oA 
 
 NO. 
 326 | 14 Fast 57th St 
 Manin ra 7 New York 
 
 LIBRARY 
 
 M. Knoedler & Co. 
 
 ACC. 
 
 ZAual) 
 
ae TR) 2 os 
 
 eS 
 LW rot 
 
 CATALOCUE 322 
 
 OF THE 
 
 PRIVATE, COLLECTION 
 
 MODERN PAINTINGS 
 
 BELONGING . TO 
 
 MR. WALTER BOWNE 
 
 OF 
 
 FLUSHING, LONG ISLAND 
 TO BE ABSOLUTELY SOLD BY AUCTION 
 On WEDNESDAY EVENING, MARCH 5TH 
 
 AT’ THE AMERICAN ART GALLERIES 
 
 No. 6 East 23D STREET, MADISON SQUARE 
 
 WHERE THE PAINTINGS ARE NOW ON PUBLIC 
 EXHIBITION 
 
 THOMAS E. KIRBY, AUCTIONEER cO 
 
 e 
 AMERICAN ART ASSOCIATION, MANAGERS 
 
 ogy eat 
 NEW YORK ¥, Q& 
 1890 | On or 
 SS 
 a 
 
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 im- 
 mediately put up again and re-sold. 
 
 2. The Purchasers to give their names and addresses, and to pay 
 down a cash deposit, or the whole of the Purchase-money, z/ required, 
 in default of which the Lot or Lots so purchased to be immediately 
 put up again and re-sold. 
 
 3. The Lots to be taken away at the Buyer’s expense and Risk 
 on the morning following. each session of the Sale, between 9 and 12 
 o’clock, 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 himself responsible if the Lots be lost, stolen, damaged, or 
 destroyed, but they will be left at the sole risk of the Purchaser. 
 
 4. The sale of any painting is not to be set aside on account of 
 any error in the description. All are exposed for Public Exhibition 
 one or more days, and are sold just as they are without recourse. 
 
 5. To prevent inaccuracy in delivery and inconvenience in the set- 
 tlement of the purchases, no Lot can, on any account, be removed 
 during the Sale. 
 
 6. Upon failure to comply with the above conditions, the money 
 deposited in part payment shall be forfeited ; all Lots uncleared within 
 the time aforesaid 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, ifhe thinks fit. 
 
 THOMAS E, KIRBY, AvucTIONEER. 
 
INDEX TO ARTISTS REPRESENTED, 
 
 TOGETHER WITH BIOGRAPHICAL NOTES, LISTS OF HONORS, 
 
 AND OTHER INFORMATION. 
 BEAUQUESNE (Wirrriw ConsTAnt),....... iicOdoa soe ook aris 
 
 Born at Rennes. Pupil of Lecompte and Vernet. Medals, 
 1875, 1880, Legion of Honor, 1878. 
 
 NOW 437 Ae TZ st Dey ice. ee ee en PACERS 
 BOGERT (Georce H.). 
 
 No.. 7—The Seine at Iury . Sen ee Page 21 
 BLACKMAN. (WALTER). 0.0... ss. 0000050 Soevilecsein Sew London 
 
 Born at Chicago. Pupil of Géréme. 
 
 No. 17—An American Girl. 0... 60..0 csi sence Page 31 
 BONHEUR (M4gin Rosa) S059 Peres irestanteie Paris 
 
 Born at Bordeaux, March 22, 1822. Pupil of her father, Ray- 
 mond Bonheur. Began by copying in the Louvre; afterward 
 made studies and sketches near Paris. Her first two pictures, 
 exhibited at Bordeaux, 1841, attracted much attention, and were 
 followed by others which established her world-wide. fame. 
 During the Franco-Prussian war, her studio and residence were 
 respected by special order of the Crown Prince of Prussia. 
 Since 1849 she has been Director of the Paris Free School of 
 Design for Young Girls, which she founded. Elected member 
 of Antwerp Institute in 1868. Medals, 1845, 1848, 1865, 1867 
 (Exposition Universelle). Cross of the Legion of Honor, 186s. 
 Cross of the Order of Leopold, 1880. Commander’s Cross of 
 the Royal Order of Isabella the Catholic, 1880. Conceded to be 
 
THE BOWNE COLLECTION. 
 
 the greatest female painter the world has produced. Her cele- 
 brated ‘‘ Horse Fair,” in the Stewart collection, was sold for 
 $53,000, and now hangs in the Metropolitan Museum. 
 
 No. 27—Jonarch of the Herd...... A peter rete Page 41 
 BRILLOUIN (Louis GEoRGES),..........06 sraleiviaws siae's ee Paris 
 
 Born at Saint-Jean-d’Angély. Pupil of Drélling and of Cabat. 
 Medals, 1865, 1869, and 1874. 
 
 IN OS NL CIN OFS oe oss at ae eb tego le aus Sousa ¢ Page 15 
 INOS a i BOOKA OV UL act lu bce news ko bance ss 27 
 CASANOVA-Y-ESTORACH (AnNTONIO)...........005. Paris 
 
 Born at Tortosa, Spain, August 9, 1847. Pupil of Lorenzale 
 and of Madrazo. 
 
 No. 32—TZhe Morning Cup........ ae een Page 47 
 
 CAZIN (JEAN CHARLES)......... odnccoddc 
 
 Saielertekwarvnsuiere si ALIS 
 
 Born at Samer (Pas-de-Calais), France. Pupil of Lecoq de 
 Boisbaudran. Medal, first class, 1880. Legion of Honor, 
 
 1882. 
 No. 52—Zhe Hour of Rest and Peace.......... Page 68 
 COL: (DAVID) 20.88tad.. ata fasstereisnerhns osiets iciaices aie . Antwerp 
 
 Born at Antwerp, 1822. Pupil of De Keyser and Antwerp 
 Academy. Medal, Vienna Exposition, 1873. Chevalier of the 
 Order of Leopold, 1875. 
 
 INO 3 Ox USI ION a pear oR ea 5 Me NS ake ae oe 
 
INDEX AND BIOGRAPHICAL NOTES. 5 
 
 co 
 
 ROT (JEAN-BAPTISTE-CAMILLE), dec’d. 
 
 Born in Paris, 1796. Was first instructed by Michallon, after- 
 ward by Victor Bertin, then spent several years in Italy. 
 Medals, Paris, 1838, 1848, 1855, 1867 (Zxposition Universelle). 
 Chevalier of the Legion of Honor, 1846. Officer of the same, 
 1867. Died, 1875. Diploma to the Memory of Deceased Art- 
 ists (Exposition Universelle), 1878. 
 
 3A Medi @uak MUI a, s dreads stats ee ck Page 17 
 RO Lhe? Bride so ties hw SA Ge es Pets 33 
 i 28-7 he PA sie- Fath. cb Pas Pr os 42 
 OG ST he MOG 10 THOS AU ae ean we Cg ees 69 
 
 DAUBIGNY (CHARLES FRANGoIS), dec’d. 
 
 No 
 
 Born in Paris, 1817. Pupil of his father and Paul Delaroche, 
 and for three years studied in Italy. Medals, 1848, 1853, 1855, 
 1857, 1859, 1867. Chevalier of the Legion of Honor, 1859. 
 Officer of the same, 1874. Died, 1878. Diploma to the Mem- 
 ory of Deceased Artists (Exposition Universelle), 1878. 
 
 .55—ZLhe Time of Apple Blossoms.......... Page 72 
 
 DECAMPS (ALEXANDRE GABRIEL), dec’d. 
 
 No 
 No 
 
 Born in Paris, 1803. Died, 1860. Pupil of Abel de Pujol, 
 David, and Ingres. Travelled in the East in 1827, after which 
 he devoted himself to painting Oriental subjects. Medals, 1831, 
 1834. Chevalier of the Legion of Honor, 1839. Officer of the 
 same, 1851. 
 
 iP Bae DMCA ICH CMLISE ie codons AL oe cept ok Page 37 
 AB The Lemipests waivaas io. £304 Rea eee ts 60 
 
THE BOWNE COLLECTION. 
 
 DE NEUVILLE (ALPHONSE Marie), dec’d. 
 
 Born at Saint Omer, France, 1836. A member of a wealthy 
 family, his parents intended him for an official career, but he 
 was only willing to join the army and entered the school at 
 Lorient. Here his astonishing skill in drawing was remarked. 
 In order to make peace with his family he went to Paris and 
 entered the law school, but he spent more time at the military 
 school and in the Champs-de-Mars, sketching and becoming 
 familiar with all the details of a soldier’s life. He returned 
 home declaring he would be a painter or nothing. His friends 
 endeavored to discourage his determination, and the artists upon 
 whom he called in Paris advised him to go back home. Dela- 
 croix, however, became his friend, and with him De Neuville 
 spent many hours. He studied also with Picot. De Neuville’s 
 first pictures were not particularly remarkable, but the Franco- 
 Prussian war gave him inspiration and subjects almost without 
 limit, and since that time the artist has produced some of the 
 greatest battle-pictures of any time. Medals, Paris, 1859, 1861. 
 Chevalier of the Legion of Honor, 1873. Officer of the same, 
 1881. Died, 1885, 
 
 INOMR C7 WAV GHOURL 6. hc eka wien Jon le Page 66 
 
 DIAZ DE LA PENA (NarcissE VirGILE), dec’d, 
 
 Born in Bordeaux, 1809, of parents who had been banished from 
 Spain on account of political troubles. At ten years of age Diaz 
 was left an orphan, and at fifteen he was apprenticed to a maker 
 of porcelain, where his talent first displayed itself. He quar- 
 relled with and left his master, and subsequently spent several 
 years in most bitter poverty. After his ability as a most won- 
 derful colorist had been recognized, Diaz painted and sold many 
 pictures, endeavoring, by the accumulation of a fortune, to 
 avenge the poverty of his youth. He died in 1876. Medals 
 in 1844, 1846, 1848. Chevalier of the Legion of Honor, 
 
INDEX AND BIOGRAPHICAL NOTES. vi 
 
 No. 
 No. 
 No, 
 
 1851. Diploma to the memory of Deceased Artists (Zxposition 
 Universelle), 1878. : 
 
 t1— The Forest Depth. .... ee Shears Sie ener Page 25 
 Rh PAE LOV ESE LOO sexx rons a ay ee 49 
 
 51—Larly Autumn, Forest of Fontainebleau...... 67 
 
 DUPRE (Jutzs), dec’d. 
 
 Born at Nantes, 1812. When a boy he studied design in the 
 porcelain manufactory of his father, but soon turned his attention 
 to. landscape painting, and made his début at the Salon, 1831. 
 Medal, 1833. Chevalier of the Legion of Honor, 1849. Medal 
 (Exposition Universelle), 1867. Officer of the Legion of Honor, 
 1870. Died, 1889. 
 
 AT he WUMCW DOOR is, fact eo tape oie a eo Page 18 
 20 BA OLGON EVIE ae da ee 34 
 29 The: Clodded SRY ot i a eee 43 
 » 5 LAC LUNE PATS. es oh Oe 50 
 . 37—Banks of the Seine........ ree ore ela 52 
 
 FORTUNY-Y-CARBO (Mariano), dec’d. 
 
 Born at Réus, in Catalonia, 1838. Died in Rome, 1874. Pupil 
 of Palau, of Lorenzalez, and of the Barcelona Academy, where 
 he won the Prix de Rome in 1856. At Rome, which thence- 
 forth became his residence, he studied Raphael and made 
 sketches of Roman life. In 1859 he was sent to Morocco by 
 the Government to paint the incidents of General Prim’s cam- 
 paign. In 1866 he went to Paris, and then to Madrid, where 
 he remained three years studying the works of Velasquez, 
 Ribera, and Goya. His original style, correct drawing, and 
 
THE BOWNE COLLECTION, 
 
 fine color gained for him a great reputation, and the sale of the 
 contents of his studio after his death brought 800,000 francs. 
 
 No. 24—A Belle of the Campagna.......0...4.. . Page 38 
 IN a 0 oe tril carey SAI Ge koh ek Hi 48 
 
 FRERE (PIERRE Epovarp), dec’d. 
 
 Born at Paris, 1819. Pupil of Paul Delaroche. Medals at 
 Paris, 1850, 1852, 1855. Chevalier of the Legion of Honor, 
 1855. — Died, 1886, 
 
 INO 35 SHa7e G20 SHOPEAUIRE. io vn es als es hs Page 46 
 
 HAGBORG (AUGUST)...........0.02ee08- 1 ASH Ra RR roe Paris 
 
 Born at Gothenburg, Sweden. Pupil of Stockholm Academy, 
 and in Paris of Palmaroli. Medal, 1879. : 
 
 INO: Sys PAC AL USSEE GOULET ED oss. < oi5 var bee hk sos Page 74 
 
 HOBBEMA (MeEynpERT?), dec’d. 
 
 Born at Koeverden or at Amsterdam, 1638. Died at Amster- 
 dam, 1709. Landscape painter. Educated himself under the 
 influence of Jacob van Ruysdael. Much neglected in his time, 
 and little esteemed, he now takes rank as one of the greatest 
 masters of landscape art. He excels in atmospheric effects, in 
 tone, and in brilliancy of color. 
 
 No. 59—A Dutch Landscape 
 
 oo eee sree er eee esters 
 
INDEX AND BIOGRAPHICAL NOTES. 9 
 
 JACQUE (CHARLES EMILE). (03. 455s cc sesnie ees 111. -Paris 
 
 Born at Paris, 1813. Early in life studied with a geographical 
 engraver. Later, spent seven years in the army, and worked 
 two years in England as an engraver on wood. Is famous for 
 his etchings as well as his paintings. Medals, Paris, 1861, 1863, 
 1864, 1867. Chevalier of the Legion of Honor, 1867. 
 
 Not4—_ Porte dE BECO 16 win, ca ean Page 28 
 No. 44—TZhe Two Shepherds. eco ecre srecncese . 59 
 
 JOHNSON (DAvip); NUALeiiy ces tescet feccees ao NeW Vor 
 Born in New York, 1827. Elected member of the National 
 Academy, New York, 1862. Medal, Philadelphia, 1876. One 
 of the founders of the Artists’ Fund Society. 
 
 INO TO == AC TIRIOCTALCOG Dt irtcee oes a eisinlohey nelle ts tees Page 24 
 
 KOWALSKI (Von WiErusz ALFRED) 
 
 Born in Warsaw, Poland. Pupil of Brandt. Medal, 1878, 1883. 
 
 No, 9—Belated....ccreccceccsevecececccees Page 23 
 
 LAMBINET (Em11z), dec’d. 
 
 Born at Versailles, 1810. Pupil of Drélling. Medals, Paris, 
 1843, 1853, 1857. Chevalier of the Legion of Honor, 1867. 
 Died, 1878. 
 
 No. 54—A Wook of the Seine. ....+..0+2220005 Page 71 
 
IO THE BOWNE COLLECTION. 
 
 MEDARD (Evcinz)......... eer ri oe eee -Paris 
 
 Born at Paris. Pupil of Cogniet and of Géréme. Medals, 
 1879, 1886. 
 
 INOx-42-— ACHAEA Of BOSE oh Boo ha cis bs ook Pace 57 
 
 MEISSONIER (JEAN Louis ERNEST)............. 000000 Paris 
 
 Born at Lyons, 1813. He went to Paris when quite young, and 
 was for a time a pupil of Léon Cogniet. First exhibited at the 
 Salon in 1836. His picture, ‘‘ The Brawl ” (1855), was purchased 
 by Napoleon III. and presented to the late Prince Albert of 
 England. Medals, Paris, 1840, 1841, 1843, 1848. Grand 
 Medal of Honor, 1855 (Zafosition Universelle). One of the 
 eight Grand Medals of Honor (Zxposition Universelle), 1867 ; 
 Grand Medal of Honor (Zxfosition Universelle), 1878. Cheva-~ 
 lier of the Legion of Honor, 1846; Officer of the same, 1856 ; 
 Commander of the same, 1867; Grand Officer of the same, 
 1878. Member of the Institute of France, 1861. Honorary 
 member of the Royal Academy, London. 
 
 iN 
 
 No.-~49—On the Look-Out........... Bee one Page 65 
 MICHEL (Georges), dec’d. 
 
 Born, 1763. Died, 1843. 
 No. 12—Harvesters of the Sed...... 0.0 ccc cus Page 26 
 ING" Ale 7 Leon est Maga tei in 56 
 
 ING Onteniente ee oe, fs 75 
 
INDEX AND BIOGRAPHICAL NOTES. ii 
 
 MILLET (Jean Francois), dec’d. 
 
 Born at Greville, France, 1814. Pupil of Langlois at Cher- 
 bourg. The Municipality of Cherbourg gave him a small pen- 
 sion that he might go to study in Paris. Became pupil of Paul 
 Delaroche in 1837, and the friend of Corot, Rousseau, Dupré, 
 and Diaz. Medals, Paris, 1853, 1864, 1867 (Zxposition Univer- 
 selle). Chevalier of the Legion of Honor, 1868. Died, 1875. 
 Diploma to the Memory of Deceased Artists, 1878. 
 
 No. 48— The Seamstress..... ccc cece Fear ce ee Page 64 
 
 MILLET. (PRANGOIS)ivi acs adesngucstecsees vt esher 4s 4 er PANS 
 Son and pupil of his father, Jean Francois Millet, deceased. 
 
 No. 49.—TZhe Haystack........ se opellts 4s Weyet eco eaere OS 
 
 PORTEL JES (Gtpann). cio ina ce Antwerp 
 
 No. 15—TDhe Old Campaigner... ...ceceseeees+Page 29 
 
 RICHET (Lfon)......... Dsereisinsieeelcerar tiene setiees cu aris 
 
 Born at Solesmes. Pupil of Diaz, Lefebvre, and Boulanger. 
 Honorable mention, Salon, Paris, 1885. 
 
 No. 18— Zhe Border of the Forest......c...0.. Page 32 
 
 a 
 
 ero a nc 
 
 ee ee eee 
 
 | 
 
12 THE BOWNE COLLECTION. 
 
 ROUSSEAU (P. E. THEODORE), dec’d. 
 
 Born at Paris, 1812. Pupil of Lethiere. Showed himself a 
 naturalist from the first, and for thirteen years was excluded 
 from the Salon by an Academic jury. First exhibited in 1833. 
 Medals, 1834, 1849, 1855. Chevalier of the Legion of Honor, 
 1852. One of the eight Grand Medals of Honor (Zxfosition 
 Universelle), Paris, 1867. Died, 1867. Diploma to the Mem- 
 ory of Deceased Artists, 1878. 
 
 IN Oe I ed S Paria chins ee Page 35 
 INOW 202 TMG L arte SUMSEL , i ina LES ESOS UR EE Cds S1 
 INGO Ce CRI CLE as a Stns sis se ogee pais ka vince 61 
 SAW AENIINCA®) eiecststarecterstenatnesharstarei store, <is o-b'e, srenainieslon ads ¢ ak .«Rome 
 Nope e=— 7 he Weep Of Pater. oe ew HGS ne Rte stoke Page 16 
 STAMMEL (Prom; EBERHARD), « sjccccsc0.ccc ce ecees Dusseldorf 
 
 Born in Duren, 1832. Studied at Dusseldorf under Sohn, also 
 at Antwerp, Paris, and Munich. 
 
 ING S64 Pests DISCOVETY i kw wa on sa es one Page 22 
 TAMBURINI (Anronto)..... JG0t BUSUOOUS RGU SBO ooeeee ROME 
 INOS PE PA OR CRA COUT. 5 oo st 4 vias « ease Page 19 
 
 TROYON (Constantine), dec’d. 
 
 Born at Sevres, 1810. Died, 186s. Pupil of Rivereux. Medals, 
 1838, 1840, 1848, 1855. Chevalier of the Legion of Honor, 
 1849. Member of the Academy of Amsterdam. Diploma to 
 the Memory of Deceased Artists, 1878. 
 
 NO: 22— The Parm 34 6 ak ORs. SEE EET ERP Page 36 
 INOS PES OH CSR ASE a aa rer A ee a Pm 40 
 No. 39—Strayed from the Herd.-... 0 ccc. cc cece nese 54 
 
INDEX AND BIOGRAPHICAL NOTES. 13 
 
 VAN MARCKE (Emz)....... nee Rb codsae by ioenee bans 
 
 Born at Sevres, 1827. Pupil of Troyon. Medals, 1867, 1860, 
 1870, 1878, Chevalier of the Legion of Honor, 1872. 
 
 NOp 382A le 000s Scns oe oh es on eee Page 53 
 
 VIBERT (JEAN GEORGES)... csccsccdccwetssteucesneess oo balis 
 
 Born in Paris, 1840. Pupil of VEcole des Beaux-Arts, and of 
 Barrias, Paris. Medals, Paris, 1864, 1867, 1868, 1878 (Axfosi- 
 tion Universelle). Chevalier of the Legion of Honor, 1870. 
 
 No. 25—Alonstenoriat his Base... ue ess Page 39 
 
 WEEKS (EDWIN LORD). <, 02 045.00 concoeseeeet eee veces bats 
 
 Born in Boston, 1849. Pupil of Bonnat and Géréme. Honor- 
 able Mention, Paris, Salon, 1885. Gold Medal (Zxfosttion 
 Universelle), 1889. 
 
 WIGGINS (CARLETON)........0.006- Jags lose cede ei OWEN OLS 
 
 Born at Turners, N. Y., 1848. Pupil of the National Academy, 
 N. Y., also studied in Paris, 1880-81. Gold Medal Prize Fund 
 Exhibition, N. Y., 1887. 
 NO: 2 022 170:i2 OF CNAET oie. Snes ee Page 20 
 No. 40—TZhe Approaching Storm ...cccccccceccerees 55 
 NO, §6—=Amone the: RUSHES 2 enc dea ee Ges 
 
CATALOGUE. 
 
 +, * DIMENSIONS ARE GIVEN IN INCHES, AND REFER TO CANVAS OR PANEL, 
 EXCLUSIVE OF FRAME. THE FIRST FIGURES INDICATE THE HEIGHT, THE SECOND 
 
 THE WIDTH. 
 
 No. I 
 
 LOUIS-GEORGES BRILLOUIN 
 “Memories” 
 tolg x 814 
 
 Immersed in reflection, an old gentleman, whose social condition 
 is indicated by the sober richness of his attire, sits upon a stone 
 bench, in a park green with the ripeness of midsummer. It is easy 
 to discover in his pensive attitude, with his hands resting on the 
 head of his staff, a dreamer, who, in the (to the spectator) unseen 
 pageant passing before him in this familiar place, holds a phantom 
 review of the past. Around him is the vitality of nature and the 
 vivaciousness of life. He and his thoughts have passed the bound- 
 ary line of vigorous existence, and he lives his appointed time out in 
 communion with his memories. The red suit of the figure and the 
 green background constitute a perfect harmony of color made brill- 
 
 iant by intrinsic strength instead of artificial contrast. 
 
 A pleasant little story, not without a touch of pathos, attaches to this picture. 
 While the painter was still a student under Drélling, with no special idea as to 
 his future steps in art, he frequently encountered in his rambles in the Bois de 
 Boulogne an old gentleman, quaintly attired in the fashion of a previous gen- 
 eration, who always sat upon the same seat, motionless, thoughtful, evidently 
 dozing his long life away heedless of the hurrying world andits cares. He 
 was the last member of a noble family, impoverished by the Revolution, but 
 pensioned by some old family friend more fortunate in worldly gear than he. 
 Years after the old gentleman of the Bois had passed beyond the necessity of 
 pensions, and when the young art student had become a famous artist, chance 
 sent him a model who reminded him of his old acquaintance of the park, and 
 with picturesque liberties of costume Brillouin painted him as he is here. 
 
16 THE BOWNE COLLECTION. 
 
 = No. 2 
 
 A. SAVINI 
 “The Web of Fate’”’ 
 
 IOoX 13 
 
 The web of fate has often been spun for man in such fashion as 
 this. The whir of the spinning-wheel has swelled and slackened in 
 rhythmic harmony with the tinkle of the mandolin and the soft plead- 
 ings of the idle cavalier who has come to terminate his courtship 
 
 -for good or ill. Summer sunlight blazes in the chateau garden. The 
 harmony of nature, through the open casement, has accompanied ~ 
 those evoked by love and labor within. And now the decisive 
 moment has arrived. The lute is laid aside. The wheel has buzzed 
 itself to rest. That the web woven by fate and made fast by Cupid 
 will be rudely broken, no suggestion of the picture gives us any 
 
 authority for believing. 
 
 Savini is best known as a painter of episodes of this character, trifling in 
 themselves, but made agreeable by their charm of color, their sparkling execu- 
 tion, and the suggestiveness with which their stories are told. Life and love. 
 are quite as romantic to-day as they were three centuries ago; but in the past 
 they enjoyed the advantage of surroundings which added picturesqueness to 
 sentiment and lent them an attractiveness to the eye quite independent of their 
 appeal to the intelligence. That they should appeal to the artistic mind as 
 strongly as they do is but natural, and that they should strike a responsive 
 chord in the popular heart is equally comprehensible and just. 
 
THE BOWNE COLLECTION. 17 
 
 No. 3 
 i.beC COROT 
 
 “A Medizval Ruin” 
 
 QxX II 
 
 Through a vista of the forest, framed in with great trees, one sees, 
 beyond the precipitous verge of the foreground, a savage and wooded 
 ravine, out of which rises a tempest-scarred crag, crowned by a 
 medizyval ruin. It is a last decaying souvenir of the days when the 
 robber barons levied taxes on all who passed their castles, perched 
 upon almost inaccessible summits above the common highway, both 
 for purpose of defence and of observation of the approach of prey. 
 Corot’s subject for this sketch was found on one of the old roads in 
 the south of France by which traffic and travel passed into Italy; and 
 the castle, the abode of the owl and the adder when the artist fixed 
 its passing existence with his brush, had been, according to local 
 legend, the stronghold in the past of one of the most formidable 
 bands of robbers in old Provence. 
 
 Corot, the son of thrifty bourgeois parents, was, upon leaving school, sent 
 by his father to serve his apprenticeship with a cloth merchant. He proved a 
 recalcitrant pupil of the trade, given to sketching landscapes on the bill-heads 
 and adorning the business correspondence of the house with original designs. 
 His master gave him up in despair. ‘‘ He is no good in the shop,” said he, 
 ‘‘ perhaps he may be worth his salt out of doors.” So young Corot was sent 
 out with samples of cloth and trimmings to drum up trade among the small 
 retailers and little tailors of Paris. He was given all the out of fashion and 
 unsalable odds and ends in the shop, and his failure to find a market for them 
 led to his dismissal. ‘The elder Corot raved and stormed, but his son had fixed 
 his resolution to become a painter, and could not be moved by threats or per- 
 suasions to another Essay at the pleasures of commercial life. After a long 
 contest his father, who was well-to-do and quite able to afford him the indul- 
 gence, consented to gratify his ambition, and Corot was entered at the studio 
 of Victor Bertin as a pupil. ‘And so,” he was wont to say, “‘from handling 
 cloths that would not sell, I took to manufacturing cloths for wnich I soon 
 found that there was even less of a market. But there was, at any rate, the 
 pleasure of creation and production here, whether it sold or not.” 
 
 2 
 
 stot, 
 
Aan? 
 
 18 THE BOWNE COLLECTION. 
 
 No. 4 
 JULES DUPRE 
 
 “The Willow Brook” 
 83g x 10}¢ 
 
 A little river flows serenely between banks of greensward and 
 harvest fields, and palisades of old oaks and dwarf willows. On 
 the mirror-like surface of the stream, the color of the sky, which 
 has a centre of illuminated cloud, is reflected. The coloring is in 
 the artist’s ripest richness, and the little canvas has the power of the 
 most spacious work. Dupré was excessively fond of these cabinet 
 pieces, because he believed that he could in them illustrate his 
 theory, that mere size had nothing to do with the aspect of a 
 picture ; that the immensity of nature could be rendered quite as 
 
 well in the space of inches as in that of yards. 
 
 Of Jules Dupré, Mr. Theodore Child wrote from Paris,to Tze Sux of this 
 city, on the occasion of his death last October, an admirable study, of which 
 the following is a part: 
 
 “Born at Nantes in 1811, son of a porcelain manufacturer, he was taught 
 industrial drawing at an early age, but having shown a taste for painting he 
 Was sent to Paris and studied in the atelier of M. Diébold. He first exhibited 
 at the Salon of 1831, and then travelled all over France and England sketching 
 and making pictures. In 1833 he obtained a second-class medal at the Salon; 
 at the Universal Exhibition of 1867, another second-class medal; in 1849 he was 
 created Knight of the Legion of Honor; in 1870 he was promoted officer ; 
 at the Exhibition of 1889 he obtained a medal of honor, and his name was on 
 the list for promotion to the grade of Commander of the Legion of Honor. 
 Dupré was the last of the men of that generation full of flame and fury, of 
 excess of strength and splendid exaggeration, which revolutionized artistic 
 France after the historical days of July, 1830. His pictures dazzle eyes that 
 are accustomed to sober gray; but as Gautier has said: ‘These violent men, 
 whose very name made the Institute shudder with horror, were gloriously in 
 the right. Do what he will, man is always below the ideal and the real, and 
 
 his most superlative effort, far from going beyond the mark, scarcely even 
 reaches it.’ ” 
 
THE BOWNE COLLECTION. 19 
 
 No. 5 
 
 A. TAMBURINI 
 “The Pride of the Cellar” 
 
 121g X IO 
 
 An old convent cellarer has been sent to procure the prize wine 
 of his bins for the enjoyment of some monkish revellers. He clasps 
 the great wicker-covered flask in his arms as a father might carry 
 his sleeping child. His eyes dwell on it with regret at parting, 
 tempered by a longing fora sip of its time-ripened contents and a 
 sniff at their bouquet. Over the years during which it has lain at 
 rest his memory travels back as he bears it to the sacrifice. It has, 
 perhaps, outlived all the hands that plucked its grapes and pressed 
 their life-blood out to be sealed up in a dusky vault until the 
 alchemy of nature should make every drop within the dust-buried 
 bottle as precious as pure gold. But its day of doom has sounded 
 at last. In afew hours more, there will be nothing left of it but a 
 shattered flask upon the rubbish heap, and the recollection of the 
 
 cellarer who guarded it so long. 
 
 A native of Florence, and the holder of medals of honor at the Exhibitions 
 of Florence and of Rome, Antonio Tamburini possesses also, among 
 collectors, a popularity which is easily his due. His pictures are characterized 
 by purity and clearness of color,a modest brilliancy of effect,and a pains- 
 taking but not laborious technique. His monkish subjects are esteemed his 
 best. The Italian spirit of good-humored satire of the ecclesiastical insti- 
 tutions, to which the country nevertheless bows humbly, is strong within him. 
 He has his jest at the expense of the Church, and yet is a devout son to it, and 
 the Church laughs at the joke upon itself, and grants the jester ready abso- 
 lution for his effervescent irreverence. 
 
ny © 
 
 20 THE BOWNE COLLECTION. 
 
 No. 6 
 
 CARLETON WIGGINS 
 “In the Orchard” 
 
 12x18 
 
 The scene is a Long Island orchard, within the confines of the 
 historic Hamptons. Under the hardy fruit-trees, gnarled and twisted 
 by the winds that sweep in from the sea, sheep are grazing on the 
 short but juicy turf. Beyond the orchard fence, basking in sun- 
 light, are grainfields and stacks of hay. The season of the summer 
 is drawing to its end, and field and orchard are ripe for the hand of 
 
 the harvester. 
 
 The eastern end of Long Island, once famous from its association with the 
 Beecher family, has become to-day an artistic colony which holds in a propor- 
 tionate relation to New York the place that Barbizon does with Paris. A few 
 years ago its discovery as a sketching ground was hailed with delight by the 
 little coterie of painters who constituted the famous Tile Club. After they had 
 explored the ground and pointed the way, others of the guild followed in their 
 footsteps. At first it was merely sketching parties that invaded the Hamptons, 
 spending a few weeks of the summer there, but after a time an actual artistic 
 settlement began. Artists, weary of the country boarding-house, built sum- 
 mer cottages and studios for themselves, or transformed the ancient habita- 
 tions of the district to suit their needs. Easthampton became their special 
 abiding-place. The availability of the district to the city, from which it is 
 but a few hours removed by rail, and the fact that it offered subjects equally to 
 the landscape and figure painter, to the painter of cattle and the painter of the 
 sea, attracted to it representatives of every walk in native art, among the first 
 of whom was Mr. Wiggins, who has found some of his most attractive subjects 
 among its old orchards and its breezy downs. 
 
THE BOWNE COLLECTION. 21 
 
 No. 7 
 
 GEORGE H. BOGERT 
 “The Seine at Ivry” 
 
 I4 X 20 
 
 The river is busy with barges, the freight-carriers of the Seine, 
 which travel to and from the factories and their metropolitan mar- 
 kets of supply or sale. The shore is busy with the factories them- 
 selves, with chimneys belching smoke, and all the stir of industry at 
 full speed. One could scarcely expect to find a less favorable sub- 
 ject for artistic treatment than the hard, mechanical aspect and 
 employment of a manufacturing suburb of a great city ; but what 
 with the brightness and sparkle of river and sky, and the varied out- 
 lines and masses of the workshops and other structures which make 
 up the composition, the artist has produced a picture whose techni- 
 cal treatment invites commendation, while in its entirety it appeals 
 
 with pleasing effect to the eye. 
 
 Forty miles from Paris is Ivry-la-Bataille, where Henry IV. administered 
 such a drubbing to the Duke de Mayenne, as Macaulay commemorates it in 
 his stirring ballad. It is a place of history alone; one of the dullest and 
 sleepiest towns in France, forgotten by most people in its rural desuetude. 
 Ivry-sur-Seine, however, is quite a different community. It is one of the most 
 busy and thriving of industrial cities. It is a suburb of Paris, which has be- 
 come acentre for the manufacture of glass, earthenware, and chemicals, and 
 forms part of the circle of fortifications built for the defence of the city ; the 
 fort of Ivry, on the left bank of the Seine, being one of the most powerful in 
 the girdle of protectors of the gay city. The river above Paris has, thanks to 
 its atmospheric advantages, the alternating variety of its rural and suburban 
 scenery and its accessibility to the city, long been a favorite sketching route 
 for the artist, who, as Mr. Bogert shows us, finds even in unromantic, practi- 
 cal, and industrious Ivry itself, material plastic to his brush. The placid river, 
 scarcely ruffled by a ripple, the clear, cool sky, which, once you get away from 
 the smoke fog cf Paris, has the tint of opal and of pearl, the barges, pictur- 
 esque in their slow-moving ungainliness, modify the ugliness of the shore, and 
 lend their picturesqueness of form and color to the redemption of the scene. 
 
22 THE BOWNE COLLECTION. 
 
 No. 8 
 
 C. STAMMEL 
 
 “A Pleasing Discovery ”’ 
 
 15}6 X13 
 
 There has been a great deal of negotiating over this bond before 
 it was carried to the point which made the affixing of the great leaden 
 seal a concluding operation of the contract. Under such circum- 
 stances, the terms and clauses of the compact should certainly have 
 been defined without mistakes. But for all that, the thrifty old 
 money-lender, whose strong-boxes have disgorged some of their store 
 to further a spendthrift on his brief career, has discovered a flaw in 
 them which adds cent-per-cent to his interest, and lights his shrewd 
 old face up with a smile which he is too politic to allow to become a 
 
 grin of satisfaction, even in the privacy of his own sanctum. 
 
 A painter of many episodes of this character, in which the suggestion of the 
 story is never spoiled by a coarse effort at direct effect, Stammel, among all 
 the artists of Dusseldorf to-day, probably ranks highest in his power of utiliz- 
 ing the simple facts of nature for the best results. His natural predilection is 
 for the study of textures, and for experiments in rich color applied in simple 
 schemes, which renders this choice of subjects particularly agreeable to him, 
 and makes his treatment of them happiest. The face of the money-lender is 
 said to be a portrait, very vividly limned from memory, of one of the most 
 opulent and widest known usurers in Germany, 
 
THE BOWNE COLLECTION. 223 
 
 No. 9 
 ALFRED KOWALSKI 
 
 “ Belated ” 
 
 18}6 x 8}¢ 
 
 The day is late, and the night wind is rising bitter with frost. 
 It is almost the hour for the gray wolf to slink from its hungry 
 ambush in the snow-mantled thicket, and the huntsman has yet a 
 smart ride between himself and shelter and supper, not to mention 
 safety. A weary steed cannot stop to count its footsteps, when 
 urged by the fury of impatience not unmingled with anxiety. 
 Already the wayfarer can see dark spots that move along the horizon 
 with a sinister significance to him, and the snowy steppe is measured 
 with long bounds as the spurred and flogged jade bears its master 
 
 forward in his frantic race against the night and its terrors. 
 
 The life of the Polish people, which still preserves so much of its patriarchal 
 picturesqueness, has furnished material for a little body of modern painters in 
 Munich and in Paris, generally Poles themselves, which has produced much 
 spirited and brilliant work. Of the group of Poles educated at the Munich 
 Art Schools, Alfred Kowalski is probably the most noteworthy. Friederich 
 Pecht, the great German critic, speaks of him as aremarkable talent, and 
 especially commends his frequent touches of humor, and the fine national 
 character that he secures in his pictures. Kowalski is a huntsman and a wild 
 horseman, as well as a painter, and his subjects are rendered invariably from 
 personal observation. One snowy night he rode up to a posting-house on the 
 Polish steppes, his horse exhausted and himself shaking with excitement. He 
 had been chased some miles by: wolves. He greeted the party of Russian 
 officers of his acquaintance, who were gathered at supper, with a shout, 
 ‘**Such a subject! But upon my honor I was afraid at one time I should not 
 live to paint it.” The picture was exhibited by him the following year, and is 
 now in the Russian imperial collection. 
 
8 + 5 
 
 2 THE BOWNE COLLECTION. 
 
 2 
 
 No. 10 
 
 DAVID JOHNSON, N.A. 
 
 “The River Road” 
 
 12 xX 16 
 
 The land has been refreshed by a summer shower, and the sunset 
 makes a play of brilliant color amid the rifted clouds still heavy 
 with moisture. Gathering shades of evening additionally enrich a 
 landscape ripe with the full fruition of the year. The waters of a 
 placid and shallow little river reflect the sombre shadows of a clump 
 of trees in the middle distance, and the country stretches away 
 beyond, to the horizon, with a last gleam of light marking its undu- 
 lations. The river road is tracked out upon the grassy bank in the 
 foreground, and at the margin of the stream two seated figures are 
 seen. True and powerful in color and admirable in composition, the 
 
 picture represents the painter in the plenitude of his power. 
 
 Born in New York in 1827, David Johnson’s art is a product entirely of 
 personal study and observation. Although he received a few preliminary 
 lessons from Jasper F. Cropsey, the painter really found in Nature his true 
 teacher and master. He has, of all the great American landscape painters, 
 acquired least by contact, with the art of Europe, and his style is essentially 
 the result of experiment and individual intelligence and feeling. He hasnever 
 been abroad, and his works all illustrate, with a remarkably level, high 
 standard of excellence, types of familiar native scenery. A fine harmony of 
 rich color is one of their distinguishing characteristics. With this is allied a 
 massive dignity of composition and a firm and accurate rendition of form. 
 These qualities have won for the artist a place in American art similar to that 
 of Rousseau in France, 
 
THE BOWNE COLLECTION. 25 
 
 No. II 
 
 NARCISSE DIAZ DE LA PENA 
 
 “The Forest’s Depth” 
 86 XII 
 
 The mystery of the wildwood ever possessed for Diaz a subtle 
 charm. It was not only for what he saw in it, but for what it hid, 
 that he loved to paint it. He dwelt upon such subjects with a lin- 
 gering adoration, and wherever he is seen at his best it is in one of 
 these shadowy scenes, full of lurking splendors of rich color, accent- 
 uated by flashes of light from casual breaks in the vault of verdure, 
 with openings in which glimmer the waters of a forest pool, where 
 the deer may drink and the blackcock bathe, secure from the murder- 
 ous interruption of an intruding human foot. The artist, armed 
 with his brush, has privileges in such a spot which the hunter, 
 
 equipped for slaughter, never can enjoy. 
 
 A magnificent individuality in the personnel of art is that of the wooden- 
 legged painter of the Forest of Fontainebleau, sturdy and indomitable comba- 
 tant, proud and disdainful of the favors of life, who won his artistic victory by 
 the undeviating force of his personal confidence. He begged no man to buy 
 of him. When picture dealers and collectors alike shrugged their shoulders at 
 his canvases he said, ‘“‘ Very well, I can afford to keep them,’’ and so stumped 
 off to starve, like a soldier in the field, who, when his rations are short, buckles 
 his belt a hole tighter and looks to the enemy for his next meal. Of all the 
 painters of the Barbizon group, Diaz was the most distinguished personally, 
 because the man had in him embers of the fiery Spanish spirit that makes 
 proud poverty a virtue and genius a sacred thing. In life asin art, he was 
 ever a master, a magister, and above all a man. 
 
26 THE BOWNE COLLECTION. 
 
 No. 12 
 GEORGES MICHEL 
 
 ‘‘Earvesters of the Sea” 
 13X17 
 
 The sea is darkened by the shadow of a stormy sky, in which the 
 light of calm still struggles for supremacy. The fishermen, harvest- 
 ers of the sea, who reap a scanty subsistence at a measureless price 
 of peril and of toil, have made for land under the threat of the 
 tempest to come. Some have already beached their boats. Others 
 are scudding shoreward before the puffing gale. Ona rocky head- 
 land in the middle plane, the sturdy ruin of an old castle, mantled 
 in ivy, provides a beacon for them to steer by into safety. As in all 
 of Michel’s best pictures, the contrast between the turbulency of the 
 blustrous sky and the sombre solidity of the earth is made strikingly 
 effective. 
 
 Georges Michel, born in Paris on January 12, 1763, was one of the most 
 extraordinary characters in the history of art in France. He was a sturdy 
 little man, witty and vain, and naturally gifted as an artist. He painted for 
 pure love of painting, disdained all schools and traditions in art, and produced 
 an incredible number of pictures, to which he never signed his name unless 
 requested by a purchaser to do so ;_ because, as he put it, ‘* No man will ever 
 paint like me ; consequently my pictures require no signature.’”? Michel was 
 the real founder of the school of naturalism of which Millet, Rousseau, Diaz, 
 Corot, and their contemporaries are the accepted apostles, He died on June 
 7, 1843. 
 
THE BOWNE COLLECTION. 27 
 
 No. 13 
 
 LOUIS GEORGE BRILLOUIN 
 
 Lf fp 
 “The Bookworm” as f O 
 Iq X II 
 
 A prim and precise old gentleman, whose scrupulous neatness of 
 attire makes his grimy surroundings doubly dingy by contrast, has 
 meandered into the shop of a junkman, seduced by the prospect of a 
 prize among the battered volumes heaped up in a corner. He has 
 found a book to his taste; and, lost to everything but it, he devours it 
 page by page, undisturbed by the chaffering of sordid trade and the 
 squalid atmosphere about him. Meanwhile, the proprietor of the 
 shop, secure of the customer who has quartered himself upon him, 
 leaves him to himself, and dickers in the doorway with a peasant, 
 who is looking for a bargain in old iron, or a set of second-hand 
 
 shoes for his bony team. 
 
 The circumstances under which Brillouin chanced upon the subject for this 
 characteristic picture form a little historiette in themselves. During one of his 
 summer vacations, he found himself in one of the border cities of France— 
 possibly in Strasbourg. The landlord of his hotel became interested upon the 
 discovery that his guest was a painter, and exhibited to him several authentic 
 and valuable antiquities that he treasured among hishousehold gods. These he 
 said he had obtained from a certain second-hand dealer near by, who sold every- 
 thing, from pictures and books down to worn-out sabots and broken crockery. 
 Brillouin, interested in turn, sought out this magazine of illimitable possibili- 
 ties, and secured from his exploration of it a number of objects of quaint 
 antiquity which he added to the treasures of hisstudio. Beyond this he secured 
 the close and faithful study of the shop itself, which served him for a back- 
 ground for his figure of the bookworm, and formed the groundwork of one of 
 his most successful pictures. 
 
28 THE BOWNE COLLECTION. 
 
 No. 14 
 
 CHARLES EMILE JACQUE 
 
 “Porte de Bergerie”’ 
 13 X 978 
 
 The blue-bloused shepherd is calling his flock out of the fold. 
 The leaders advance hesitatingly, pushed by others behind them, into 
 the bright daylight from which they have been shut up. The end of 
 an inclement season has arrived, and the flock is destined for one of 
 the long pasturages, as the shepherd’s haversack, loaded with black- 
 
 bread and strong cheese for his own nourishment, shows, 
 
 Charles Jacque is the most variously gifted artist of his nation and time in 
 the diversity of his technique. He commenced active life at the age of seven- 
 teen as an engraver of maps. When he tired of this, which was very soon, he 
 enlisted as a soldier. After seven years of service in the ranks he went back 
 to map engraving, but only for a brief space. While in the army he had culti- 
 vated his natural talent for drawing, and one morning he resigned his topo- 
 graphical work forever and went in quest of a job as a draughtsman on wood. 
 He found one, and shortly after emigrated to England, where he obtained 
 regular employment, both in making original drawings on the block and in 
 copying paintings for engraving on wood. He had already begun experi- 
 menting as an etcher, and to him may be ascribed the origin of the great 
 modern revival in the art. He painted also, generally rustic scenes. His first 
 successes in oil were made with pictures of poultry, for which he had sucha 
 passion that he bred cocks and hens in his bedroom at his lodgings. These 
 were at once his pets and his models. As soon as Jacque found that his etch- 
 ings were popular enough to pay for publication he devoted himself largely to 
 their production. Their aggregate is estimated at over soo plates, forming a 
 number of valuable series of rustic scenes. He contributed also striking car- 
 icatures to Charivarz, experimented in lithography, and painted in water 
 colors and pastel. To everything he brought an individual touch and spirit. 
 The popularity of his paintings was not long in enabling him to abandon his 
 hack work for the wood engravers, to which he never returned. He has pro- 
 duced little of recent years, living in retirement on his farm, of which it is said 
 the chicken houses occupy more space than does the artist’s home. 
 
THE BOWNE COLLECTION. 29 
 
 No. 15 
 GERARD PORTELJE 
 
 “The Old Campaigner” 
 
 18 X 24 
 
 A veteran of the great wars, wounded and laid aside from the 
 ranks, is on his homeward way, to a future of superfluous old age, 
 the long familiar musket replaced by a pacific bundle and stick. He 
 has halted at a wayside tavern, where over his modest refreshment 
 he entertains the garde champétre, the landlord, and one of the cro- 
 nies of the peaceful house with some of the thrilling stories of his 
 campaigns, that no doubt lose none of their romance in the recital. 
 The rustics listen, absorbed in interest and admiration, and, thanks 
 to the old soldier's eloquence, almost imagine themselves actors in 
 the stirring scenes he describes. Executed in the painter’s best 
 
 style and spirit. 
 
 Among a certain class of subject painters, Portelje has long held high popu- 
 lar rank. He possesses in an eminent degree the: faculty of the story-teller, 
 while his technical ability isof a high order. There may be scored to his credit 
 a number of admirably executed canvases, which, entirely apart from their 
 value as compositions with a narrative purpose, possess a merit of their own 
 for accuracy of drawing, discriminating skill in color, and an execution at once 
 frank and complete. The tavern interior shown in this picture is a study of a 
 historical wayside hostelry, whose association with the incidents of the later 
 Napoleonic campaigns no doubt suggested to the artist the subject for the little 
 page from the book of real life for which he made it the frame, 
 
30 THE BOWNE COLLECTION. 
 
 No. 16 
 
 EDWIN LORD WEEKS 
 
 “The Pottery Merchant ” 
 
 25) X 20 
 
 The entire stock in trade of a Hindoo pottery merchant is exposed 
 for sale in front of his shop. There are all varieties of native earthen- 
 ware, from the great porous water-jars and the double-armed goglets, 
 in which water is cooled, down to rice dishes and a bit or two of 
 glazed ware, poor enough in itself, but fine by contrast with its 
 humble associates in trade. The painter has given careful attention 
 to the different textures and qualities of clay of which these objects 
 are composed, with successful results. The pottery merchant him- 
 self, sheltered in his dark little cabin from the sunlight that blazes 
 on the outer walls and on the roof overgrown with vegetation, bar- 
 gains with a customer in the doorway, whose yellow robe provides 
 
 the keynote for the color of the picture. 
 
 While Egypt and North Africa have long been popular subject sources, espe- 
 cially for the painters of France and Spain, but few of the artists of our day 
 have ventured into the remoter Orient in search of material for their brushes. 
 Perhaps the most noteworthy of these exceptional adventurers is Mr. Weeks. 
 Like the others he began his voyages with trips from the studios of Bonnat 
 and Gér6me to Cairo, and sojourns in Moorish Spain, in Morocco, Tangiers, 
 and Algiers. Thence he drifted to Jerusalem and Damascus, and finally, look- 
 ing still farther afield, to India. His pictures from this latter field are those 
 which have attracted most attention of late years. The novelty of the life they 
 depict, its garish splendor of color and barbaric sumptuousness of adornment 
 and ceremonial, familiar as they have been made by printed descriptions, are 
 presented by the painter with a vividness doubly forcible and striking, 
 dressed as they are in a commensurate dazzle of sunlight, and a power of glow- 
 
 ing and gleaming color in nature, that offsets that in the humanity which ani- 
 mates it. 
 
THE BOWNE COLLECTION. 31 
 
 No. 17 
 WALTER BLACKMAN 
 
 “An American Girl” 
 18g X15 
 
 Mr. Blackman has presented us with a more charming type of an 
 American girl than once did Mr. Henry James. He shows her to us 
 in profile, with a roseate background, her fair face rather pensive in 
 expression, and her downcast eyes softened by the tenderness of 
 dreams. ‘The picture is an idealized portrait of the highest type, in 
 which every detail, from the splendid crown of chestnut hair to the 
 filmy drapery that veils the shapely shoulders, is rendered by the art- 
 
 ist with a delicately sensitive hand. 
 
 Of all the pupils of Géréme whom America can claim as native to her soil, 
 Mr. Blackman betrays, perhaps, the least subjection to the methods of his mas- 
 ter. His talent, without being largely ambitious, has a decidedly original bent, 
 and while one occasionally finds suggestions of the Géréme school in his 
 smooth and polished ¢echnigue, no traces of mere imitation are discoverable 
 in him. The artist is especially happy in rendering the more delicate types of 
 female beauty, to which he always lends an ideal quality that removes them 
 from the realm of portraiture into that of creative art. 
 
Bc THE BOWNE COLLECTION. 
 
 No. 18 
 
 LEON RICHET 
 
 “The Border of the Forest ”’ 
 
 I5 x 18 
 
 A scene on the outskirts of the forest of Fontainebleau, which 
 one might almost imagine from the brush of Diaz. It is, in fact, 
 the production of a pupil who adopted much of his master’s style. 
 A group of trees occupies the foreground. Beyond one sees an 
 open landscape, lighted through the middle distance from a clouded 
 sky. The coloring is rich and strong, and the picture harmonious 
 
 in tone and solid in quality. 
 
 The works are but little known in America of this devoted pupil of a great 
 artist, who has himself reached a degree of unqualified eminence in his art. 
 The charming pictures of Richet command an appreciation from French 
 collectors and connoisseurs that prevents their finding their way into an open 
 market, except by the accident of the disposal of a collection. The greater 
 number of his subjects are found at Fontainebleau, where he paints over the 
 ground that Diaz cultivated to such artistic effect, and this fact adds not a 
 little to the suggestion of that master that the pictures of his pupil convey. 
 Richet has been an exem#t of the Salon since 188 5, and in 1888 received a third 
 class medal. 
 
THE BOWNE COLLECTION. 33 
 
 No. 19 
 JEAN BAPTISTE CAMILLE COROT 
 
 “ The Bridge ” ( 
 
 v 
 
 Ir x 1618 Ae \ 
 
 In Corot’s pictures, studies, and sketches, one may read the history 
 of his travels. This is a page from his roamings in Southern 
 Europe. A vast landscape, rocky and bare, extends in broken planes 
 and irregular masses, under the ardent blue sky of the South. 
 From an elevation in the foreground, over which a road passes, 
 we look down upon the windings of a river which the road crosses 
 by an ancient, castellated bridge, evidently built to dominate the 
 highway as well as further its progress over the stream. Solitude 
 adds gravity to the romantic associations of the storied past aroused 
 
 by the scene. 
 
 Corot made his first visit to Italy in 1825 and remained there three years. 
 On this and subsequent occasions here, and in the South of France, he 
 secured many subjects of the greatest historical interest for their recording of 
 the decaying and disappearing monuments to early and medizval civilization: 
 “The Bridge” is one of these. It is a relic of the middle ages, in that 
 portion of the old Roman territories in Gaul, commonly known as Provence. 
 The bridge is said to have long since disappeared,and the river, one of the 
 tributaries of the Rhone, to have become a mere ditch by the silting up under 
 which most of the streams of Southern France have ceased to be navigable. 
 
 3 
 
34 THE BOWNE COLLECTION. 
 
 No. 20 
 
 r. JULES DUPRE 
 
 \ cae “A Barbizon Prairie ’”’ 
 Om X 1238 
 
 One of the plains on the skirts of the famous forest of Fontaine- 
 bleau reaches into a distance of purple hills, under a gray and 
 clouded sky. The foreground is broken with bushes and irregu- 
 larities of the richly grassed soil. In the middle distance are some 
 oaks, majestic in their superb simplicity of form. The tone is 
 subdued, without sombreness. The color scheme is rich, the effect 
 powerful, and the execution broad and decided without sacrifice of 
 
 completeness in detail or quality. 
 
 Dupreé’s home life at L’Isle Adam, where, separated from his birthplace only 
 by the width of the river Oise, he lived, worked, and died, was once beauti- 
 fully described by one of his friends. ‘‘It is,’’ said he, ‘‘a modest house, 
 comfortable with the dourgeozse comfort that makes no pretence—a house in 
 which everything is calculated for the restful pleasure of an industrious life. 
 No street noise invades its walls to disturb the painter at his labor, which 
 never ends. The family, attentive and tender, guard his privacy as a sacred 
 thing. Souvenirs of his great friends surround him on the walls—magnificent 
 drawings by Théodore Rousseau among others, and a superb picture by Corot, 
 bought by Dupré out of his savings, and which he has refused to part with 
 even upon an offer of 50,0co francs. As often happens, a friend is a guest at 
 the hospitable board, and when the dinner is done, and Dupré has lighted his 
 pipe, the master talks, and we listen to his souvenirs. The spirit of his youth 
 wakes in him again. His words fill the dim room with glorious phantoms. 
 The great battle of art wages among the shadows till the pipes are out and the 
 hour of rest is at hand.” 
 
THE BOWNE COLLECTION. 35 
 
 No. 21 
 
 THEODORE ROUSSEAU 
 
 ey 
 
 “The Walled Farm” 
 63 X 12}¢ 
 
 An old farm, with rambling outhouses, all surrounded by orchards, 
 is enclosed within a girdle of stout stone walls that give it a mano- 
 rial aspect. Such farms were not uncommon in France half a cen- 
 tury ago, and some remain to-day. Over the grassy plain a river 
 flashes in the warm light of late afternoon, and a chain of hills gives 
 
 variety to the horizon line. 
 
 It is said to have been in the vicinity of this farm that the artist obtained 
 the material for his famous masterpiece ‘‘Le Givre,” or ‘‘ The Hoarfrost.” 
 Monsieur Albert Wolff, in his inimitable ‘‘ La Capitale de 1’Art,’’ recites of 
 this latter great picture, that one morning Jules Dupré entered the apartments 
 of Baroilhet, the then great baritone of the opera, and said: ‘‘I have a bar- 
 gain for you, old boy; I have a chef d’euvre to sell.” ‘*And by whom ?’’ 
 asked the singer. ‘‘ Théodore Rousseau.’’ ‘‘ He certainly has talent,” said 
 Baroilhet, ‘‘ plenty of it; but money is deuced scarce.” ‘*You can pay it 
 in two installments,’’ insinuated Dupré, “‘ 250 francs a month.” “* And where is 
 your chef @euvre ?”’ Dupré signalled from the window,and presently the 
 commissionnaire whom he had left waiting outside entered with his burden. 
 Baroilhet, a man of taste and one of the first to give any encouragement to 
 the painters of 1830, viewed the unveiling of the canvas with enthusiasm. He 
 paid the required sum for the picture, which Dupré had been vainly hawking 
 over Paris all the morning in order to relieve Rousseau’s pressing needs, and 
 became the possessor of ‘* Le Givre,’’ which at his sale, twenty years later, com- 
 manded the price of 17,000 francs, and which is now numbered among the 
 masterpieces of the Barbizon school in the great private collections of the 
 United States. 
 
36 THE BOWNE COLLECTION. 
 
 No. 22 
 
 CONSTANT TROYON 
 “ The Farm” 
 
 Ta GCE 
 
 Troyon, who set out as a landscape painter, was from the start 
 still a diligent student, whenever opportunity offered, of farm life 
 and character. He here gives us, with vigorous and characteristic 
 strokes, full of color and spirit, a corner of an old farmyard, where 
 the poultry forage for food, and some sheep and an old cow gather, 
 as is their gregarious wont, waiting for the familiar call to feed. 
 The character of the scenery, the dwarf willows, and the farm build- 
 ings would suggest the scene to be in one of the upper districts of 
 
 France. 
 
 It is said to have been the accident of a trip into Holland that made a cattle 
 painter of Troyon. Previous to that timehe had confined himself almost en- 
 tirely to landscape, and while his productions had been received with the 
 respect their vigor and originality commanded, they had brought him no profit- 
 able fame. The fact was, that he was too great a colorist to beable to give full 
 expression to himself in landscape falone. The pictures of Paul Potter, it is 
 believed, first opened his eyes and gave him a hint as to his true path. After 
 his return to Paris, the public were surprised by the complete transformation 
 in his subjects, and the remarkable advance in their results. His animals, 
 largely painted, with admirable color, fairly lived in landscapes brushed in 
 witha master hand. From this moment, Troyon’s success was assured, for 
 the furor for his pictures which then broke out only increased with time, and 
 is even more ardent to-day than when he died. 
 
THE BOWNE COLLECTION. 37 
 
 No. 23 
 ALEXANDRE GABRIEL DECAMPS 
 
 ‘“ The Alchemist ” 
 13X9% 
 
 The seeker after the philosopher's stone is absorbed in the 
 
 mystery of his quest in his laboratory. He stands at his furnace, 
 
 over whose bed of glowing coals some mystic combination which is 
 
 to transform base metal into gold is being fused. The gravity of 
 
 his face expresses that of his task. The room, littered with the 
 tools and appliances of his work, is sombre with such shadows as 
 belong to secret employments, prosecuted guardedly behind barred 
 
 and bolted doors. 
 
 Without any competent knowledge of the academic rules of art, Decamps 
 was one of -the great artists and reformers of his revolutionary time. His work 
 exhibits, in all its phases, the fierce and energetic spirit which swayed its creator, 
 whose childhood was intellectually dwarfed by a parental tyranny which made 
 the boy, with the soul of a poet, the companion of peasants, alittle savage of the 
 forests of Picardy, whose power of study was spoiled forever by the freedom 
 of his rude and untrammelled boyhood. Decamps subsequently educated him- 
 self, at what cost of self-repression and tireless application only he could have 
 told, but the habits of his robust and unrestricted youth remained with him 
 until the last. One characteristic they developed in him was a love of hunting, 
 and it was while engaged in the chase, in the forest of Fontainebleau, in 1860, 
 that he was thrown from his horse and killed. 
 
38 THE BOWNE COLLECTION. 
 
 No. 24 
 
 MARIANO FORTUNY 
 
 b 
 
 “A Belle of the Campagna’ 
 
 6% X 56 
 
 One of the chief pleasures of the most brilliant period of Fortuny’s 
 life—that which he spent in Rome—was to seek, among the shepherds 
 and herdsmen of the Campagna, the vanishing types of the great 
 Latin racé, which in its day dominated the civilized world. He 
 painted some superb examples of these. Here he gives us the head 
 of an Italian girl, a shepherdess of the Campagna, in the ripeness of 
 youthful beauty, swarthy, with a mane of black ringleted hair, and a 
 budding bust that promises a classical symmetry of womanly shapeli- 
 ness. That he was in love with his subject, the tender touch and 
 
 brilliant execution of the picture show. 
 
 That Fortuny owed his untimely death to his devotion to his studies in defi- 
 ance of the treacherous Roman climate, there isno doubt. He hada magnificent 
 studio in the Eternal City, which he had stuffed with art treasures for which 
 he traded pictures and sketches with the dealers in antiquities in Italy, Spain, 
 and Paris. He was in Grenada, painting with an incredible fury of product- 
 iveness, when the servant he had left in charge of his Roman studio died. 
 Fortuny returned to Rome at once, settling there in 1872, never to leave the 
 city except for a trip to Venice, and in 1873, when the Roman fever prostrated 
 him, to Portici, where, in a villa by the sea, he was in a fair way to recover his 
 health, when, encouraged by a slight improvement in his condition, he suddenly 
 shot off to Rome early in November, 1874. Before the month ended he was 
 dead. The old fever, aggravated to new power bya cold contracted while 
 painting out of doors in inclement weather and unhealthy atmosphere, ended 
 at thirty-five a life which deserved the full limit of man’s years of usefulness 
 tothe world. Fortuny died in harness. Upon his death-bed he made a sketch 
 for Mme. Fortuny’s album, of the death-mask of Beethoven, the composer. 
 
THE BOWNE COLLECTION. 39 
 
 No. 25 
 
 JEHAN GEORGES VIBERT 
 
 “Monsignor at his Ease ”’ 
 47% & O76 
 
 Serenely indifferent to the cares of Church and State, his eminence 
 takes his ease in his garden. Stretched at full length on his back, 
 with his head pillowed on his hands, and his eyes shaded by his hat, 
 he lies among the perfumed grasses and the daisies, lulled by the 
 murmur of the willow-shaded brook. His splendid ecclesiastical 
 vestments make a flame of vivid color against the modest verdure, 
 and constitute one of those daring experiments of contrast, of which 
 the artist is so fond. The painter’s manifest intention has been to 
 touch with the sly satire which is characteristic of him the luxurious 
 indolence and indifference to worldly cares of a great prince of the 
 
 Church. 
 
 Vibert will go down in the history of art as the painter of cardinals, although 
 these form by no means the most numerous class of subjects he has produced. 
 His trenchant satire, and the daring touch with which he handles the magnificence 
 of the cardinals’ robes of office, conspire to compel an attention to these pict- 
 ures, which others, quite as noteworthy perhaps, secure by the gradual process 
 of progressive attractiveness. The sale of ‘‘ The Missionary’s Story,” in the 
 Stewart collection, for $25,500, marks the crown of his success in this line. 
 At the sale of the Stebbins collection, in 1889, his ‘‘ Spanish Diligence Office,” 
 a subject of another character, in which he is equally brilliant and masterly, 
 brought $9,100. It is a fact known to comparatively few, that this satirist of 
 the brush is also a keen and witty wielder of the pen. Vibert is passionately 
 fond of the theatre, at which he is an almost nightly attendant, and has con- 
 tributed notably to its literature. His vaudeville ‘‘ Le Tribune Mécanique,” 
 his comedy ‘‘ Verglas,”’ and his comic scenes, have won him, in their degree, 
 almost as much commendation as his pictures. 
 
40 THE BOWNE COLLECTION. 
 
 No. 26 
 CONSTANT TROYON 
 
 “ Grazing ” 
 7X96 
 
 A black cow with a white face is seen in profile, walking slowly 
 and grazing as she goes. The lustre of her coat, the ripe and sappy 
 richness of the grass, the movement of the animal in her sedate 
 progress Over a secure pasturage, are admirably rendered. The 
 picture is one secured originally from the artist’s studio, in which it 
 was preserved by him as a keynote derived directly from nature and 
 
 impossible of duplication. 
 
 Among the French artists of his time, Troyon was the greatest traveller. Up 
 to his death, in 1865, his restless spirit kept him constantly exploring fresh 
 fields for variations of the subjects to which he had devoted himself. He pre- 
 served memoranda of every nook and corner of his own country, and his 
 works provide also a record of his industrious invasions of Holland, Bel- 
 gium, and England, which he knew almost as familiarly as France. A tireless 
 worker, his impatient spirit kept him continually on the rack with the belief 
 that he was not accomplishing enough. He seldom worked continuously on 
 one subject, but kept his studio full of pictures in various stages of progress, 
 which he took up and set aside again as the mood moved him. When his fury 
 of productiveness reached fever heat, he would depart for relief on one of 
 those journeys of which ‘* Grazing” is a souvenir. 
 
THE BOWNE COLLECTION. 4l 
 
 No. 27 
 MARIE-ROSA BONHEUR 
 
 ‘Monarch of the Herd” 
 
 I3 X 20 
 
 A splendid Norman bull is dozing in his stall. He is shown in 
 profile, lying upright, a magnificent bulk of creamy white with 
 broad black markings, his great shoulders lifted a little, his flanks i 
 
 relaxed, his hinder leg extended at ease, and his eyes closed. ‘This i 
 
 study, made under the most favorable auspices from nature, is char- 
 acterized by subtle beauties of color that are rare in the artist’s most 
 ambitious works. The original was a favorite animal with Mlle. 
 Bonheur, not only as a model but as a personal pet, reared by her, 
 
 and buried when its natural period of life was reached. 
 
 Marie-Rosa Bonheur is the daughter of a painter who died in 1853, proud 
 at having seen his child eclipse his own fame. She was born in Bordeaux in 
 1822, and at the age of nineteen, in 1841, sent her first pictures to the Salon. She 
 paints brutes, and she loves the brutes she paints. It is told of her that lions 
 have been tamed at her gentle touch, and that the regal bulls of the Scotch 
 Highlands have come to her to have their proud crests scratched. Personally 
 she is a pure and noble woman, of the largest and most catholic sympathy with 
 her kind. She was one of, if not the first person in our time to suggest the 
 establishment of an official system to prevent the shameful cruelty to animals 
 which her varied studies and investigations into brute life revealed to her. 
 
42 THE BOWNE COLLECTION. 
 
 No. 28 
 JEAN BAPTISTE CAMILLE COROT 
 
 “The Hillside Path” 
 
 oO X& 19078 
 
 To Corot, nature was always grandest in its greatest simplicity. 
 He illustrates it here in a broad and simple study of the crown of a 
 hill, intersected by a narrow path, up which a herdsman ascends 
 toward his flock, which is indicated in the middle plane. Beyond 
 the crest of the hill one obtains a purple glimpse of a distant hill. 
 The sky is radiant and vibrant with the tenderly brilliant light the 
 master loved to paint, the execution is broad and simple, and the 
 composition unostentatiously imposing in its dignified massiveness 
 and the finely felt and suggested contrast of substantial earth and 
 atmospheric immensity of space. 
 
 The picture was a favorite with the master, and was purchased 
 
 from his collection after his death. 
 
 It is told of Corot that he was once found painting a study of a blank white 
 wall against a blank blue sky, with just a morsel of creeping vine at one end 
 of the wall, and a few inches of red-tiled roof showing over the other. ‘‘ You 
 can never make a picture of that,” said his friend. ‘‘ My dear friend,” he re- 
 plied, ‘‘it zsa picture. I hope I may be able to copy it.” And in the next 
 Salon, Paris stood breathless before this blazing morsel of the burning South, 
 which is to-day a treasure in one of the great collections of the world. 
 Corot's whole life in art was devoted to the solution of such problems. Light 
 and air he worshipped, as the Parsee the sun, and it is to be recorded of him 
 that his most daring experiments in this direction were commonly his most 
 conspicuous successes. 
 
THE BOWNE COLLECTION, 43 
 
 No. 29. 
 JULES DUPRE 
 
 “ A Clouded Sky” 
 
 The sky is lowering with rain, and shadows the land with a menace 
 of the opening of its floodgates. The mood of the brooding heavens 
 is repeated in the varied inflections of light and shade in the land- 
 scape. There is an anticipatory rustle in the leaves of the fine old 
 oak tree in the foreground, and the stream on whose bank it stands 
 reflects in the variations of cool color on its surface the clouds that 
 float above it. In the middle plane a farmhouse and some grazing 
 cattle lend human interest and vitality to the scene. The color is 
 ripe and fresh, with all the harmoniousness of tone and fulness of 
 strength that are a distinguishing characteristic of the artist at his 
 best. 
 
 The last survivor of the men of 1830, the revolutionists of French art, died in 
 October, 1889, at the age of seventy-nine. It was to Jules Dupré more than any 
 other that Troyon owed his encouragement and guidance in the earlier years of 
 his artistic self-education, and throughout his life. Dupré was distinguished for 
 the readiness with which he placed himself at the service of his brother artists, 
 with substantial aid as well as mere advice and moral support. Dupré’s artistic 
 career was fortunate. The purchase by the Duc de Nemours of the very first 
 picture he exhibited at the Salon made him to a certain extent fashionable, and 
 secured for him a market which other men were many years in obtaining access 
 to. While readily disposing of hisown pictures, he was also an active and ener- 
 getic salesman for those of his friends. In arecent fine obituary article, Mr. 
 Theodore Child sums up his character thus: ‘‘ Dupré cared for nothing but his 
 art, his family, and his friends. Tothe end of his life he retained the fever and 
 the enthusiasm of 1830. With his white beardand his long hair he seemed, in his 
 later years, like a venerable apostle. His conversation was grandly poetic, and 
 enamelled with quotations from the great writers. His favorite authors were 
 Montaigne and La Fontaine. Like Jean Jacques Rousseau, who, as Jules Dupré 
 
44 THE BOWNE COLLECTION. 
 
 used to say, ‘ put some green into literature,’ this great artist was not content 
 merely to break with the classical and tiresome landscape of the past, nor was 
 he satisfied with simple realism or even with the measured and grave sentiment 
 of his English masters, Constable and Bonington. He might rather be called, 
 so far as inspiration is concerned, a French Turner, but a Turner who had 
 studied assiduously Ruysdael and Hobbema. Jules Dupré's pictures are always 
 full of soul and intense poetry.” 
 
THE BOWNE COLLECTION. 45 
 
 No. 30 
 DAVID COL 
 
 “ Suspicion ” 
 124g X IO 
 
 An easy-going old bachelor has dined simply but well, as is his 
 wont. In the luxurious lassitude of a replete stomach, he enjoys a 
 waking dream in his arm-chair, while his buxom and comely serving- 
 maid clears the board. She raises the empty wine-bottle to the light, 
 partly suspicious that her master has had a glass too much, and 
 partly to satisfy herself that he has left the flagon burdened with no 
 heeltaps, for whose disappearance she or the cat may be reproached. 
 The background is a comfortable modern Flemish interior. The 
 details, from the salad bowl, the dish of apples, the section of cheese, 
 with its glass cover on the table, to the larger accessories, are treated 
 with the same accuracy of drawing and substantial quality of execu- 
 
 tion as the figures themselves. 
 
 David Col is the master of gexrve painting of modern Belgium. He enjoys 
 an equal reputation for dry wit and a humorously satirical enjoyment of human 
 nature, in real life as in the works in which his mind reflects itself. This pic- 
 ture is an example in point. His popularity, it would appear, has not unnat- 
 urally induced unscrupulous men to forgeries of his work. So, on the back of 
 the panel on which ‘‘ Suspicion” is painted, he has squared off a tablet in 
 white paint, on which he has written in pencil, in bold characters, and before 
 the paint was quite dry, the following quaint pun upon the title and guarantee 
 of the picture’s identity combined : 
 
 ‘+ ¢ SUSPICION.’ 
 
 ‘‘T testify to having painted the picture on the other side: Antwerp, 22 
 
 December, 1884, Davip Cot.” 
 
46 THE BOWNE COLLECTION. 
 
 No. 31 
 
 PIERRE EDOUARD FRERE 
 
 ‘Share and Share Alike” 
 
 12} X OG 
 
 In a cottage kitchen the little daughter of the house and her good 
 friend, the house-dog, are at luncheon. At least the child is, while 
 her faithful comrade, squatting before her, patiently awaits the 
 moment when he may assert his prerogative of cleaning the bowl. 
 His expression is submissive, but intent. His little mistress gravely 
 encourages him to further exercise of self-denial, for which there 
 will be ample compensation in afternoon romps to come. ‘The sur- 
 roundings, like the chief objects of the composition, are painted with 
 a simple hand, but scrupulous devotion to the mass of the details ; 
 the color is subdued and strong, and the pretty little story is very 
 forcibly told. 
 
 Frenchmen regard Pierre Edouard Frére as one of the artistic paradoxes of 
 thecentury. A full-fledged pupil of Paul Delaroche, the king of classicists in 
 his day, Frére in his productions is one of the leaders of the French realists. 
 He was a modest leader, it is true, both in his subjects and his presentation of 
 their claims upon the public. But the world, which found him out on its own 
 account, has assigned him a permanent place without requesting his permis- 
 sion. Frére has been aptly called the Columbus of country children. He was 
 their discoverer as possible models, and he has given them a rank in art as 
 Millet gave one to the peasant, and Troyon to the ploughman with his oxen 
 and his shaggy dog. 
 
THE BOWNE .COLLECTION. AY. 
 
 No. 32 
 
 ANTONIO CASANOVA Y ESTORACH 
 
 ‘‘The Morning Cup” 
 
 ae Io X 7}g 
 fo 
 
 Father Frenciceo evidently finds the chocolate to his liking. None 
 but the best could charm such an expansive smile to that contented 
 face. It is the face of one who is competent to decide points of 
 culinary merit, whether they apply to brewing chocolate or baking 
 game pies, and the beverage it beams upon could require no higher 
 praise than its indorsement provides for it. He poises the saucer 
 warily, lest a single fat drop of the rich compound should waste 
 itself upon the barren floor. He absorbs the delicious draught slowly, 
 so that his palate may revel in the repeated luxury of deliberate in- 
 dulgence, and prolongs the pleasure of the cup by mouthfuls that 
 
 grow only more savory as they approach their end. 
 
 Casanova made his first appearance at the Salon of 1875, being at that time 
 on a business visit to Paris. In 1877 he again figured as an exhibitor, and this time 
 he had come to stay, for he had become a permanent resident of France. The 
 critical and the purely popular voice alike acclaimed the young Spaniard asa 
 worthy addition to the artistic cohort of the capital of art; and the gayety of 
 his moods, no less than the spirit and joyousness of his technique, won him 
 friends and patronage. In 1877, after the critics had accused him of an incli- 
 nation to trifling and easy rather than serious work, and hinted that he was 
 incapable of grander efforts, Casanova, in the dry, satirical spirit which is part 
 of his nature, prepared a surprise for them that should silence them forever. 
 He sent to the exhibition at the Palais d’Industrie, a huge canvas called 
 “Sword and Gown.” The scene was the interior of a convent during the 
 League. The monks were represented, with all the humor and nerve the artist 
 was capable of, arming themselves for the civil war. The figures were life- 
 
 size,and the treatment masterly. Casanova has not been troubled by the 
 critics since. 
 
43 THE BOWNE COLLECTION. 
 
 No. 33 
 MARIANO FORTUNY 
 
 “The Serenade ” 
 
 I5 X 1049 
 
 An ardent lover has emptied his purse into the lean pouches of a 
 beggar band of Spanish students, in honor of his lady love. They 
 serenade her under her balcony, with the combined harmonies of 
 guitar and mandolin and flute. Their leader twirls his tambourine 
 aloft upon his forefinger, adding the joyous jingle of its metallic cas- 
 tanets to the melodic tribute, over which the provider of the enter- 
 tainment, draped in his crimson cloak, watches with jealous eyes ; 
 for Spanish sefioritas have been known to be fickle before, when 
 beggar students have been comely and bold. For background we 
 have a flash of the lights of the Prado, under the indigo sky of a 
 
 midsummer night in Madrid. 
 
 Fortuny was twenty-eight years of age when he went to Madrid to study and 
 copy after the Spanish old masters. He painted some independent works 
 besides, among them his ‘‘ Mariposa ’’ and a number of characteristic local epi- 
 sodes, of which ‘“‘ The Serenade” is one. The romantic flavor which still per- 
 meates Spanish life and customs, and links the Spain of to-day with the Spain 
 of the days of Cervantes and Velasquez, found an appreciative delineator in the 
 young genius whose original and daring spirit stirred Spanish art out of the 
 sloth and indolence of generations of decadence, into revived life. Itwasdur- . 
 ing this first visit to Madrid that Fortuny became the friend of Madrazo, and 
 eventually his son-in-law, and the picture of the serenade may quite warrant- 
 ably be assumed to be a page out of his own amatory experiences, just as his 
 famous *‘ Spanish Marriage’ was suggested by the incidents and ceremonies 
 of his wedding with the Senorita Madrazo. 
 
THE BOWNE COLLECTION. 49 
 
 No. 34 
 NARCISSE VIRGILE DIAZ (DE LA PENa) 
 
 “ The Forest Pool ’, 
 
 I2X17 ae 
 
 It is a curious fact that, of all the group of painters of which he 
 made one of the leaders, Diaz, a cripple by the loss of a leg in boy- 
 hood, was the one who most thoroughly explored that fertile field of 
 artistic nature which they have made immortal. He knew all of 
 their sketching grounds—the willow-shaded rivulets, the plains and 
 fields and meadows, and the picturesque outskirts of the forest of 
 Fontainebleau, and he has left painted souvenirs of all. He also 
 knew the forest quite as well. He had, on his wooden leg, explored 
 its densest fastnesses, and painted here, there, everywhere, the pools 
 to which the hunted stag stole out to drink, and where the wild birds 
 bathed—spots to which even the foresters rarely penetrated, and 
 where, when they did, they would point to the peculiar trail upon 
 
 the ground and remark, ‘‘ The master has been here before us again.”’ 
 
 So much has been written of the life of Diaz, that a note upon his death 
 should be of interest. This event occurred in the winter of 1876. His friend 
 and admirer, Albert Wolff, describes it in this magnificent apostrophe at the 
 termination of a sketch of his life: 
 
 ‘““Tn 1876 Diaz felt himself seized with a malady of the chest that made all 
 work impossible ; he no longer possessed the resources for evoking the benefi- 
 cent sun by the magic of his color. Under the foggy sky of Paris he had no 
 wish to die ; the painter of the sun desired to have the sun as a witness of his 
 last agony. He took flight to Mentone, where, for the moment, he seemed 
 revived by the breath of a new life ; it was there that he painted his last pict- 
 ures. Death surprised him at work, for it was necessary with this nature, still 
 rich in energy even in its final illness, to wrest the brushes from his hands and 
 break them. Vanquished at once in body and in spirit, Diaz made no further 
 resistance : without work, life had no seductions for him. From his bed of 
 anguish, through the open window, he saw the landscape swimming in sun- 
 light, and the great enchanter died, contemplating, for the last time, the star 
 which had marshalled him to duty and to glory.” 
 
 4 
 
THE BOWNE COLLECTION. 
 
 Ne yee ak No. 35 
 
 JULES DUPRE 
 
 “The Little Farm” 
 8x10¥ 
 
 Cattle are drinking at a little pool which occupies the centre of 
 the foreground. Trees dapple the water with shade, and in the 
 middle ground a portion of the buildings of afarm is seen. The 
 distance is marked in alternations of breezy light and shadow, under 
 a sky in which roll fleecy masses of cloud. The time is midsummer 
 
 and the hour midday. 
 
 It was the sale of his first Salon picture to the Duc de Nemours that laid the 
 foundation for Jules Dupré’s fortune and fame. Albert Wolff tells how, years 
 after, when the duke had been long in political exile, till a turn in politics 
 opened France to him again, Dupré called on him to pay his respects upon 
 his arrival in Paris. The gallant young artist and the gallant young aristo- 
 crat of half a lifetime before faced each other, two fine, white-maned, time- 
 seared old men, to whom fortune, with all her caprices, had not been altogether 
 unkind. ‘‘ Monseigneur,” said the painter, ‘‘I have not forgotten that it was 
 your Royal Highness who first made me an artist by encouraging me to be 
 one.” ‘And I have your picture yet,” replied the prince. ‘‘ Come, let us look 
 at it;’’? and with the painter’s arm in his he conducted him to the salon of the 
 duchess, where hung the picture of that almost forgotten exhibition, still‘ elo- 
 quent in its freshness and power of nature of the truth of the art that had 
 created it. Dupré studied it for an instant in silence. The duke pressed his 
 arm gently. ‘‘ Your art, my friend,”’ he said, ‘‘is more fortunate than you or I. 
 It does not grow old,” 
 
THE “BOWME COLLECTION. im 
 
 No. 36 
 
 THEODORE ROUSSEAU 
 
 “The Farm, Sunset” 
 
 8X11 
 
 From the foreground a hill slopes upward to the middle plane, 
 where its crest is crowned with the rambling structures of a farm 
 shaded by trees. Over the brow of the hill, beyond the unseen low- 
 land, a line of distant hills marks the horizon against a sky sodden 
 with rain and inflamed with the lurid light of an angry sunset. The 
 light of the sky reflects sullenly in a pool in the foreground, and the 
 scud of the regathering storm blows in leaden vapors.across the fad- 
 
 ing illumination of the inclement day. 
 
 The fierce battle for recognition, his repeated and deliberately unjust rejec- 
 tions at the Salon, and his long contest with poverty predisposed Rousseau to a 
 frame of mind that would have rendered the works of a less courageous man 
 melancholy and despairing in character. In him they aroused the poetical and 
 reflective element latent in his blood. He was never happier than in the face of 
 stormy sunsets, or of moonlit nights full of mystery and the vague charm of 
 illimitable possibilities. He once wrote to a friend: ‘‘1 saw a sunset to-night 
 like the death of a madman, so full of terribly wild and dreamy forms, impos- 
 sible of conception or description. I dare not paint it. I scarcely dare re- 
 member it.” Within a decade after he penned these lines, he had solved the 
 mystery of the mad sunset he dared not paint. He died insane. 
 
THE BOWNE COLLECTION. 
 
 No. 37 
 
 JULES DUPRE 
 
 “Banks of the Seine” 
 
 13 x 18 
 
 Perched upon a high bank -a windmill rears its picturesque bulk 
 against the sky. Near by is a farmhouse. The river divides the 
 picture, and the farther bank rises in a high, sandy bluff. Blue 
 masses of hills close the horizon in, and the sky, full of the move- 
 ment of a coming storm, distributes great masses of shadow from its 
 shifting clouds. A number of trading boats and freight barges lend 
 life to the river, and moving figures make the shore busy. The com- 
 position possesses an almost panoramic vastness of space, but the 
 effect is strikingly concentrated, the coloring rich, and the execution 
 
 forcible to a degree not common even with the artist himself. 
 
 Albert Wolff considered Dupré not only one of the greatest landscape paint- 
 ers of the new era in France, but their precursor. While he was still painting 
 on porcelain at Sévres, he was spending his leisure time in the fields with 
 sketch-book and pencil, and at eighteen years he had already become a young 
 master. Landscape art was sunken in apparently hopeless artificiality when 
 Dupré began to paint his pictures directly from nature. The young painter 
 recognized the meaningless and worthless character of an art made up by rule 
 in the studio, out of little scraps and sketches done from nature, after the 
 fashion of the so-styled classical past ; and when it came his turn he began to 
 paint not compositions or pictures, but bits of nature seized on the spot, with 
 the skies gleaming, the clouds rolling, the waters flashing, the wind sweeping 
 over the plains and rustling among the trees. People were at once astonished 
 and charmed. They felt the truth he expressed, and accepted it, and the down- 
 fall of classical landscape began. 
 
THE BOWNE COLLECTION. 53 
 
 w No. 38 
 fin EMILE VAN MARCKE 
 
 “At the Pool”, 
 
 18 X 22 
 
 In a shallow pool in the foreground some cattle have sought re- 
 freshment from the heat of the pasture. They are led by a handsome 
 cow, white with red markings, which stands in the middle of the 
 composition with its companions grouped behind it. A clump of 
 trees shades the pool; in the middle plane cattle are seen grazing in a 
 spacious meadow; and the sky is banked with clouds, brilliantly 
 lighted against a bright blue sky. The coloring is fresh, and the 
 treatment broad and vigorous. In composition and execution the 
 
 picture is one of the most characteristic of the artist’s works. 
 
 A native of Sévres and a pupil of Troyon, Van Marcke came into an artistic 
 heritage upon his birth. His father was a landscape painter of merit, and his 
 mother a painter of flowers of a talent sufficiently pronounced to secure her a 
 Salon medal. An early marriage with the daughter of a chemist attached to 
 the Sévres factories condemned him to niné years’ servitude asa porcelain 
 painter. During this period he attracted the attention of Troyon, who weckly 
 visited Sévres for a day to see his mother, who resided there. The master 
 advised the young porcelain painter'to enter upon a more ambitious artistic 
 career, and in 1857 Van Marcke exhibited his first picture at the Salon. With 
 the death of Troyon, some ten years later, his follower succeeded to his place as 
 the first cattle painter of France. His earlier works exhibited to a considerable 
 extent the influence of his friend and master, but with the growth of his powers 
 came a style of his own. The only traces of Troyon one can discover in the 
 Van Marcke of to-day are a certain strength of form and breadth of effect, in 
 which the elder painter gloried, but which the younger artist qualifies with an 
 art and sentiment of his own, and which render all his work distinctive. 
 
THE BOWNE COLLECTION. 
 
 No. 39 
 
 CONSTANT TROYON 
 
 “Strayed from the Herd” 
 
 26 X 20 
 
 Dispersed by a summer shower, a herd of cows have been sepa- 
 rated over their pasturage. The squall is passing away, and the 
 rumblings of the thunder have followed the flashes of the lightning 
 into the wet and purple distance. One of the herd, a fine shapely 
 cow, is on the lookout for her companions. She occupies the centre 
 of the composition, and presents one of those types of animal life, 
 in her shapely symmetry of form and her beauty of markings, that 
 the artist studied so fondly and presented so well. The picture is 
 ripe and rich in color, and the treatment is indicative of the artist’s 
 best period. It was one of the works which he presérved as most 
 representative of himself until his death, and was purchased at that 
 
 time from his studio. 
 
 No stronger or sturdier figure has existed in French art than Constant 
 Troyon. Born in 1810, the son of a porcelain painter, who wished him to con- 
 tinue the family trade, Troyon early broke away from irksome artificial labor 
 in the Sévres factory, and went to nature for inspiration and the lessons of 
 truth in art. While by no means a slavish realist, he was ever an interpreter 
 of nature whose eye did not lose sight of his originals. His motives were 
 always picturesque, his effects generally magnificent in vastness and power, 
 his color fine, soberly rich and strong in harmonies which no false note ever 
 jarred, and his style never lacked the distinction of a master secure in his 
 knowledge and resources. Philip Gilbert Hamerton says truly of him that 
 “he had a more poetical mind than any other artist of the same class, and the 
 poetry of the fields has never been more feelingly interpreted than by him,” 
 and the “ Dictionnaire Larousse”? justly accords him an eternal place among the 
 masters of the genre. 
 
THE BOWNE COLLECTION. 55 
 
 No. 40 
 CARLETON WIGGINS 
 
 “The Approaching Storm” 
 237% X 3348 
 
 The threatening weather has warned the grazing herd to assemble 
 in the meadow, and they are now coming together. The sky, black- 
 ened with heavy banks of storm-clouds, is made the more sinister 
 by the single streak of almost livid light left visible in it over the 
 horizon. The intense darkness of a midsummer tempest shadows 
 
 the earth, and in the deathlike calm that precedes the storm, nature 
 
 awaits, shuddering, the bursting of the blast and the rending asun- 
 
 der of the clouds laden with waterspouts. 
 
 The lowlands of New Jersey, in the vicinity of New York City, have been 
 more extensively favored by the landscape painter than by the painter of 
 cattle. Mr. Wiggins was, perhaps, the pioneer in his walk of art to explote 
 this fertile field of artistic suggestion and inspiration. The character of the 
 scenery is individual as well as picturesque, and the variations of weather to 
 which the district is subject lend it an additional charm to the artist. Every 
 mood of nature may be studied in the meadows of the Hackensack, alternately 
 made brilliant by sunlight and gloomed by sudden showers, basking in mid- 
 summer haze to-day and swept to-morrow by storms as brief in duration as 
 they are sudden in their approach. These contrasts invest the subjects which 
 the artist discovers with a certain dramatic quality which adds appreciably to 
 their power and interest. It is not alone nature that is presented to his eye, 
 but nature endowed with moods and caprices of her own, which furnish him 
 with the foundation for works in which action and expression play an impor- 
 tant part. 
 
THE BOWNE COLEECTION. 
 
 No. 41 
 
 GEORGES MICHEL 
 
 “ The Forest Road” 
 
 27 % 35 
 
 A road leads out of the foreground into the forest, a forest such 
 as one reads of in the life of Cartouche, and in the history of the 
 “ Bandits of Bondy.” In the middle distance rises a bare and stony 
 hillside, upon whose summit a lonely farmhouse is seen. A wan 
 gray light illuminates the sky, piled up with clouds which darken 
 over the horizon. A pallid gleam lights up the hillside. The fore- 
 ground is in shadow, which, in the forest itself, deepens into posi- 
 tive gloom, fit atmosphere for the lurking footpad and the brigand, 
 ambushed for the passing traveller, with his blunderbuss at full cock 
 
 and murder and rapine in his heart. 
 
 The widow of Michel, when she supplied Sensier with the facts upon which 
 he based his biography of her husband, related to him one curious incident. 
 Early in his career, Michel made the acquaintance of the Baron d’Ivry,a very 
 wealthy man and a passionate amateur of painting. Unfortunately the Baron’s 
 skill was not equal to his ambition, and on several occasions Michel added a 
 touch to his pictures here and there to improve them. The Baron was 
 charmed and proposed a partnership to him, in virtue of which Michel was to 
 touch up his efforts at a fixed fee. This curious arrangement lasted for some 
 years, during which Michel visited the house in secret and worked with his 
 patron in a locked and guarded room. The Baron passed the retouched pict- 
 ures off as his own works, and as he purchased everything that Michel fin- 
 ished on his own account as well, it is not unlikely that he may have enjoyed 
 quite a reputation as an artist among his friends. But he wasa generous pay- 
 master and a sincere admirer of the painter. The Baron’s ambition seems to 
 have been to monopolize all of Michel’s work ; and even when the State wished 
 to purchase examples of it they were not available, as they had passed directly 
 from the artist’s easel to his patron’s house. 
 
THE BOWNE COLLECTION. 57 
 
 No. 42 
 
 E. MEDARD - i 
 
 “A Change of Base”’ 
 
 30 X 36 
 
 An episode of that immortal siege of Paris out of which French- 
 men continue to extract artistic souvenirs of the glory of heroic de- 
 feat. A detachment of gardes mobiles have been driven in from 4 
 work on the trenches at one point of the fortifications, and are exe- 
 cuting a movement upon another base of defence. The excitement . a 
 of the raw soldier shows itself in their ranks, and is in strong con- i og 
 trast to the disciplined steadiness and coolness of the regulars who | 
 form part of the main body. Artillery firing is seen in the distance, | 
 and here and there the ranks are broken by the fall of dead and 
 
 wounded men. { 
 
 Medard is one of the rare Frenchmen who have had the courage to paint war 
 as anything but a national triumph of conquest. One of his most successful 
 pictures was a ‘‘ Retreat,” showing a routed French army endeavoring to save 
 its artillery over roads deep with snow and mire, with a multitude of sanguin- 
 ary and realistic details. Medard’s preference is for compositions comprising 
 large bodies of troops and involving important strategic movements. He has 
 studied the science of war as well as the art of painting war, and handles his E 
 battalions with military as well as picturesque skill. His personal experience 
 in the service has thoroughly equipped him for his task, and many of his com- 
 positions are based on studies made by him during the annual reviews with : 
 which the French army is kept in military practice and perfected in discipline aH 
 and precision. Accurate aud painstaking in detail, his pictures have already 
 taken high rank with his compatriots as permanent records of the stirring Bi 
 times which so completely revolutionized France in politics and spirit. i} 
 
 H 
 i 
 nz 
 
THE BOWNE COLLECTION. 
 
 No. 43 
 W. C. BEAUQUESNE 
 “The Last Defence” 
 
 3526 X 46 
 
 It is the final stand of the forlorn hope. The army is in retreat. 
 Over roads where the mire is reddened with blood, the long trains of 
 ambulances heavy with mangled burdens, the lumbering artillery, 
 the color guard closing around a few tattered flags like the Spartan 
 legion at Thermopylez, press through the gathering night, saved only 
 from the horrors of a rout by their confidence in that thin line of 
 steel that falls back only step by step between them and the pursuing 
 foe, fighting to the death behind burning cottages and broken walls 
 and in the ditches of abandoned and ruined farms, giving its own life 
 up that the lives of many may be saved for another cast of the deadly 
 dice of war. It is one of the heroic horrors of hopeless self-sacri- 
 fice that M. Beauquesne paints in this episode of thrilling anticipa- 
 tion, which in another moment will be a whirling chaos of flame and 
 blood and death. 
 
 Beauqutesne belongs to the little army of military specialists in art whom the 
 Franco-Prussian war brought into existence. The conscription and the vol- 
 unteer service filled the ranks with art students and with painters who had 
 already taken their degrees. There was, indeed, an artistic legion enrolled for 
 service inthe defence of Paris. At the end of the war the experiences of 
 the French artists in the field immediately began to reveal themselves in the 
 exhibitions. Beauquesne was one of the leaders in what may be called epi- 
 sodic battle painting. His pictures are all incidents of his campaigns, noted 
 down at the time in his sketch-book and executed later with a dash and vigor 
 which show that the painter’s reminiscences have lost none of their pristine 
 fire. They make no pretension to the rigid accuracy of detail that character- 
 izes De Neuville and Detaille, but stand apart as strong, individual impressions 
 of a time calculated to impress itself deeply upon any receptive mind. Charac- 
 ter, action, anda clear story vividly told are their main characteristics. 
 
THE BOWNE COLLECTION. 59 
 
 No. 44 
 
 CHARLES EMILE JACQUE 
 
 “The Two Shepherds ” 
 
 Dy pos ors 
 
 They repose upon the turf at the edge of a little wood, the master 
 indulging in a doze while his dog keeps watchful guard upon his 
 charges. There is no fear of the sheep going astray under such vigi- 
 lant sentryship. The flock grazes about, content to browse and nibble 
 where the fare is good, without ambition to go further afield, although 
 the beaten path invites them to an exploration of the mysteries of 
 the grove. The foreground is cccupied by a pool, which darkens 
 under the reflection of a gray sky, portentous of the approach of 
 autumn with its shrewd winds and chilling rains, that will drive flock 
 
 and shepherds under shelter in a few weeks more. 
 
 When, after years of absence from the Salon, Jacque sent to that of 1888 two 
 compositions worthy of his best period, the French hailed the occasion almost 
 asa national triumph. One enthusiastic publisher promptly purchased the 
 right to have his principal composition etched. Both pictures were purchased 
 before the Salon was fairly opened. The triumph of the veteran, among his 
 hen-coops and his sheep-stables far away from the noisy town, was as complete 
 as triumph could be. The artist seems to have found life happy in his rural 
 retreat during his later years. His simple peasant neighbors regard him with 
 a cross between reverence for his genius—which they cannot understand —and 
 fear of him as a madman because of his practice of collecting worthless things 
 for use as models. Once he found a shepherd about to drown a poor old sheep- 
 dog that had outlived its usefulness. He purchased the doomed brute, and till 
 it died a natural death it was his constant companion and a regular figure in his 
 pictures. At another time a peasant was preparing to smash up a broken and 
 weather-stained old wheelbarrow for firewood. Jacque secured it at the price 
 of anew one. His studio was an open market for wornout tools and tattered 
 blouses and broken sabots. No wonder that the frugal rural mind sees in these 
 extravagances the vagaries of a disordered brain. 
 
 = 
 
THE BOWNE COLLECTION. 
 
 No. 45 
 ALEXANDRE GABRIEL DECAMPS 
 
 “The Tempest” 
 
 24 X 26 
 
 It has been a day of showers. ‘The earth is saturated with moist- 
 ure, and the ground is puddled and cut into runnels with the rains. 
 As the day has declined the weather has grown worse, until it has 
 acquired the bluster of one of those tempests that roar their fury 
 through the night, wreaking wrecks in the darkness. The huntsman 
 and his dog plod wearily homeward after a spoiled day’s sport, 
 through roads of mire, buffeted by angry gusts from the savage sky. 
 Desolation blows across the landscape like a ghost. The gale 
 whistles amid the verdure of the young oaks, and wrestles fiercely 
 with the sturdy branches of the veteran stem that guards the road- 
 side, and that to-morrow may be prone, one of the first victims of the 
 
 tempest’s wanton wrath. 
 
 Decamps made his public start in art as one of the satirists of the period of 
 the Restoration in France, whose famous lithographed caricatures had such 
 an influence on the politics of the day. The Greek struggle for independence 
 attracted him to the East, but he abandoned patriotism for art when he found 
 himself face to face with the picturesque lifeof Asia-Minor. His first exhibits 
 in the Salon of 183: were of subjects from the Orient, handled so originally, 
 and with such vigor of effect and color, that they scored a prodigious success, 
 and ranked him at once with the foremost painters of the new school. His 
 ambition was to be a great historical painter, however, and while he scored 
 successes with his biblical and historical pictures he never touched the stand- 
 ard he aspired to. He retired into the country, where he gave himself up to 
 the chase and to painting the scenes about him. He cultivated no intimacies, 
 and sought the solitude of the forest, with his dogs, at the first threat of a visi- 
 tor. The failure of his great dream undoubtedly oppressed him to his tragic 
 end, and he died, in spite of his fame and the fortune it brought, a soured and 
 misanthropic man. 
 
ee see SEA ET nn 
 
 sinpuitiansctiaielitaaii 
 
 THE BOWNE COLLECTION. 61 
 
 No. 46 | | 
 PIERRE-ETIENNE-THEODORE ROUSSEAU f - 
 “The Goatherd ’? 2 { | | 
 
 fe | 
 
 At the foot of a magnificent old oak tree, sturdy still in spite of 
 
 the blasting assaults of the lightning and the inroads of natural \i 
 
 decay, a goatherd reposes on the grass while his flock graze about | ia 
 him. Although he gives the title to the picture, its interest centres | 
 in the splendid portrait of the monarch of the forest which forms 
 its majestic centre, and which is surely one of the noblest studies 
 of a great landmark of nature ever painted. The background is fi 
 in keeping with the old oak tree itself, lonely and wild, full of the 
 charm of the remoter forest where nature reigns supreme and man 
 
 finds only incidental tolerance. 
 
 Rousseau was the son of a tailor, and entered upon the study of art with the i 
 sanction of his parents. He, it is told, secured their consent by secretly pro- f ui 
 curing colors and brushes, and painting a view of the village church and i} 
 graveyard of Montmartre, in which district he had begun sketching with the 
 pencil as a schoolboy. Rousseau speedily revolted at the stiff and artificial 
 style of landscape then alone in vogue, and turning his back on classicism 
 went forth to nature as a school. He explored the remoter and more lonely 
 and savage sections of France, living for months in the mountains and the 
 forests, and making everywhere those close and highly finished studies upon 
 which his future style was founded. In the same manner he explored the i 
 vicinity of Paris for material. Sensier describes him as spending his days 
 outside the barriers, sketching, and hurrying home after dark to paint by ii 
 candle-light in his studio. He began to attract attention in the Salon in 1830, 
 and one of his first pictures was purchased by the Duc d’Orleans for a good HH 
 price. The Government also made a bid for this picture for the National collec- 
 tion. The beginning was certainly auspicious for him. But political changes 
 affected the personnel of the Salon jury, and filled it with his enemies. The 
 silent and thoughtful bachelor married a woman subject to fits of incurable and | 
 
62 THE BOWNE COLLECTION. 
 
 violent derangement. With the insults and injuries of his enemies to goad him 
 on the one hand, and the horrors of a perpetual domestic inferno to rack him 
 on the other, Rousseau, during the most glorious period of his life, endured the 
 torments of a rock-bound Prometheus. He staggered under the burden till 
 it bore him down, and died, a paralytic, with an unbalanced mind, while the 
 mad wife survived him. 
 
THE BOWNE COLLECTION. 63 
 
 No. 47 
 J. L. E. MEISSONIER 
 
 “On the Lookout ” 
 
 8 xX 546 
 
 In a modest public house interior, of the middle of the last century, 
 a gentleman stands at his window watching for some passing object 
 of interest in the street below. He leans at ease against the angle of 
 the wall in which the window is recessed. His right hand is in his 
 breeches pocket. His left has just removed a long-stemmed clay 
 pipe from his mouth and holds it at the level of his breast. He 
 wears a black coat over a red waistcoat rather negligently buttoned, 
 red breeches, gray stockings, and black shoes with silver buckles. 
 His black hat is on his head, and his shirt of lawn, unadorned 
 with lace, shows at the throat and wrists. Behind him is a chair 
 «from which he has apparently risen in his impatience at the tardi- 
 ness of the other party, to the appointment of which he is the first 
 upon the scene. 
 
 The man at the window has ever been a favorite subject with Meissonier. 
 He has painted him in the costumes of a dozen periods, doing twenty different 
 things, but never, in any sense, as a repetition. The master is not a producer 
 of replicas. He frequently essays the exploitation of every side of an idea, 
 but if he paints ten ‘‘ Smokers”’ each is a different smoker, smoking and think- 
 ing and looking differently from the others. So it is with his men at the 
 window. Inthe face of one we read cupidity awaiting the settlement of a 
 debt; in another passion anticipating desire with fever-flushed face; in another 
 the indifferent friend whom a friend has summoned in order to confide his woes 
 tohim. Such, perhaps, is the gentleman of this picture. Certainly his ex- 
 pression is not serious enough for a duelist, or anxious enough for a lover 
 whose mistress keeps him tarrying at the tryst. He is simply rath_r bored. It 
 is a bright day outside. Paris is all abroad. What folly for a fellow to dry 
 himself up with tobacco smoke when there are pretty faces in the garden of 
 the Palais Royal, and witty words being bandied at the club. M. Meissonier 
 has the gift of making you think for his heroes, and this, no doubt, is what he 
 wishes us to think for this one. 
 
THE BOWNE COLLECTION. 
 
 No. 48 
 
 JEAN FRANCOIS MILLET 
 
 “The Seamstress” 
 
 a 
 I. im, . eo 
 EXE 4 rs 16 X 13 
 
 VA 
 
 ‘In a kitchen sco: a woman is seen in profile, at full length, 
 seated on a wicker-bottomed chair. She is sewing, with her face 
 turned down upon her work. She wears a gray cloth bodice, with a 
 blue cotton apron over a brown dress; a white cap on her head, anda 
 white collar at her neck, giving special relief to her face against the 
 background. The color is quiet but strong, and the pose of the 
 figure is characterized by that modest grace which Millet so well knew 
 how to give to the least complete as well as the most highly finished 
 representation of the female form, however garbed. The expression 
 of intentness upon her task, and the suggestion of movement in the 
 seamstress’s hands, are extremely characteristic. The picture is a close 
 
 study from life, finished with care. 
 
 The pedigree of this admirable example of the master, at his best period, is 
 given in aletter upon the back. The picture was purchased from a private 
 collection in Paris, in December, 1883, by P. F. Rudell, an American artist at that 
 time prosecuting his studies in Europe. Although the inherent evidences of its 
 authenticity were indubitable, Mr. Rudell added the crown to them by submit- 
 ting the pic’ 1re to Mme. Millet. She recognized it at once, and recalled clearly 
 the circumstances under which it had-been painted by her husband, 
 
THE BOWNE COLLECTION. 65 
 
 No. 49 
 FRANCOIS MILLET 
 
 “The Haystack” 
 21}g X 2934 
 
 They are building up the great haystack, the pride of the farm. 
 It has arisen tier on tier, until now the man who stands upon the 
 loaded haywagon must reach his forkful up to a man on a ladder 
 before it can be got to those who are levelling and packing the 
 towering top. Two wagons keep the stackers supplied. The 
 horses, worn out by a hard and long day’s toil, doze in their traces 
 or nibble a surreptitious mouthful from the stack. The field is 
 nearly bare. But a few more sheaves remain for removal. The 
 peaceful country reaches into a remote distance, and behind the stack 
 a portion of the farm buildings is seen, all bathed in the glory of a 
 
 golden late afternoon. 
 
 The commanding genius of the great Millet impressed itself indelibly upon 
 two members of his family. One is his brother, who after the death of their 
 mother and the breaking up of the family came to live and study with him at 
 Barbizon, and who is still alive. The work of this Millet is neither strong nor 
 original, but it is full of suggestions of his brother’s earlier style. Francois 
 Millet, the son, has advanced much farther. In many features, the selection of 
 subjects and their treatment especially, he shows the influence of his father’s 
 art, and certain of his peasant figures in pastel present a striking similarity to 
 his parent’s. It is in oil that he is most original and individual, and while he 
 selects rural scenes, animated by figures, he treats them with asentiment and a 
 feeling for color that invest them with a peculiar charm of their own. In spite 
 of the burden of a great name, the younger Millet occupies a position of 
 marked personal and artistic consideration in France, though it is only of very 
 recent years that his works have begun to find their way to the United States. 
 
 5 
 
THE BOWNE COLLECTION. 
 
 No. 50 
 
 +i ALPHONSE DE NEUVILLE 
 
 Sa ne Vanguard 7 
 
 a | 
 20 X 15)6/ ys ev * 
 
 The army is on the move. Through peaceful fields, where the 
 harvest has been stacked despite the tumult of war, the vanguard 
 advances. with a sharp lookout for signs of the enemy. Each man 
 clutches his bridle with a hand that is ready to respond to the first 
 warning of voice andeye. The horses themselves seem to participate 
 in the general spirit of caution and watchfulness. It would require 
 but a word to transform this battalion, stringing along through the 
 plain with the measured movement of a monstrous snake, into a ser- 
 ried front of flashing steel, with every heart throbbing for action, and 
 
 every hand armed for the work of death. 
 
 “De Neuville,” says Mr. Henry Bacon in his ‘Parisian Art and Artists,” 
 ‘‘was first known as an illustrator, being one of the best in France, and his 
 drawings were eagerly sought by publishers, abroad as well as at home. This 
 early training gave him such facility of drawing, such readiness of composition, 
 that when he entered the wider field of painting, he had but to add color to an 
 almost perfect talent, and stood at once foremost among his competitors.” De 
 Neuville trusted nothing in his pictures to chance. He used models for every- 
 thing. When he went on his summer vacations, his valet-de-chambre and his 
 cook accompanied him, dressed as soldiers, and posed between the execution of 
 their domestic duties for their master’s use. ‘As an illustration of his closeness 
 of observation and study, it is told that while painting his celebrated picture, 
 “The Last Cartridge,’’ he caused a running fire of musketry to be discharged 
 by his models, in order that he might catch the spirit even of the smoke and fix 
 it on his canvas. De Neuville was one of the very few men whom Delacroix 
 admitted to intimacy in his declining years. His door was open to him when it 
 was barred to all others, and the heroic veteran of the days of the French rev- 
 olution in art was, to the last, a guide, counsellor, and friend to the young artist 
 of these newer and vastly altered times. 
 
THE BOWNE COLLECTION. 67 
 
 No. 51 
 NARCISSE VIRGILE DIAZ (DE LA PENa) 
 
 “ Barly Bag ie Forest of Fontainebleau ” 
 
 S 
 
 20 X 26 
 
 The first light touch of the frost has commenced to invest the for- 
 est in the livery of autumn. Among the lingering greens of the 
 ripened summer time, the russets of the fall are stealing in. Over- 
 head the sky is blue, with the intense blue that is unmarred by 
 mists. The forest pool still refreshes the birds that have not yet 
 commenced their southward flight, and in the coverts of fern the hare 
 and the woodhen yet find refuge, undisturbed by anticipations of the 
 coming snow. ‘The sunlight is still warm and mellow that pours in 
 through the opening in the wood, and sends exploring rays among the 
 trees, touching their mossy trunks with glints of light, and giving to 
 a green or red leaf here and there the flash of an emerald or a ruby. 
 
 When Albert Wolff was introduced to Diaz for the first time, he relates that 
 he remarked to the painter that he owned one of his pictures, which he de- 
 scribed. Diaz listened with interest, and requested permission to call on his 
 new acquaintance and examine the work. Next morning he made the visit. 
 His host noted that he viewed the picture with repressed emotion. It repre- 
 sented a baby asleep in a cradle, and its mother sleeping in a chair beside it, with 
 the sunlight flooding in through an open window. After some moments Diaz 
 bluntly asked his host if he would sell the picture. The latter offered to give 
 ittohim. Finally they arranged to exchange it for another, and Diaz said : 
 “You have given me greater pleasure than I can describe. This woman and 
 child are my family. I painted them from nature, as they are, one summer 
 afternoon. For years the picture was part of the furniture of my bedroom, 
 but one day, when I was desperately hard up, a dealer who came along look- 
 ing for bargains offered me one hundred and fifty francs for it. I offered him 
 anything else, but he had set his mind on just this picture, and I finally sold it 
 tohim. It was like carrying off a part of my heart, but hunger knows no sen- 
 timent. From that day till this I had not seen or heard of it, and I certainly 
 never expected to recover it again. Now I have recovered a part of my youth 
 with it, and you are the good genius who restores it to me.” 
 
THE BOWNE COLLECTION. 
 
 = Remit No. 52 
 
 J. C. CAZIN 
 
 “The Hour of Rest and Peace’”’ 
 23 X 29 
 
 The last gleam lingers in a sky over which the clouds that carry 
 evening showers drift in rifted masses. The landscape is veiled in 
 the transparent shadow of early twilight. The fields are dim, and the 
 vapor rising from the streams commences to obscure without oblit- 
 erating the distant hills. The village road, passing across the fore- 
 ground, loses itself among the houses and gardens in the middle 
 plane. Over the fields, in one of the cottages, an evening lamp 
 already gleams in the window. It is the hour of rest and peace, not 
 only in its title, but also in the exquisite tenderness of touch and 
 
 poetry of sentiment with which the artist has fixed it on the canvas. 
 
 Cazin, of all the landscape painters of the day, is the one who approaches 
 Corot nearest in spirit. Their styles are entirely different, but they see nature 
 with the same eyes, and the differences in their individual renditions of her are 
 largely a matter of temperament. Cazin’s touch possesses a certain bold 
 frankness and decision that give force and vigor to his most delicate experi- 
 mentsin color, and although his taste inclines him to experiment upon well- 
 defined lines it is to be noted that his variety in the field he has made his own 
 is as infinite as that of nature herself. It is his faculty of comprehending and 
 his power of translating the subtlest inflections of color and atmosphere and 
 the finest variations of light and shade, that invests his simplest subjects with 
 the importance of the most ambitious pictures that he paints. They are all 
 notes scored from the great harmonies of nature, and in none of them does the 
 artist strike a discord. Cazin, atone time claimed with rapture by the impres- 
 sionists, is in fact the leader in the higher realism of landscape painting of our 
 time, and is as yet but at the threshold of his triumphs. 
 
THE BOWNE COLLECTION. 69 
 
 No. 53 
 
 j. cB Ce COROE L 
 
 “The Road to the Sea” 
 
 26 X 42 
 
 It is morning. Over the crown of a hillside, down which a road 
 descends, the roofs of village houses are seen. The hillside, the 
 road, the broken ground, brushwood, and trees, which constitute the 
 foreground, are all in shadow, but full of variety and form, delicately 
 defined and suggested, and constituting a harmonious and finely 
 balanced mass of subdued color against the luminous sky. The 
 figure of a fisherman in the road lends the one needed point of 
 vitality to the picture, which is a remarkably perfect example of 
 natural composition, rendered by the artist with the greatest frank- 
 ness and the finest appreciation of its subtleties. The color and 
 handling indicate the work to be a product of Corot’s strongest 
 
 period. 
 
 It is a part of the legend of Corot’s life that he was sixty years of age before 
 he sold a picture. He is said to have remarked to a friend on this occasion, 
 ‘“‘T have sold a picture at last. It is a pity. It breaks my collection.’ “His 
 expansive benevolence, however, gave him ample use for the money, when the 
 demand for his works did begin. He had, upon the death of his father, come 
 into an income of 40,coofrancs. The principal would revert, upon his death, to 
 relations. He scarcely touched even the interest, allowing it to accumulate for 
 the benefit of his heirs. He lived in inexpensive lodgings, and disbursed the 
 enormous sums his pictures brought him in among his needy friends and 
 brother artists. When Daumier was about to be turned out of the house in 
 which he had lived many years, Corot purchased it and presented it to him. 
 His friend accepted the gift, saying simply, ‘‘ You are the only man I esteem, 
 sufficiently to be able to accept such a favor from without a blush.” A short 
 time before his death, he closed a very large transaction with a wealthy mer- 
 chant. When the latter settled for the pictures he had purchased, Corot passed 
 
70 THE BOWNE COLLECTION. 
 
 him back ten notes of a thousand francs each. ‘‘ Take care of these for me,” 
 he said, ‘‘and hand one every year for ten years to the widow of my friend 
 Millet.” On another occasion a painter friend called on him to borrow 5,000 
 francs. Corot was in a bad humor that morning, and replied that he had not 
 the money. The moment the dejected man left the room, Corot’s conscience 
 smote him. He stripped off his blouse, gathered up from his drawer the 
 required sum, and hurried after his friend to beg his pardon and force the loan 
 upon him. This drawer of Corot’s was famous. In it, mixed with sketchbooks, 
 letters, squeezed-out paint tubes, and the like, was sometimes as much as 
 100,000 francs—the sinking fund on which the master drew for his benevolences. 
 
THE BOWNE COLLECTION. 71 
 
 No. 54 
 EMILE LAMBINET 
 
 “A Nook of the Seine ’”’ 
 
 26 X 36 
 
 The foreground is occupied by one of those placid and almost tide- 
 less backwaters of the Seine, in which the water-lily carpets the flood 
 and walls of rushes provide coverts for the crane. Against the sky 
 quivering with light, the delicate outlines of the alders and willows 
 build up in the middle plane a picturesque mass of verdure, whose 
 note of color, indefinite yet strong, accentuates the luminosity of the 
 atmosphere itself. The picture is another solution of the problem 
 which the artist continually sets himself—the problem of painting 
 light at its highest pitch, penetrating, dazzling, and vibrant with the 
 
 pulsations of life. 
 
 Lambinet, a native of the country of the Seine, will pass into the history of 
 art as its chief historian. Although he has found subjects at a distance, the 
 greater number of his works are transcripts of the nature amid which he was 
 born. It has been said of him, as was said of Daubigny in regard to the Oise, 
 that he has made the Seine immortal, so that if its channel should ever run dry 
 it would still exist and be perpetuated by his art. The subjects selected by 
 Lambinet are invariably simple in character. His pictures are, in fact, succes- 
 sive experiments in the painting of light, keyed to its highest pitch, as it might 
 be in rivalry with nature herself. No essay is too daring for him, and his in- 
 variable success with these has presented the world with a succession of the 
 most brilliant canvases, in which the modesty of the composition and the sim- 
 ple adjustment of the color scheme are lost in the radiant brightness with 
 which he endows the picture, as if he had mastered the secret of the sun and 
 fixed it on his palette. 
 
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THE BOWNE COLLECTION. 
 
 No. 55 
 CHARLES-FRANCOIS DAUBIGNY 
 
 ot The Time of Apple Blossoms” 
 
 33 Xx 62 
 
 The orchard is in blossom, and all the landscape is green with the 
 refreshing verdure of young spring. The branches of the willows 
 have the delicate contour of plumes, and the turf shows the varying 
 shade and color of green plush in the soft and hazy light. Never so 
 happy as in painting the re-awakening of the year at its most beautiful 
 period, the master painter of the Oise is at home here in one of the 
 most felicitously achieved of his favorite subjects. It is a true idyll 
 of the springtime, instinct with color, light, the richness of mounting 
 sap in branch and grass, the fatness of the generous earth, renewing 
 
 itself under a breeze that has the refreshing stimulus of new wine. 
 
 It was Théophile Gautier, in his ‘‘ Abécédaire du Salon de 1861,” who charged 
 Daubigny with being too readily content to fix his first impression upon can- 
 vas, and permit it to pass as complete. This was, toa certain extent, a just crit- 
 icism, but Gautier did not give the painter credit for the enormous vitality and 
 power, the quality of suggested completeness, that he could put in the slightest 
 impression, no matter how small its size. Nor did he score to his credit those 
 great canvases which, when the subject especially appealed to him, he fondled 
 with so loving and patient a hand. The river Oise and its banks were Dau- 
 bigny’s chief sketching fields. He kept a boat fitted up for long excursions, 
 with food and wine and cooking apparatus, and in it he drifted, worked, ate, 
 and even slept, as long as the season permitted it. ‘‘ The Time of Apple Blos- 
 soms”’ is one of his subjects of the Oise country, which, painted at a time when 
 his smaller works were popular, he used to say he did for the satisfaction of 
 doing them His ambition, indeed, was ‘‘ to paint pictures that would not 
 sell,” and he thus, unconsciously, produced his greatest and most important 
 works. His devotion to his art is said to have been the direct cause of Dau- 
 bigny’s death. Living and working so much upon the water, often in seasons 
 of rain and fog, he contracted a rheumatism which rendered his end one of 
 cruel agony. His last thought, according to his biographers, was of his art, 
 and he died with the name of his beloved friend Corot on his lips. 
 
THE BOWNE COLLECTION. 
 
 Jigs 
 
 No. 56 
 CARLETON WIGGINS 
 
 “‘“Among the Rushes” 
 
 30 X 56 
 
 A sedate white cow, grazing amid the salt grass pastures of Long 
 Island, has halted in a rushy pool among the sand-dunes to survey 
 her surroundings. The poise of the animal and her expression of 
 attention are admirably conveyed. The sea-breeze stirs the clouded 
 sky and blows the bending reeds. The sunlight has a sharp gleam, 
 and the water ripples under the breath of the wind. A sense of 
 wide space and free, fresh air characterizes the whole composition 
 
 and makes it vivid in its realistic strength. 
 
 Born in Turners, N. Y., in 1848, Carleton Wiggins was, until recently, iden- 
 tified with the small but able art colony of Brooklyn, where he had his studio. 
 He acquired his first experiences in art as a student of the National Academy 
 of Design, and later as a pupil of H. Carmienke, but his strongest develop- 
 ment is the result of some years of observation, study, and experiment in 
 Europe. He first exhibited at the National Academy in 1870,and in 1881 his 
 first exhibit at the Paris Salon secured him the indorsement of French critics. 
 While essentially a painter of cattle, Mr. Wiggins is also known as the author 
 of landscapes of rare quality and beauty of color and of feeling. He stands 
 at the head of the younger school of cattle painters in America. 
 
THE BOWNE COLLECTION. 
 
 , , No. 57 
 
 AUGUSTE HAGBORG 
 
 “The Mussel Gatherer ”’ 
 
 50 X 32 
 
 Interrupted in the mussel harvest by the rising of the tide, a 
 sturdy and comely fishermaiden has turned her face landward, and 
 measures the wide beach with long, strong strides, bearing her well- 
 filled basket as lightly as a child might carry a toy. The coast 
 reaches away behind her in a long perspective of shore and sand ; 
 the sea is gray and full of movement under the gray and windy sky, 
 while the screaming gulls, cleaving the air in clamorous and uneasy 
 flight, seem to predict the rising gale which will follow the rising 
 tide. 
 
 Hagborg is one of those men of the North of whom Sainte-Beuve once wrote: 
 ‘‘ They sing to us, with their brushes or their pens as it may be, tender and 
 simple romances of lives which wrest contentment from the surging sea and 
 the swirling snow.’’ A certain seriousness and gravity dominate the spirit of 
 Hagborg, but never predispose him to melancholy or gloom. Life is serious 
 in his eyes, but full of brightness too. Although born in Sweden and grounded 
 in his art at the National School of the Arts, he really graduated in Paris, under 
 Palmaroli, so that some of the lighter and airier elements of the genius of the 
 South are grafted onhis Northern temperament. These show themselves in his 
 method of treating his subjects, of which ‘‘ The Mussel Gatherer ”’ is a superior 
 example. In choice of subjects themselves he remains faithful to his father- 
 land. 
 
THE BOWNE COLLECTION. 75 
 
 No. 58 
 
 GEORGES MICHEL 
 
 “Montmartre ” 
 
 31 X 50 
 
 From an elevation which provides an irregular line of foreground, 
 we look down upon the plain of Montmartre as it was at the com- 
 mencement of the century. Over the vast expanse of what is now 
 one of the most populous parts of Paris and its suburbs, the lights 
 and shadows of the storm are at sinister play. Overhead the clouds 
 are blown in tormented masses by the blast. The wan light of the 
 tempestuous day gives ghastly prominence to a little village on the 
 plain, with its few houses and its windmills, which latter were Mont- 
 
 martre’s trademark in the past. 
 
 Montmartre was Michel’s favorite and chosen sketching ground. Every 
 afternoon, at a fixed hour, he would put up the shutters of his little curiosity 
 shop in Paris, and in company with his wife post off to the region of windmills 
 and quarries, to paint. Summer or winter, foul weather or fair, the curious pair 
 were still to be seen somewhere about the district, and the titanic energy with 
 which Michel worked resulted in the production of a great number of pictures 
 of Montmartre, which have now become priceless. Few equalled in size or 
 importance this example, which is of unusual dimensions and care of execution 
 for him. Michel, although he began life as a painter, and prospered latterly, 
 made no pretence of living by his art. He accumulated a little money at a petty 
 trade, which he had established for his son, who died, when the father contin- 
 ued the business, and put his pictures away as he painted them. He died in 
 contented and comfortable poverty in 1843, in his own house, just after the 
 movement in art which he had begun had been taken up by the greater masters, 
 Corot, Rousseau, Diaz, Daubigny, and Millet. 
 
THE BOWNE COLLECTION. 
 
 No. 59 
 
 \~ MEINDERT HOBBEMA 
 
 “A Dutch Landscape” 
 
 34 X 43 
 
 This is a landscape from the district of Drenthe, where Hobbema 
 found the material for most of his pictures of this character, while 
 Gueldres supplied him with those bustling streams with primitive 
 water mills that constitute the other variation of his art. Here 
 he gives us a road, entering into a scattered oak wood which occu- 
 pies the foreground. In the middle distance some trees, the outriders 
 of the forest, are seen, and the distance is a great champaign, made 
 joyous by the golden rays of the sun which the painter loved so well 
 to depict. A wagon drawn by two horses and filled with peasants 
 is entering the wood, and at the roadside some woodcutters pause at 
 their work to give the passers-by good cheer. The picture is a re- 
 markably strong and superior example of the master, and in match- 
 
 less condition of preservation. 
 
 Of Hobbema’s personal history, little is known. He was born in Amsterdam, 
 was a friend of Jacob van Ruysdael, and like Ruysdael was almost ignored by 
 his contemporaries. He devoted himself altogether to copying the nature that 
 surrounded him, and although endowed with less taste and less poetic feeling 
 than Ruysdael he copied nature more closely. M. Henri Havard says, ‘“‘ Whilst 
 the former produces his effects by mysterious undefined light and shade, the 
 latter, on the contrary, illumes his pictures with brilliant sunlight, which, find- 
 ing its way through the foliage of his great trees, gives an idea of content- 
 ment and joy. Whilst the one chooses the twilight hours when nature is 
 shrouded with a kind of veil, the other prefers the setting sun in all its bril- 
 liancy, warming the grassland by its rays and making it golden with its reflec- 
 tion. As regards excellence of execution, these two painters may be classed 
 together ; and if the brush of Ruysdael appears to be softer and more supple, 
 that of Hobbema is more decided in coloring and more robust in execution.” 
 
THE BOWNE COLLECTION. 77 
 
 It was not until 1739, a century after his birth, that Hobbema’s name began 
 to figure in the sales catalogues. His works are rare. The museums of Berlin, 
 Brussels, and Amsterdam are almost the only ones on the continent which pos- 
 sess any of them. There is but one in the Pinakothek at Munich. The best 
 examples, according to M. Havard, are to be found in private collections and 
 particularly in England, the Dulwich gallery owning an important work. 
 “High as their merit is,” says this authority, “‘it is quite as much to their 
 scarcity that we may attribute the high prices at which they are valued at the 
 present day,” 
 
 AMERICAN ART ASSOCIATION, 
 
 MANAGERS. 
 
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