drapery of rose color with tint 
 of orange. The background is filled with the leaves and blossoms of 
 rhododendron trees, with a bit of dark blue sky appearing in the right 
 upper corner. The light in the picture is concentrated on the head and 
 upper part of the figure. <A fine piece of rich and lumincus color. 
 
 Signed at the left. Dated, 1896-7. Height, 36 inches; length, 30 inches. 
 
es 
 wz? 
 H. SIDDONS MOWBRAY | 
 
 nt wat loréal 
 
 It is the spring festival of flowers, and two maidens in miomne 
 draperies, one in pink, the other in pale green, advance toward the spec- 
 tator. The one in pink has an armful of blue flags, or flower-de-luce. 
 The other waves a greeting to her companions, who are seen below, amid 
 the trees and blossoms, treading a measure in graceful procession to the 
 sound of pipes and tambourines. Charming in composition and delicate 
 in color, this is a fine example or Mr. Mowbray’s treatment of ideal 
 subjects. 
 
 Signed at the right. Circular, Diameter, 24 inches, 
 
 a ae 
 
 Se 
 rh CHARLES C. CURRAN 
 
 he 
 
 part 
 
 rie) teen 
 The Peris 7; } 
 
 One of the most beautiful of all Mr. Curran’s fanciful subjects. The- 
 Peris, lovely female shapes with diaphanous draperies, are seen reclining 
 or moving about in a bower of white roses. It is, in truth, a fairy dell, 
 and the fairies are as gentle and as lovely as the sweet flowers. The 
 picture is charming in arrangement and very attractive in aspect, both: 
 because of its delicate color and its finely realized poetic fancy. 
 
 Signed at the left. Dated, 1898. Height, 18 inches; length, 32 inches.. 
 
 gee, Oo.” 258 
 908 wy GUY 
 
 The setting for this excellent little figure is a scene on the New York 
 water front, with the wide street, the piers, and masts of ships giving 
 interest to the background. The little orange girl has her modest stock- 
 
 The Orange Girl 
 
in-trade displayed on a dry-goods box at the street corner, and with 
 clasped hands leans back against the brick wall, patiently waiting for a 
 customer. The face is attractive in expression, and the picture is one of 
 the best of Mr. Guy’s works in genre. 
 
 Signed at the right. Dated, 1875. an hs length, zz inches, 
 ° 
 “0 “ 259 
 
 j ape at ALBERT P. RYDER 
 Moonlight 
 
 A boat alone on the high seas with a solitary skipper guiding its 
 course over the waters. The moon is veiled with clouds, and the effect 
 produced in this composition is exceedingly poetic and impressive. 
 
 Height, 18 inches; length, 17 inches, 
 
 — 73 
 f eo (76 260 
 
 er ROBERT C. MINOR 
 j eee ae 
 
 v 
 
 A successful solution of a aideuk ar problem, wherein, with great depth 
 and force of color, the artist has depicted an effect of night with nothing 
 but a sheet of water illumined by the moon, whose light comes from 
 
 . without the picture, relieving the all-pervading gloom. Some dark, mys- 
 terious masses of trees on the sea-shore are imagined by the spectator, 
 almost, rather than seen. Impressive tonal quality. 
 
 Signed at the right. Height, 18 inches ; length, 24 inches. 
 7 Oe 
 2 
 si » we 261 . } 
 Hl Se 
 he HENRY O. WALKER 
 A Morning Vision 
 
 A group of five figures. On the right of the composition is a young 
 woman in terra-cotta tinted drapery upon whose shoulder leans a boy, 
 nude but for a white cloth about his loins. Before these two are three 
 
angels or winged figures. Flowers fill the foreground, and a landscape 
 beyond forms a classical and appropriate setting for the figures. The 
 personages in this fine work are refined and spiritual in type, and the 
 drawing and color evince great distinction of style. A purely imagi- 
 native conception, the picture is executed with admirable academic real- 
 ism, and possesses rare qualities of artistic thought and achievement. 
 Awarded the Clarke Prize at the National Academy of Design in 1895. 
 
 Saye ANA PSII ttn 
 Signed at the right, Dated, 1895. waPfeight, 28 inch 28 inches ; length, 30 inches. 
 
 oF a.” 262 
 a9 GEORGE H. BOGERT 0 y, “he. 
 
 Moonrise, Coast of Picardy 
 
 Marine, with breakers coming in on the coast. The moon, high in 
 the sky, casts its light on the waters. A fine sense of vastness prevades 
 the composition, Beautiful in color and atmospheric in effect. A very 
 fine example, 
 
 Signed atthe right. Dated, 1891. Height, 30 inches; length, 45 inches. 
 
 yy, | eo 263 
 WYATT EATON 
 | ee? ues 
 i i Reverie 
 
 A young woman in half-length, gowned in black, with white lace 
 trimming on the square-cut bodice. The head is seen in profile, and the 
 face is reflected in a mirror behind the figure. The color scheme is 
 sober and restrained, and the work is remarkable for beauty of tone, mas- 
 terly drawing, and simple modelling. A famous picture. 
 
 Signed at the left. Height, 27 inches; length, 29 inches. 
 
ou 
 as (ic 204 ; 
 L ont Bs -SaChURen 
 
 Madonna of the Sea 
 
 The Madonna, in this important creation by Mr. Church, is seated 
 on the sea-shore, with the Holy Child in her lap, and on either side of her 
 is a kneeling angel with white robes and wings. The mother’s gown is 
 delicate purple. Over her head, which, with its halo, is relieved against 
 the wide expanse of water, is a flock of sea-gulls circling in graceful 
 flight ; and others, in the foreground, on the sandy beach, pick their way 
 about, or flap their wings in a bath in a poolof water left by the receding 
 tide. The face of the Madonnais wistful and sweet ; and the composi- 
 tion, very tender and beautiful in its color scheme, is filled with lofty 
 sentiment. 
 
 Signed at the right. Dated, 1898. Height, 47 inches; length, 36 inches. 
 
 265 
 \GEORGE INNESS 
 
 i - oN 
 q 1 a 
 q ie net! A ite Morning at Montclair 
 ( Se 
 [ Ve PA great nS. justly celebrated as one of Inness’s most remarkable 
 id Rindsoiet A felled tree, branches, and uprooted stumps are seen in 
 ; the left foreground. Farther away, on the right, are some tall, slender 
 trees with dead leaves still clinging to the branches. In the middle 
 distance some buildings, and beyond, a wooded valley and hills. 
 Over all a fine sky of blue with white clouds. A wonderfully truthful 
 rendering of nature, distinguished and entirely veracious in color. 
 Signed at the right. Dated, 1882. Height, 30 inches; length, 45 inches. 
 
 we a 266 
 
 : Pe % k SS: 
 | a \ HENRY W. RANGER 
 An East River Idy! * K 
 
 The view point is in one of the side streets in the lower part of the 
 city leading down to the East River. Brooklyn appears in the distance 
 across the blue water; and the roadway, partly covered with snow, and 
 
the buildings on either side occupy the foreground. The effect is of | 
 late afternoon sunlight, which lights up the upper stories of the houses 
 
 on the left, and bathes the river and the walls and towers of Brooklyn 
 
 with a warm and ruddy glow. The winter sky of blue shows orange- 
 
 tinted clouds, and the smoke from a chimney is blown in picturesque 
 
 forms across the right upper corner of the composition. The buildings 
 
 on the right and the street are in shadow. Mr. Ranger has never signed 
 
 a more effective picture than this, and it is characterized by his best quali- 
 
 ties of color. 
 
 Signed at the left. Dated, 1896. Height, 28 inches ; length, 36 inches. 
 
 Saeed ” 
 310° 267 
 HOMER D. MARTIN... £ ght 
 
 An Old Church in Normandy soe 
 
 The moss-covered, weather-beaten church stands a little to the right 
 of the middle of the canvas, with its finely proportioned roof and tower 
 reflected in the water of a poolin the foreground. On the left, a road 
 -and a wayside cottage. The sky is composed of warm white clouds, in 
 horizontal formations, mingled with patches of blue. It is impossible to 
 describe the majestic beauty with which the artist has invested this 
 simple motive. The picture is wonderfully fine in tone, and is a superb 
 example of the work of one of America’s greatest painters. 
 
 Signed at the right. Dated, 1893. Height, 25 inches; length, 38 inches. 
 
 Pb 00 a 268 ty aAyr 
 
 jlLve oo: FULL 3 oc bom ( 
 ayes . ee. JY re 
 
 A life-sized figure, in three-quarters length, of a young ee who 
 carries some stalks of wheat, with one hand pressed against her bosom, 
 and in the other holds a water jug. In the shadowy distance appears a 
 gleaner with a sheaf on her shoulders. The effect shows the warm tints 
 of sunset. The face of the young woman reveals charming charac- 
 teristics. Admirable in color. 
 
 £ 
 
 Signed at the left. Dated, 1882. Height, 50 inches; length, 30 inches. 
 
 A 
 i rt 
 i 
 
 , a y ' haat 
 
Ke 
 
 Boe oe eee 
 
 boo.” 
 
 »~ eA. H. WYANT ¥f 
 In the Adirondacks N S 
 
 i » 
 
 One of Wyant’s most celebrated and finest works. A stream, pro- 
 ceeding from the rocks and woods of the middle distance, widens out in 
 the foreground, in the shadow of the tall trees which grow on the banks 
 at either side, and reflects their green foliage, as well as the sky.. An 
 open space in the middle distance receives the light of the sun and con- 
 centrates the interest of the composition. The sky of white and blue is 
 exquisitely fresh and tender in color. This is one of the best of all of 
 Wyant’s achievements, and one of the noblest of American landscapes, 
 
 Signed at the right. Height, 37 inches; length, 50 inches. 
 
 / POU 
 
 ey? & Me Me is Abed } 7 7 4 3 
 ; i ES ai . pw 
 
 t. 4% 7 | 
 - &. nse Morning 
 
 Among the trees on a spill OS overlooking a wide valley is a herd of 
 Jersey cows and a woman with a child traversing the wood on the way to 
 the fields. The foreground is in shadow, and the deep, strong greens 
 of the foliage are in contrast to the smiling beauty of the landscape be- 
 yond, bathed in the light of the morning sun. The cows are painted in 
 masterly fashion, and the picture is dignified and impressive in general 
 aspect. It is naturalistic in conception, and the execution is broad and 
 simple. Truth to nature and nobility of style are its prominent charac- 
 teristics. Exhibited at Munich, 1885. 
 
 Signed at the left. Dated, 1882-3. Height, 48 inches; length, 72 inches. 
 
 AN ART ASSOCIATION, 
 
 Vo ier sie 
 ees MANAGERS, 
 
 HOMAS E. KIRBY, 
 
 Auctioneer. 
 
¥ / 
 pe 
 
 List of Artists Represented and 
 > Their 
 
 Work 
 
 4 - 
 
List of Artists Represented and 
 
 Their Work 
 
 A’ BECKET, Maria J. C., . 
 Massachusetts Coast 
 Moonrise on the Swannanoa 
 New Hampshire Woods 
 
 BLAKELOCK, RatpH ALBERT, 
 Early Evening 
 Evening on the Sound 
 -The Nymphs 
 Moonlight 
 
 BOGERT, GeorceE H., 
 Autumn Morning, Plymouth, Mass. 
 Sea and Rain 
 Afternoon—Haarlem, Holland 
 Morning at Haarlem 
 A Showery Day near Delft, Holland 
 Moonrise, Coast of Picardy 
 
 BOUGHTON, GeorceE H., 
 Divided 
 BRIDGMAN, FReEpeErIcK A., 
 
 A Lady of Constantinople 
 My Pets 
 
 BRISTOL, Joun B., 
 Old Bridge, Upper Connecticut 
 
 189 
 
 CATALOGUE 
 NUMBERS 
 
 29 
 108 
 186 
 
 Io 
 I1o 
 
 159 
 229 
 
 34 
 83 
 112 
 170 
 189 
 262 
 
BROOKS, Marla, CATALOGUE 
 
 NUMBERS 
 
 “Very Careful”’ 28 
 ‘a Shy 125 
 i} Bashful 241 
 i BROWN, Joun G., 
 | The Fruit Seller 6 
 The Longshoreman’s Noon 175 
 BRUSH, Grorce De Forest, 
 Before the Battle 139 
 The Indian Hunter 210 
 BUNCE, W. GEDNEY, 
 Morning in Venice | 23 
 Venice 134 
 Sunset, San Giorgio, Venice 251 
 CHASE, Wittiam MERRITT 
 East River 63 
 A Fairy Tale 182 
 CHURCH, FRreperick §&., 
 Pandora 12 
 “Who Are You ?” 17 
 Sea Sirens 22 
 White Swans and Pink Lilies 49 
 Evening mi 
 The Dance ry 
 Una and the Lion 88 
 Air OUR Fe 
 Earth 120 
 Water 121 
 | “‘ Good-by, Sweetheart ”’ 156 
 The Mermaid and the Sea Wolf 164 
 St. Cecilia 171 
 The End of Winter 176 
 Twilight 193 
 The Shepherdess | 199 
 The Chafing-dish 205 
 
 190 
 
CHURCH, Frepericxk $.— Continued, 
 A Spring Song 
 The Lion in Love 
 Beauty and the Beast 
 Madonna of the Sea 
 
 COFFIN, W. A., 
 Evening, Somerset Valley 
 A Rainy Day 
 
 COLMAN, SamuEt, 
 
 Moonlight Near Rome 
 
 Sunset at Amsterdam, Holland 
 Rocky Farm in Autumn, Newport 
 At Paradise, Newport | 
 
 4 
 
 COX, KENvon, 
 May 
 CRANE, Bruce, _ 
 Evening After Rain 
 
 CURRAN, CHARLES COURTNEY, 
 The Old Straw Stack 
 A Dream 
 Music of the Waves in Fingal’s Cave 
 Night 
 Silent Night 
 The Peris 
 
 DAINGERFIELD, EL tiort, 
 Christ in the Wilderness 
 My Lady Rhododendron 
 
 DAVIES, ARTHUR B., 
 On the Road to the Enchanted Castle 
 
 DE TUAAS, M. F. H., 
 A Breezy Day on the Tyne 
 
 DE HAVEN, FRank, 
 Autumn Evening 
 Igl 
 
 CATALOGUE 
 NUMBERS 
 
 217 
 
 222.0% 
 
 227 
 264 
 
 44 
 105 
 
 132 
 
 166 
 
 254 
 
DENMAN, HERBERT, 
 Psyche 
 
 DESSAR, Louis PAUvL, 
 Sheepfold at Night 
 Evening in Picardy 
 The Return to the Fold 
 
 DEWEY, CuHaries MELVILLE, 
 The Harvest in the Midlands 
 An Autumn Pastoral 
 Shadows of the Evening Hour 
 Reflections 
 Return of the Hay Boats 
 
 DEWING, THomas W., 
 A Lady in Blue 
 
 DIELMAN, FREDERICK, 
 La Chatelaine 
 My Lady 
 
 DOLPH, J. H., 
 The Right of Possession 
 An After-dinner Nap 
 
 EARLE, LAwRENCE C., 
 The Last of the Snow 
 
 EATON, C. Harry, 
 A Normandy Landscape 
 
 EATON, Wyatt, 
 Ariadne 
 La Cigale 
 Reverie 
 
 FITZ, BENJAMIN RUTHERFORD, 
 The Reflection 
 
 FOSTER, BEn., 
 “‘ Amid the Cool and Silence” 
 The Lonely Road 
 
 192 
 
 CATALOGUE 
 NUMBERS 
 
 65 
 
 37 
 103 
 231 
 
 IIt 
 
FREER, FREDERICK W., 
 Morning 
 
 FULLER, GEorGE, 
 j Bringing Home the Cow 
 Lorette 
 
 GAUL, GILBERT, 
 Charging the Battery 
 
 GIFFORD, R. Swat, 
 Salt-works at Dartmouth 
 GIFFORD, Sanrorp R.,. 
 The Villa Malta 
 Mount Katahdin from Lake Milnoket 
 GRAY, HENRY PETERS, 
 ; The Origin of Our Flag 
 GUY, SEyMovurR J., 
 “ Look, Mamma !” 
 The Orange Girl 
 HAMILTON, Epcar ScupDER, 
 Slumber 
 
 HARPER, Wituiam Sr. JOHN, 
 Autumn 
 
 HOEBER, ARTHUR, 
 The Road to the Sea 
 
 HOMER, Winstow, 
 Sunday Morning in Virginia 
 Weather-beaten 
 
 HOVENDEN, Tuomas, 
 A Brittany Image Seller 
 
 HOWE, Wi1u1aM H., 
 In the Orchard 
 Morning, Korten Hof Meadows 
 
 HOWLAND, ALrrep C., 
 Rue Sous Je Cap, Quebec 
 
 193 
 
 CATALOGUE 
 NUMBERS 
 
 237 
 
 174 
 268 
 
 84 
 
 197 
 
 106 
 
 128 
 
| HUNT, Wituiam Morris, eri an 
 
 Spouting Whale 140 
 INNESS, GEORGE, 
 Montclair by Moonlight 28 
 Moonlight 51 
 Conway Valley 60 
 Meadowland in June 66 
 Sunset on the Passaic 87 
 Summer in the Catskills 102 
 Returning from Pasture, Milton 114 
 Leeds, New York 133 
 The Valley on a Gloomy Day 172 
 Georgia Pines, Afternoon, 1886 ‘Bey 
 Nine O’Clock 179 
 Pine Woods, near Savannah 1gI 
 The Moon at Night 203 
 Landscape near Florence, Italy 228 
 In the Catskills 239 
 Winter Morning at Montclair 265 
 A Summer Morning 270 
 
 JOHNSON, Davin, 
 
 Connecticut Landscape 40 
 JOHNSON, Eastman, 
 Puss in the Corner 202 
 
 JONES, FRANcIsS COATES, 
 
 The Little Visitor 78 
 JONES, H. Boron, 
 
 November 69 
 
 The Road to the River 92 
 
 A Late October Afternoon 147 
 
 An Autumn Afternoon 183 
 
 KENSETT, J. F., 
 A Quiet Day, Manchester Beach 215 
 194 
 
KOST, FREDERICK W., CATALOGUE 
 
 NUMBERS 
 
 Evening—Westport Point, Rhode Island 21 
 
 Moonrise, Brookhaven, L. I. 117 
 
 The Driftwood Gatherer 246 
 LATHROP, W. L., 
 
 A November Evening 48 
 
 Twilight in Connecticut 124 
 LOW, Wi H., 
 
 The Portrait 70 
 
 The Brookside 160 
 
 The Harvest Procession 233 
 
 McENTEE, JeErvIs, 
 Autumn in the Catskills , 181 
 
 McILHENNY, C. Morcan, 
 
 Morning 188 
 MACY, Wii &., 
 / The Meadow Brook | 157 
 MARTIN, Homer D., 
 Lake George 3 yr 
 Westchester Hills ww 89 
 A Mountain Brook w 104 
 Trouville at Night 127 
 Normandy Trees w” 178 
 A Normandy Farm yo 218 
 Autumn on the Susquehanna 226 
 An Old Church in Normandy yw 267 
 MILLER, Cuartes H., 
 An Old Mill, Long Island 20 
 The Farm 213 
 At Stony Brook, Long Island 238 
 
 MILLET, Francis Davis, 
 After the Festival 13 
 195 
 
 a 
 
| . 
 i ; 
 | MINOR, Roserr C., CATALOGUE 
 
 NUMBERS 
 The Hunter’s Moon 52 
 i The Close of Day 85 
 q Twilight 98 
 Nightfall 129 
 Eventide 162 
 i An Autumn Sunset : 198 
 i Midnight 260 
 | MOELLER, Louts, 
 Bluffing 32 
 A Doubtful Investment 152 
 seat RViiae sie 204 
 MORAN, THomas, 
 
 A Dream of the Orient 33 
 Morning on the St. John’s 154 
 
 i MOWBRAY, H. Srppons, 
 Arcadia 19 
 | Idle Hours — 130 
 Floréal 256 
 
 MURPHY, J. FRANCIs, 
 
 A Cloudy Autumn Day 4 
 Sundown 47 
 Under Gray Skies 123 
 An Autumn Sunset 131 
 The Deserted Farm , 155 
 A Clump of Trees 209 
 An Autumn Landscape 232 
 
 NEWMAN, Roperr L., 
 
 Madonna and Child . 25 
 The Bird 135 
 eh ihe Letter 142 
 Christ Stilling the Tempest 192 
 The Mystery 245 
 
 NICHOLLS, Ryopa Homes, 
 A Venetian Canal 195 
 
 196 
 
NICOLL, J. C., 
 | On Vineyard Sound 
 
 OCHTMAN, Leonarp, 
 Evening on the Mianus 
 
 PARTON, ArrTuHuR, 
 A Highland Home, Loch Lomond 
 In the Month of May 
 
 PARTON, ERNEsT, 
 On the Arran 
 
 PLATT, CuHartes A., 
 A Spring Flood 
 Clouds 
 
 PROCTOR, A. PuHIMISTER, 
 A Puma 
 
 QUARTLEY, Arrtuvr, 
 Morning—New York Harbor 
 
 RANGER, HEnry W., 
 Connecticut Woods 
 New Jersey Oaks 
 Morning at High Bridge 
 Afterglow 
 Woods at Trouville 
 A Veteran 
 A Connecticut Pasture 
 A Nocturne 
 An East River Idyl 
 
 REHN, F. K. M., 
 Springtime 
 “‘ Where Waves and Moonlight Meet ” 
 A Fisherman 
 
 RICHARDS, W. T., 
 Near Atlantic City 
 Land’s End, Cornwall 
 
 197 
 
 CATALOGUE 
 NUMBERS 
 
 201 
 
 82 
 
 144 
 153 
 
 224 
 
 244 
 266 
 
 II 
 118 
 207 
 
 24 
 185 
 
ROBINSON, THEODORE, “NUMBERS. 
 Twachtman’s House 146 
 Valley of the Seine from Givemy Heights 250 
 
 RYDER, ALBERT P., 
 
 Autumn Landscape 42 
 
 The Little Maid of Acadie 62 
 
 Charity 143 
 
 Launce and his Dog 161 
 
 The Sisters 214 
 
 Moonlight 259 
 RYDER, Puiatr P., 
 
 Boys Playing Marbles 243 
 SEARS, Sarau C., 
 
 Romola 30 
 SHIRLAW, WALTER, 
 
 Water Lilies a 
 
 Roses 79 
 
 Among the Old Poets IOL 
 
 The Sonnet 145 
 
 Autumn 200 
 
 The Kiss 242 
 SHURTLEFF, R. M., 
 
 Woods in Autumn 53 
 SMEDLEY, Wituiam T., 
 
 A Thanksgiving Dinner. 57 
 
 One Day in June 136 
 SMILLIE, Grorce H., 
 
 A Long Island Farm 7 
 
 Gray Autumn 224 
 TARBELL, Epmunp C., 
 
 Girl with Violin 54 
 THAYER, Appotr H., 
 
 Young Woman 90 
 
 Roses 99 
 
 198 
 
THOMPSON, Worpswortn, cite ch a 
 
 NUMBERS 
 
 Halt of the Diligence £5 
 pry GN, “Dy -W., 
 
 A May Morning 64 
 
 The River, Evening 150 
 
 Daybreak 219 
 
 On the Seine 236 
 TURNER, Atrrep M., 
 
 The Prayer 27 
 TURNER, C. Y., 
 
 Althea 14 
 ULRICH, Cuar tes F., 
 
 In the Land of Promise II5 
 
 WALKER, Henry O., 
 
 The Boy and the Muse 58 
 
 A Morning Vision 261 
 WALKER, Horatio, 
 
 In the Meadow 36 
 
 Low Tide 61 
 
 Cattle and Landscape 97 
 
 A Spring Morning 149 
 
 Return of the Flock 221 
 
 A Rainy Day 235 
 WEIR, J. ALDEN, 
 
 Lengthening Shadows 163 
 WELDON, C. D., 3 
 
 Temple Court of Nikko, Japan 212 
 WHITTREDGE, WorrTHINGTON, 
 
 An Old House by the Sea 249 
 WIGGINS, CARLETON, 
 
 Evening, After a Rain 81 
 
 Lowland Pasture 168 
 
 After Wind, Rain 253 
 
 199 
 
WILES, Irvine R., nines 
 
 The Sonata 248 
 WVYANT, ACH, 
 An Irish Landscape 18 
 Solitude i 50 
 A Gray Day 56 
 An October Evening 75 
 Autumn in the North Woods 107 
 Early Autumn : 151 
 Gamekeeper’s Hut, Kerry, Ireland 158 
 Driving Mists 169 
 Autumn, Keene Valley 172 
 A Cloudy Day 190 
 Early Twilight 208 
 A Cloudy Day, Keene Valley 234 
 
 In the Adirondacks 269 
 
 200 
 
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