ait ite is | iH RUS et Ay x Eo hy? vA +) ta? ae : IF tg ne | | |south, last week, was like visiting one | of the ereat museums of painting, for, |there, tor a-very few days, were shown fone hundred and sixty. pictures of the |rarest quality. | RECENT < HASE S spies in Art Ana ‘Eo enter the galleries of the Ameri-| | | can Art Association, Madison Square it was undoubtedly the most inter- esting exhibition of a purely artistic kind we have had in years) Indéediagy cannot recall another one that com- pared with it in the spirit of love and ‘understanding of the best in Art, and which alone selected and brought to- gether works of such artistic beauty; character and greatness. Just for the joy of living with them! | One felt that surely they were selected with the loving appreciation of the art- ist. There was something distinctly individual about the entire collection, broad and catholic though it was, for! it had a standard of quality, distin- ‘guished conception and brilliant exe- -cution throughout. The one authority—he who knew wotth of the highest order—it was he, William Merritt Chase, whose spirit pervaded the collection. For these pic- tures belonged to Mr. Chase and repre- sented about one-third of his entire col- lection. Artist to His Finger-Tips. Iirst of all—an artist to. his finger- -tipsy' an ardent collector of all things beautiful in art, and big and generous in his = tion of other men’s ability and achieve- ments his happiness has been to buy paint- ings in which he found great qualities. The artist’s name mattered not! For years Mr. Chase has continued to| add to his treasures, until house and stu- dios were overflowing and many pictures had to be stored for lack of hanging space, Consequently, a a portion of his collection it was which | viewed in the American art Galleries Association, and which Mr. Kirby jsold in the Plaza ballroom last week, il urried to the galleries on the first view day to find an enthusiastic crowd already there, and I recognized well-known paint- ‘ers and sculptors, collectors and buyers, lart-lovers and critics, at every turn. The | greatest enthusiasm was apparent and keen |delight expressed. ‘The exhibition is a revelation!” ‘Its standard and importance Pale absorbing. . ihere is not a weak spet! —it might be transferred, just as it stands, to a museum.” “A veritable artistic feast.” These were among the expressions I heard on all sides. Dean of American Art. thes Dean of Ameérican Art,” he has Deen called and 1t is a just title. None so willing to say so as his brother artists. Ever since hig return from Munich in the |late seventies, Chase has stood for the high- est in art. Nor has he narrowed! He may be called an international man, for he is as well known and as widely respected as an artist in Furope as he is here, being an! honorary member of practically all the: greatest art associations abroad, the valued | personal friend of most of the greatest liv- ine masters.of art and altogether a broad ‘and traveled man of unlimited knowledge. victions. We all know what he has done— for American art. Yet this exhibition came as a revelation tommiany. people. Expert. among, experts as he is! -Ilf-there was any doubt about rank, it has vanished. The exhibition and sale of the Chase col-' and is doing, in painting, his wonderful in- | fluence as a teacher, and what he has done | Mr. Chase as an authority of the very first | Personally he is beloved generally; but like. all strong men he has his enemies. He is! absolutely fearless and stands by his con- | Iechion) marked an*-epoch in art annals. : Over four thousand people visited the ex- hibition; in fact there was not an hour | that the galleries were not thronged while the collection was on view. As. 1 left the galleries that Monday I spied Mr. Chase just ahead greeting friends right and left. ao should think you would hate to part with them,” said one lady with.a poodle dog under her arm. “T would,” he replied, “if I had not many more at home.” “But you haven't given up collecting, have you?” she persisted. “Oi no!’ said Mir. Ghase “thats just. it. ‘must see them, they are be the one nay thie {Lie het aad me ‘with it and I heard no more. Marie Ann. I recently bought two superb Migeeey 204 still dite —. follows: ‘Landscape with Cows,” Mauve; M. C. Migel. ‘On the Balcony,’ A. Stevens; R. C..Vose.... ‘‘Near Venice,’’ Rico; M. Knoedler & Co..... “Study of Cow,’”’? Van Marcke; F. A. Vanderlip i*RBack of Venice,’ Ziem; M.. C. Miceli rem ‘“‘Boats on the Beach,’ Boudin; H. A. Thorne. ‘Still Life—Ovysters, etc.,” Vollon; Row@y Vose ‘Interior of Mosque,” Pasini; F. A. Vanderlip ‘Harbor Scene” ‘Boudin’ A. C. Barieseaoe cee ‘The Seine—Paris,” Lepines-A. A, Healy... * Marine,’ Mesdage» Hlaritsom sVWilliamasicereds *TTouses at Scheveningen,’? De Bock; S. Field- “Outskirts of Paris,’ Raffaelli; H. E. Stoeler.. “The Italian: Coast” Ricos ay Ag wititonie seem “Head of Brittany Girl,’ A. Stevens; M. Sneed “Autumn Landscape,” Monticelli; F. A. Van- Gérlip’ +s cage cies = A Roles ce eee “Over the Great Moors,’’ Michel; Col. Robert Woodward). se vie 2% Rls cued ee in eee ee “The. Big Black Kettle,” Emil Carlsen ban. V atidertipcses.). cutscene deta cen ee eee ‘Village on the Cliffs,” Bruckman; R. Seekel; Fruit,” Mettling; S. FPreldimess.ae “Confidences,” Myron Barlow; F..A. Vanderlip ‘La Communicante,’ James Wilson Morrice; WW. Seaman, Maeent ., \vecl, eee A’ Poet,’’. H. S. Hubbell; Miss: lausag@opena “Patient Fisherman,” Forain; A. C. Batnes. «: At the first session seventy-eight pic- § - tures brought a total of $22,415. Those which brought $300 or over were as $600 525 400 1,150 610 399 420 Pictures sold at the Second” session brought $29,405. “Landscape,” -Innless; Ho As Vandenrlipa anaes Head of a Young Woman,” A Stevens cmikees HL EEZOR saat so ape te 2 eal eee Spee “Tandscape—Dieppe,” Vollon; R. Seckel...... Fish,” Vollomn; Hy Ato Dno snes scien eee “Three Girls,’ Monticelli; Otto Bernet, agent. ‘Cattle Grazing,” Van Marcke; W. C. Migel.. pat ecient Landscape,” J. Dupre; F..A. Vane Clue Marre ware ere Cm Sarees Sy Sis Sk 14 Girl Knitting,’ Mauve; H.-Bs Stoenmuaneneer “Children Playing on the Seashore’ (water- colors); Blommers:: Mi, “Eiane ae eee eee “The Bathing Hour,” Boudin; H. A. Thorne. . ge Sleeping Soldier,” =D. A;~ Gros) bee vere CLO rlip cae sce las tere ah sooker sous) SOU ele ee Young Musician,” Roybet; Bi Willamcpe seen A 2DASCAD Es VeOL LOI. Vier Lo Ogii Ss Umer mae *Hish in the Market,’ Vollon; W. A. Putnam. ‘Sheep, *” Mauve; Holland Gallertesen sens “Lady in White Satin,” F. Willems; Henry Seis) a ts ee Rina NEA *“Head of a Woman,” Abbott Thayer; Otto Bernetagent 3. sl.) bss ace eee ‘Flowers,’ Vollon;- N.sSnead. >... oc. ee “Group of Arabs,” Frank Brangwyn; H. E, Ste ltt aaks Ves die aes Beams bec eae ae A Fete,’ Monticelli; Meredith Hare,.2.... 2. “In Serious Mood,” J. Frank Currier; Sam S. White, 3d =. 3400-0 Salerno ne “Shawangunk Mountains,” Inness; F. A. Van- GOT LED) vg hice B08. «x's eit bord ne i Bathing Resort,” Boudin; My Hare, eee eee “Frosty Morning in Normandy,” C. H. Davis; (Dea ec Et Or cba his a ID Sr fA sPicnic Party,’ Monticelli: M:Harew..... (‘Sleeping Girl’ G. H.-Breitner; F. A. Vanderlip “Courtship,” Bastien-Lepage; M. Franklin.... ‘Expectancy,’ A. Stevens; Knoedler & ‘Co.... The.’Cello Player,’ Whisltre; F, A. Vanderlip $540 S50; 360 300 400 850 430 430 _ 430 300 300 360 450 350 400 400 350 480 © 390 510 | 400 1,275 | 300 340 1,125 320 310 900 825 “The Harp Player,’ Kenyon Cox; Metropolitan Museum 6) 016 Sees O ld 6 bin Eels lean Ise ie ea celles) ak eapieener naam 390 | - i es i | ae H i ON FREE PUBLIC VIEW AT THE AMERICAN ART GALLERIES Mapison Square Soutrn, New York BEGINNING SATURDAY, MARCH 2np, 1912 THE PRIVATE COLLECTION OF WittiaM Merritt Cnase, N. A. ree i eee UNRESTRICTED PUBLIC SALE. IN THE GRAND BALLROOM OF THE PLAZA ON THURSDAY AND FRIDAY EVENINGS MARCH ‘ru AND 8rn, 1912 BEGINNING AT 8 O’cLOCK | ‘The Artist’s Daughter,” |The _Masquerade : tail” SMe aimee Night’s Dream, figs Kmocdier & Cov .s 1+, te grag eee Grand total Se SWRA Oy ere ‘eee amt, 3 : ee we he Pa Buin, 3 ES 4 A “ILLUSTRATED CATALOGUE OF THE VALUABLE PAINTINGS AND WATER COLORS FORMING THE PRIVATE COLLECTION OF WintuiAM Merrirr Cuase, N. A. TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE EVENINGS HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY, or THE AMERICAN ART ASSOCIATION, Manacers NEW YORK 1912 a Press of THE LENT 137-1389 East 25th Street, i & Grarr Come ; CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractionad advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, unless otherwise specified by the Auctioneer or Managers previous to or at the time of Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authen- ticity of, or any fault or defect in, any Lot, and make no War- ranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; fail- ing in which, the object or objects in question will be sold sub- ject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof. for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be re- moved during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shail be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The Undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for em- ploying careful carriers and packers, they will not hold themselves responsible for the acts and charges of the parties engaged for such services. Tue AMERICAN ART ASSOCIATION, Manacers THOMAS EK. KIRBY, Avcrionerr. MR. CHASE’S PICTURES This really remarkable collection of Mr. Chase’s presents to the truly artistic judgment not merely an opportunity of a lifetime, as the saying goes, but what is better and rarer—what amounts to a lifetime’s culling of the world’s art markets by one of the men whom the Government calls upon for expert opinion, who is familiar with all Euro- pean and American art, and who exploits nothing as a collector except excellence of painting as such. The collection is of unusual interest to genuine picture lovers—the true amateurs and connoisseurs of painting. Its interest to artists is so obvious, emphatic and well recognized that it need not be dwelt upon. It differs from all collections which have been sold at auction in this city. It was brought together neither to adorn a home, nor to form a collection, nor with the thought of seiling. Mr. Chase is authority for the statement that he never bought a picture with the idea of ever selling it, and his friends know that this is so. He bought in every instance because he found in the picture something which represented accomplishment in art—usually that elusive and mysterious character of excellence and achievement known as “quality,” a stamp of distinction and professional success in the art of the painter. It may almost be said—of those not themselves artists—that to like a painting in the Chase collec- tion is to be a connoisseur. The paintings for the most bea aside from being beautiful pictures, reach the emotions through the intellect. The beholder feels with them and understands them. He could not con- tent himself with standing off and admiring them. He comprehends presently Chase’s attitude and experiences, which, when he has failed to purchase a picture which he knew to be good, have prevented him from sleeping, and sent him back again after the picture, even if he had to pay more money for it. ‘Suppose I had bought an automobile,” one can fancy Chase saying, “or made a trip to Egypt, instead of buying some painting. I am sure the automobile would be smashed; a trip to Egypt is a possibility of any time; but I have got these paintings and all that they have given me.” He has bought the paintings anywhere he found them—in the artists’ studios, the dealers’ shops, the auction rooms of the world. The fact that he had a good painting by an artist never stopped igh alec’ Thao These a ees aoe him from buying another of the same man’s works, or another, or another, if he found another with the quality he sought. : Some of the canvasses in the collection are of museum importance. Some are distinguished ex- amples for lesser galleries. All are ‘painters’ pic- tures,” and few but would adorn any home made theirs. Some there be so specifically artistic that one would create an environment for them. Some of the pictures have been kept in Mr. Chase’s various studios, and others have been the familiar companions of his home on Stuyvesant Square. _ The writer asked him one day which among those at his house he liked best. The answer sums up the collection: “I have eight children,’’ said the painter, épaules en haut; ‘I love them all alike!’’ Dana H. Carro.u. New York, February, 1912. FIRST EVENING’S SALE THURSDAY, MARCH 7, 1912 IN THE GRAND BALLROOM OF THE PLAZA FirTH AVENUE, 57TH TO 58TH STREETS BEGINNING AT 8 O'CLOCK y~ F No. 1 EK. MATHON LES CHANTIERS DE CATEAUN A DIEPPE GO ee cas Height, 74% inches; length, 121, inches. eee OY La The title with the letters E. M. in monogram appears on the back of the panel. An inlet at the rear of an out-of-the-way quarter of a sea- board town puts in from the left, its starch-blue waters filling the middle distance between a fresh ereen foreground shore and the town which bounds the head of the basin. At the right, on a sloping bank, are the hauled-out sailing boats of the dock- yard which have not yet been put in commission for the spring. Far at the left, beyond the town buildings, tall masts rising above the roofs and trees suggest the harbor shipping. Signed on the back with the monogram, E. M. oe a Ne Te oat ee ee Be Nea \ No. 2 HARPER PENNINGTON AMERICAN, CONTEMPORARY A READER Height, 914 inches; width, 51% inches. a “If it had a butterfly on it, it could pass for a Whistler !”—the spontaneous remark of a lover of painting, which will be echoed many times by - those who view the panel. A handsome girl, beautifully painted. She leans gracefully at ease against the back and corner of a gray sofa, over which a light turquoise-blue robe is thrown, resting her open book on its rolling arm. Her right arm, flexed at the elbow, supports her head, the fingers buried in her wealth of chestnut hair. She faces the spectator, turned slightly to the left, her eyes steadfastly on her book. Their expression, the expression of the whole, shows that she is really reading. Her dove-gray kimono, — splashed with flowers of delicate colors—some with heliotrope effect—falls to a deep-toned rug’ that has the aspect of ancient and weathered colored marbles. A symphonic poem in paint; a lovely little picture ! Signed at the upper right, Harper Pennington. No. 3 GIUSEPPI DE NITTIS ITALIAN, 1846-1884 ad FS, WINTER | / — ; a _ Height, 4 inches; length, 51, inches. eee vo aes ce acme : An atmospheric morsel, full of the season, and of action. A broad, snow-covered road leading away from the spectator, beside a park, is filled with the carriages and pairs which were the glory of the fortunate in the pre-automobile age. The snow is not deep enough for sleighing, and seems only an early, half-expected presage of winter’s onslaught. ‘The equipages pass in both directions, drivers and footmen are muffled, and the spanking teams are laboring at a good trot. At one side, =» along the park, are two equestrians, one a woman on a gray. Within the park, snow-laden pines rise high above the road, appearing in the misty sil- houettes of a late winter afternoon. The reputa- tion of de Nittis in Paris as a clever painter will be well remembered by followers of the arts, and one charm of his work is here. | Signed at the lower right, De Nittis. | ) fin Wi We / | No. 4 BY ALEXANDER HUGO BAKKER- KOREFF DUTCH, 1824-1882 2 bd OLD LADY KNITTING Height, 6%, inches; width, 5 inches. (Panel) ay Boa Vosges oe A most comfortable homely scene, full of color, indeed of colors, yet made harmonious by the painstaking painter, who has allowed no detail to escape him. FRENCH, 1824-1886 FIGURES AND COLOR Height, 734, inches; length, 10 inches. EN Bee been pre-empted, this ge eo If the phrase had ng picture might be entitled Two Ladies of Color, for the figures, as usual with Monticelli, are less im- portant than the splendor of color with which he endues them. What a chromatic revel is here in the sartorial investiture of the two ladies, who both dress and speak and breathe the air from brilliant color tubes, between green and brown trees against a confused sky. Signed at the lower right, Monticelli. 3 Go fr MARTIN RICO >. NG 15 SPANISH, 1850-1908 \\ | V NEAR VENICE mo Py Bee 12% shehas: width, 9 inches. A river, of which we see about one-half the w in the foreground, sweeps away from the spectator shghtly toward the right, bending to the left again in the distance, which is closed in by the foliage of the banks at the bend. Above the trees there the distant spire of a church rises against the pale rose of the lower sky, which above is a delicate tur- quoise-blue. Along the bank of the stream at the left, tall trees lean toward the water without over- shadowing it, and at their foot, in the luxuriant green growths of summer, people walk or sit, and children play amid grasses and flowers, while ducks sport soberly on land or water near a rowboat moored at the water’s edge. The water here is a cool gray, with rich re- flections, and the foliage and landscape are done with a comparative looseness and delicacy of ex- pression that gives them quality, as against the hard precision of the more common Ricos. Signed at the lower left, Rico. y/ vY ¥ - Lat / oie ~ sit 7 we v > b& A es — * No. 16 seg ADOLPHE MONTICELLI of Z ton FRENCH, 1824-1886 HARMONY IN YELLOW Height, 13 inches; width, 8 inches. HA tas Pa de : 7 oe Va : One of the artist’s fetching groups of women out among red and russet trees, carrying their own sunlight with them, irradiating their gorg- eous gowns of yellow, scarlet, green and gold. One at the right is seated carelessly, her three com- panions standing at her side under the brilliant foliage against which the black stems of the tree’s branches are sharply drawn. ‘The grassy fore- ground takes on its natural green the golden tones of the foliage and apparel. From Cottier & Co. Nowy GEORGE H. BOUGHTON,N. A. /- ~ AMERICAN, 1834-1905 ao LANDSCAPE . Height, 13 inches; length, 19 inches, etd ae Lith? Bie om This seems to be merely a study of color harmo- nies, in a landscape simple and flat, which attracted the artist through the delicacy of the gradations in green of the lower surface verdure, sprinkled with common field flowers, on either side of a little used road that passes across the picture. It carries the suggestion of an English heath. ‘The fore- ground is bright under a gray sky, which shows a greenish-blue at one corner on the horizon. - Signed at the lower left, G. H. B, “Rg eee? a OO seat eee 3 y WA - 6 UP ec P my | ie | ¢ i fod / w“Y ES » ay of vy a | wet t i Ss ae ae ee so ) = No. 22 GEORGES MICHEL FRENCH, 1763-1843 f Le LANDSCAPE | Height, 93/4, inches; length, Peg On a hill in the foreground gyerlooking a broad valley, which extends to distant mountains, are a group of figures in countrymen’s clothes, on. whom falls the ight of a waning day. One man seeks to play with a small animal, a dog or a lamb. In the deep valley beyond them are other figures, and farther off some habitations. | No. 23 ROBERT BLUM AMERICAN, 1857-1904 VENETIAN BOATMEN Height, 101%, inches; length, 121% inches. / qo nae ae re Over the placid blue water, under a sky whose deeper blue is partly obscured by tenuous clouds, with here and there patches of white, half a dozen gondoliers are propelling their black and pointed crafts about. Straight away toward the ancient city with her familiar domes, a sailboat with can- vas up throws the reflection of her red wings on ’ the water, and to the right is anchored a square- rigged vessel with a black funnel. Signed at the lower left, Robt. Blum. No. 24 ANTOINE VOLLON’ | FRENCH, 1833-1900 fv - STILL LIFE ea = Lying on a table, against~a g¥eenis Height, 934, inches; length, 13 "L. and red- dish-brown background, a few common utensils and a fruit or vegetable are made by Vollon pic- turesque and fetching. Here is a rich, circular copper dish with a flat bottom and two side han- dles, tilted against the wall and reflecting its warm color in the sunlight. Beside it a brown and yel- low covered jar of crockery at once deepens and lightens the tone of the group, while near by is a long-handled pewter spoon. A canvas of mellow tone and quality. Signed at the lower right, A. Vollon. No. 25 A. BOULARD /) FRENCH Al | se EXTERIOR Height, 13 mG, width, 9 Vike LOO ee jaa canvas in rich, low” tones, Rhee: G out- side of a white cottage with heavily thatched roof. A bit of lingering light falls upon one side. Before the cottage in the dusk sits a woman with a red kerchief enfolding her head, a child standing at her knee, and with suggestions of well-aged colors appearing enticingly in their garments. A dull white cloud is seen against the sombre blue of the - evening sky. Signed at the lower left, A. B. eee ee esa No. 26 ALFRED STEVENS BELGIAN, 1828-1906 MARINE Height, 91, inches; width, 13 inches. | (Pastel) — a a rele By ie page TF (Uthesbela| A very simple marine, with the charm of vague- | ness and a winning rendering of values. A blue- gray sea, with slight motion in the water, runs from the foreground to a low horizon from whose flat line the sky rises in one tone of solid blue, tinged onee or twice with pinkish tufts of cloud vapor. The sun has set but it is still daylight, and the moon, well above the horizon, is white. Distant sail appear in silhouette and nearer by a black steamer is moving, the dull smoke from its funnel drifting lazily down the gentle wind. Signed at the lower left, Alfred Stevens. ae’ a No. 27 A. BOULARD FRENCH Naas 7 |¢ “FRENCH PEASANT HOUSES Height, 101% inches; length, 13% inches. ves (Panel) A group of stucco buildings with steep, thatched f roofs, appears in the evening dusk under the dark- ened sky. Light is still tingeig the lower clouds along the horizon, back of a wooded hill which rises between the two principal houses. Against the walls in the right foreground some figures bend over a fire that has been lighted there, which throws strange shadows on a neighboring rough, white wall. Near the fire a tall woman is seen ap- proaching. No. 28 W. L. BRUCKMAN DUTCH, CONTEMPORARY P, THE BACKYARD Height, 11 inches; oe. e incl - pei ae ss SF sees To comfortable bit ae the ee Countries, reveal- ing a homely scene of domestic industry and ap- parent content. Old Dutch houses with steep, red tiled roofs close in the clean backyard, whose grassy carpet is kept green by the stream which borders it across the foreground. Doors and windows are open on a sunshiny summer day. A pollard willow leans over the stream at the edge of the bank. Here a woman is engaged at wash- ing the household linen, while back of her an older woman in a blue skirt, white waist and cap, is making her way up the doorstep, and another old wife in a plum-colored blouse stands in the shelter of a porch. Bright, warm sunlight makes the place glow, under a sky showing light-gray clouds. Signed at the lower right, W. L. Bruckman. [ stt { ¢ No. 29 LOUIS METTLING FRENCH, 184'7- WEARY OF SPINNING Height, 1334 inches; width, es inches. : re A young woman in a white waist, low cut, with flowing sleeves, and wearing a heavy gold neck- lace, has turned from her spinning wheel of mahog- any tone and relaxed languidly in her high-backed chair, feet extended and ankles.crossed. One hand rests limp on her lap, the other has dropped at her side, still holding a strand of her work. She has dark hair and comely features, a gentle color in her cheeks and the suggestion of a tired smile on her lips. Her bright blue skirt is all but cov- ered by a rich, dark blue rug thrown around her, with broad white bands adorned with floral scrolls in red, green, blue and yellow. The quality of the painting in this rug, its texture and surface as well as the color, take the connoisseur’s eye at once, and a neutral background leaves this all to be uninter- ruptedly enjoyed. 3 Signed at the lower right, Mettling, ’69, No. 30 C. WESTERBECK DUTCH, CONTEMPORARY ee DUTCH CATTLE oO etteight, 91/, inches; length, 15%, O'S | In a vague and misty atmosphere with gray and grayish-white clouds hanging low over the level land, a broad bit of Holland is depicted—a shal- low, reed-grown river or inlet meandering through it—in tones of sandy brown and green. A gentle breeze or the force of a current marks the gray surface of the stream with broad, low ripples of white. At the left in moist green grass some Hol- stein cattle are grazing—a _ reddish-white cow among them—and picturesque Dutch windmills dot the landscape. Signed at the lower right, C. Westerbeck, Weg! 4 7 No. 31 FRANK MURA AMERICAN, CONTEMPORARY THE LITTLE SHEPHERDESS Height, 814 inches; length, 1444 incnes. /00 A vague and sentimental landscape with the Millet suggestion of peasant life and homely habi- tation. In the subdued lght of late afternoon which falls upon the center of the composition, a small shepherdess is seen leaning on her staff, her flock grazing about her on a gentle slope of ver- dure. She wears a brown habit with a bluish- green apron and a red kerchief on her head. At — the crest of the incline a farmhouse projects from the shadow of sheltering trees. A poetic expres- sion of the bucolic life in a quiet moment. Signed at the lower left, Mura, <> 28. he od No. 382 DE WILD ene CONTEMPORARY Cf I FEEDING TIME 9 y ay Height, 8, oy length, 16 ap ny, A sketch or study in low key of lic carriages drawn up under the shelter of a high shed, as about a railway station, and opposite a row of gray buildings with red window shades and adjoining gardens. ‘The brown horse of the nearer fiacre is feeding from the curb, the oblivious cabby on his seat turning toward the spectator, while beyond are other cabs and their drivers, who have dis- mounted, appearing in the shadows. Signed at the lower right, C. T. L., or C. F, L., or C. J. L., De Wild (of the Hague), No. 33 q4 J. H. TWACHTMAN p if . ae AMERICAN, 1853-1902 WORLD'S FAIR EXPOSITION BUILDINGS 9 Height, 12 inches; las 16.4 © fee is. OA VhE a exhibition ae wae there domes, tur- rets and flags are seen under a pale gray sky patched with white clouds, across a lagoon which reflects their faint buff tones and the neutral hue of the sky. Men on the nearer bank are surveying the scene, two of them conversing and a third standing alone on the bank. Out on the water a gondola is filled with passengers. | Signed at the lower right, J. H. Tiachenge No. 34 — FRANCOIS SAINT BONVIN iP FRENCH, 1817-1888 THE BLACKSMITH’S HELPER . r 5 Height, 16 inches; width, 101%, ingnes. ~ WU p / —— 6G ( 7 ra ¢, Cele. . . A tall, loose featured country youth of stupid expression stands three-quarters to the front be- side an anvil, in a dusky smithy, his hands crossed on the handle of a heavy mallet, gazing aloft. His white shirt is open at the throat and he wears a heavy leathern apron. About the foot of the anvil-rest horseshoes are scattered on the floor. In the background the red-shirted blacksmith has his back to the spectator as he watches and fans the forge. : / | _— 2 J ee a he é 4 & i y di for AQ ¢ & vy Ag Vn he Ve : » 0. 85 f Se” / ; FELIX ZIEM FRENCH, 1821-1911 BACK OF VENICE =i Ce a Height, 101% inches; length, 16 Ne 7 4 The city, white and pink, with its towers and domes looms low in the middle distance on the farther bank of a canal which traverses the can- “vas from left to right. At the left sailing boats are moored, the reflections of their richly colored sails and those of the brighter buildings appearing in the rippling water, projected toward the spec- tator. A bend in the stream in the right fore- ground carries it around a point of the nearer bank shaded by trees which lean toward the water. Under their sheltermg boughs picnickers have landed, their punt shoved onto the beach. It is difficult to realize in these filmy, freely- painted trees and foliage—filmy as those of Corot, almost—the -Ziem of the familiar type: Here again is manifest, as so often throughout this collection, the sort of canvas Mr. Chase sought— and found; canvases of a painter-like quality, not mere products of a picture-making studio. Signed at the lower right, Ziem. ¥ 4 O No. 36 EUGENE PAUL ULLMAN AMERICAN, CONTEMPORARY CORPUS CHRISTI PROCESSION Height, 1234 inches; length, V inches. OG pio = Ebates Oe The view taking in a goodly ree Cl land- scape about a French seaboard town, centers on a quay and basin of the port. In the immediate fore- ground the broad quay is deserted save for occa- sional figures coming and going, chatting in groups, or watching the procession of innumerable figures which is marching along the borders of the basin, the figures merely indicated in the mass of black, white and red. At the right the quay is bounded by a line of gray-toned houses, with high, irregular roofs of varied color. The basin, and beyond it another basin, are filled with picturesque shipping, and distant landscape and sea appear in suggestive lines of pale blue, white and green, be- neath a dove-gray sky. Inscribed at the lower right, “To my friend and teacher, William M. Chase. Eugene Paul Ullman.” Es No. 37 JEAN LOUIS HAMON FRENCH, 1821-1874 WALL FLOWERS ee 81%, inches; length, Ty, ae [9g | Vets That they are “wall flowers,” “these seven demure maidens, is patent at a glance. Yet one may look and one might wonder that such should be, if one were old-fashioned. Probably “The Girl’s” answer to-day would be that ’twas because they were de- mure. All in a row they sit, the seven timid visions of buxom youth, in low-necked evening gowns that once were fashionable, some with old- fashioned cornucopia bouquets, in a brilliantly il- luminated room before a mirror which reveals dancers. ‘I'wo at the end of the row exchange ob- servations, behind one’s uplifted fan, on the dancers. . Signed at the lower left, L. Hamon. a Ao |¥ i ~) % “~ a) b a” md re > ; jw ots a d Sed | No. 88 ANTOINE VOLLON FRENCH, 1833-1900 3 "s L a LANDSCAPE—TREPORT Height, 101% inches; Ce 16 ipches. AD () Here the painter of stun eee lifes and/ in- teresting portraits is seen as an artist who could put quality into whatever he did. This land- and sea-scape reveals the French town as a cluster of roofs, seen from the grassy heights behind it, the spectator looking over the buildings to the sea. And what color and quality everywhere, in the moist grass, the clear atmosphere over the land, the tiled roofs, the inviting, fascinating turquoise haze through which the Channel is seen! The whole is under a gray sky whose whiter clouds near the horizon take the faintest pink tinge. Characteristic in every way, it is a lovely picture by an able, versatile and true painter. Inscribed and signed at the lower right, Tréport, A. Vollon. No. 39 FRANCOIS FLAMENG FRENCH, CONTEMPORARY A BALL GAME AT TOLEDO fee Height, 121, inches; width, A7 inches x: aoe rae Under the battlemented Puerta del Sol—Gate of the Sun—some players are engaged at practice for their favorite ball game, pilota, working at it in the roadway while idlers look on. The road, up which the spectator is looking, passes along the crest of an escarpment bounded on the left by a parapet which protects the sidewalk from the declivity below. Seated on or leaning against this and at the curb, men and women gossip or cursorily turn to look at the players. To the right of the road the walls rise in red and smoky mass against a brilliant blue sky, the whole in a flood of sunlight. ; 7 Signed at the lower right, F. F. ’89. No. 40 LOUIS EUGENE BOUDIN FRENCH, 1824-1898 BOATS ON THE BEACH Height, 14 inches; length, 181% inches. sig Os Names af Heavy working boats, blue, green, black and red, have been hauled out on a low, irregular sandy beach which makes the foreground. Beyond them the greenish-blue sea is calm, yet there is the move- ment in the water which is never absent from the ocean; and in the distance appears a steamer under a gray, clouded sky. In the shelter of one of the hulls, two old men are working at the nets, which have been hung over spars to dry. The moisture of the beach, the feel of the sea- shore, the charm of old boats to the sea lover, and the handling of the colors here to the painter and the picture lover,—all combine to hold admira- tion and attention. Signed at the lower left, HE. Boudin, ’92. No. 41 ANTOINE VOLLON FRENCH, 1833-1900 STILL LIFE—OYSTERS, ETC. > eee 12%, inches; length, 16 inches. Le Ox CLenmyru A canvas not only delectable as a painting but which might fairly be said to be appetizing. Just a small heap of oysters in their shells, two of them opened, lying beside a group of pink and curled-up écrevisses, but what quality! And dexterity of brush! In the color and substance of the opened oysters the rendering and fidelity is little less than remarkable. And the combination of these simple and succulent gifts of the sea makes under the painter’s vision a most agreeable picture. Signed at the lower right, A. Vollon. vole No. 42 wt JULES ALEXIS MUENIER FRENCH, CONTEMPORARY TWILIGHT—A FRENCH VILLAGE ne Oo = ne Ee ee 18 pees ie th, 15 inches. / AVL A small Pinks or Geen Ln. French vil- fe lage is shown, with buildings rising ahead and at the left. Beyond those at the head of the street a green hill, supporting a few slight trees, mounts into the twilight mists. In the foreground the dusk is deeper and a yokel stands there, hands in pocket, before a door in which an old woman in a white cap stands gossiping with him. There is a sug- gestion of Bastien-Lepage in the canvas. The painter is represented in the Luxembourg. Signed at the lower right, J. A. Muenier, 89, No. 43. FRANK MURA AMERICAN, CONTEMPORARY _ THE WHITE CALF Ya . ~~ - Height, 14 inches; length, 21 inches. fog of Some cattle are feeding on the coarse grass t grows between clumps of bushes, in a low hillside field that slopes gently forward and to the right toward outbuildings and a barn partly screened by trees. Across the picture stands a fulvous cow grazing, and from her her white calf is ambling toward the spectator. The artist has made a care- ful study of the lean cow and the lanky calf, into whose clumsy walk he has put a good deal of ex- pression, Signed at the lower left, Mura, we F -_ No. 44 GASTON LA TOUCHE FRENCH, CONTEMPORARY THE GREEN BATH ROOM Height, 16 inches; width, 131% inches. (Panel) ai 4, 0 5 [rte E | J t a (~ tf A “eS { % et tw. ld | "Nb. 55 OO | ZG, THEOPHILE DE BOCK putTcH, 1850-1904 HOUSES AT SCHEVENINGEN oe Height, 13 Bhar mbna 20 ance) gray symphony, though full of sympathetic color. Just a long row of low, Dutch houses ex- tending across the canvas, before them a narrow road marked by two or three trees, of wispy fol- iage, and in the nearer foreground a parallel strip of light green grass. The buildings, steep-roofed and dormer-windowed, ring the changes of gray, their soft tones intermingled with green and ma- roon and the red of the roof-tiling. Doors are - open, an occasional old woman in her cap is seen as an incidental figure amongst the architecture, and chickens in the grass accentuate the air of do- mesticity which pervades the whole. Back of the line of houses that make the picture the land runs up hill, and the roofs of other buildings rise in fine and broken mass to the church, whose gray spire is outlined against a cloud-burdened sky of lighter gray. Signed at the lower left, Th. de Bock. wn Le Height, 21 inches; tof inches. we No. 56 WYATT EATON AMERICAN, DECEASED LASSITUDE A remarkably interesting study, with a fascinat- ing quality in the nude flesh, both in the fleeting, seemingly evanescent color tones of the pearl and ivory surface, and the exquisite modulations of form in the supple torse, and graceful physical abundance. ‘The young woman has seated _ her- self carelessly on a greenish drapery on the floor, her crossed legs projecting to her left, and thrown her shoulders back against suggested cushions of harmonious tone, both arms full extended to share in supporting the shoulders, and leaning to her right but with head thrown still further backward and to the left, in slumbrous relaxation. The light falls full upon the figure, but the poise of the head puts her face in partial shadow under her auburn hair. An admirable study with a strong charm of workmanship which leaves the physical beauty un- marred. Unsigned, but purchased by Mr. Chase from Mrs. Eaton. “SS i CSO No. 57 1} /4— ALSON SKINNER CLARK ea. AMERICAN, 1876- — WATERTOWN IN WINTER yi / 0 22 Height, 16 inches; length, 20 iftches. Here the painter has presented a scene over th roofs of a typical American city of the small class, in the East of the country, in Winter time. The roofs are snow-covered, tall chimneys rise among them from factory buildings, and from one of the lesser chimneys a red flame shoots upward. The atmosphere is wet and thick, and a cloud of white steam, blown away from the spectator, ob- scures a part of the townscape, No. 58 mp On T. COSSAAR Soa: ; ENGLISH A HILLSIDE TOWN Height, 17 inches; length, 24 inches. Sone Wate ae ) With the utmost simplicity the artist has got an interesting effect of a crowded city on a hill- side above a sluggish stream. The houses and other buildings are all clustered together, rising in ir- regular tiers and a more or less solid mass from the foreground stream to the crest of the hill, above which the spire of a large church rises against a bluish-gray sky touched with pink. Boats lie in the river, and on the hither bank a boatman ap- proaches the water. Signed at the lower left, T. Cossaar. a ee No. 59 ALFRED PHILIPPE ROLL FRENCH, CONTEMPORARY A FATHER’S HOPE Height, 24 inches; width, 17 inches. / ad = ad. ‘e A Se We are asked to examine here an exercise in drawing, in the facile medium of pastel, with a good deal of quality attained in the color, particu- larly in the flesh of the young mother, with nude arms and breasts and the nude infant she is nurs- ing, and in her reddish hair. She is seated in the grass at the edge of a grove. The father, of con- siderably more years, is standing close at her side and with his other hand grasps the wrists of his son, a sturdy boy, who, tired from play, leans his head upon his father’s arm. An interesting ex- ample of work by the President of the New Salon. Signed at the lower left, Roll. fia s ON i,t = « J No. 60 ‘2% EDOUARD MANET _ FRENCH, 1833-1883 G aaa THE OLD BOAT Height, 16 inches; length, 25 inches. b 2 J, = Fo Os Y axdurkes. dory and another heavy small boat are lyin on a sloping green and sandy bank, between dark, brownish-green buildings, under a gray sky full of — movement, with trees here and there, some with the sparse foliage of Spring, some with fuller leaf- age of a tender green. ‘The boats, perhaps, are just out of cover, preparatory to the season’s use. But boats, trees nor buildings mattered to Chase, nor will they to those given to pursuit of the painter attribute in a picture. He only wanted that indefinable, subtle charm—does anybody but an artist, a connoisseur or a true amateur really understand it, or know the true meaning of that characteristic or substance of a painting known as “quality”? This the picture has in a liberal mea- sure, and a painter-like quality worthy of Manet, and it is interesting beyond this in the unctuosity of its surface, while its vigor appeals not only to the painter but to those who like to see sturdy, | serviceable boats. Signed at the lower left, Manet. No. 6 rss JEAN FRANCOIS RAFFAELLIO ae FRENCH, 1850- OUTSKIRTS OF PARIS—SUMMER AFTER- NOON | ad 21 inches; width, tether. IRS eae A charming picture of color, brn and go, fur- nished by ordinary people and places. In an open space that the sunlight and the reflections of trees and flowers and bright garments of children have made colorful, some little girls and their dog and an old woman appear, out for an airing. The bent old woman leans down to talk to a tot in red with a lilac cap. Before them a typical young French girl comes forward with a bewildering play of colors in her light dress. ° We have elsewhere in this collection a pastel with the quality of oil colors. Here is a painting with the qualities of a pastel, in the rendering of parts of the brilliant foliage and surface growths, and the gown of the young girl. Signed at the lower left, J. J. Raffaelli. No.. 62 | 2 4 ge CESAR DE COCK. ae BELGIAN, 1823- THE STREAM Height, 18%, inches; length,)25,/, inches. aon b, : The Under a gray and mottled sky the trees of a park are seen, crossing the landscape, against the light, a house nestling among them being visible through an opening. A building with a thatched roof stands in the middle distance, under the shel- ter of a projecting line of taller trees. A lush green meadow where cattle are pastured separates it from the cool stream which crosses the fore- | ground, on which the light plays in many varia- tions; and standing at a fence, an old white horse looks wistfully toward the dwelling. Signed at the lower left, César De Cock. { 78 No. 638 MARTIN RICO SPANISH, 1850-1908 J THE ITALIAN COAST Height, 16 inches; th, 28 Pe pk. ies water of an even ab Ge. -blue comes in from the vast open distance at the left, around a far point, and sweeps to the right along a sloping, wooded and thickly settled shore. In the fore- ground of sandy hillocks and grass-grown low- lands streaked with small, vagrant water courses, boats of various colors and sizes have been hauled out. On some, men are working, and all about chil- dren are playing. White sails dot the blue waters of the sea, dipping but slightly in the gentle Sum- mer breeze. Signed at the lower left, Rico. No. 64 Mpg hee Coeg ALFRED STEVENS bo DuTCcH, 1828-1906 HEAD OF A BRITTANY GIRL Height, 273, inches; width, 1934 inches. RA) ==. Tee A young woman of oval face, brown hair, dark eyes and light, even complexion, is seen in head and shoulders facing full front, but not looking at the spectator. She wears a black cape with a straight collar of the same material, tied tightly at the throat with ribbon, and a white lace out- door cap trimmed with pink bows. Her right hand, raised from the elbow, holds a tall bouquet of garden flowers against her left shoulder, the flowers rising as high as her head. Background of sea and sail, and a gray, clouded sky. | Signed at the upper left, A. Stevens. Ts 0° (ge “ate No. 65 CHARLIER FAUST GIUSTO yall 4 oe AN ORIENTAL Height, 24 inches; width, “0 hes. ITALIAN L [3 | The strong face of an Eastern woman, straight nose, dark eyes and hair and a small mouth, but with full red lips. She is seen in head © and shoulders, face turned to her right, her hair unconfined and loosely framing her features. A bit of red at her throat is more intense than the color of her lips, but her apparel otherwise is rich in dark tones and hangs loosely from her shoul- ders. The face is in warm tones and the eyes, averted, are not lustrous, but they are intense. The background is spotted with bright colors as of briliant hangings, amid which the dark type of the girl finds a proper place. The canvas pre- sents a mixture of quality in low tones, with high color, as occasionally Mr. Chase himself has done in his pictures. Signed at the lower right, Faust Giusto. No. 66 ADOLPHE MONTICELLI FRENCH, 1824-1886 ee AUTUMN LANDSCAPE Le Height, 271, Sidhe width, 20 inches. (Panel) | ? a FO, Van An unique landscape composition of imagina- tive quality. In the foreground is a ravine or the partly dry bed of a shallow stream, which seems to wander irregularly, coming from under an arched bridge in the middle distance. The banks rise somewhat abruptly at either side, that at the right being capped with tall trees, which rise out of the picture, the left bank with lesser and more distant trees. The light, coming from the left, _ falls on the brown and green and yellow foliage, and the greensward of a part of the ravine, and illumines at the left several figures who have as- sembled just outside the wood. High at the left appears a patch of sky. that has taken the hue of the washed turquoise. | The painting is vastly different from this art- ist’s riotous figure compositions, but it has Monti- celli written all over it. ine 4 No. 67 n Oo. W. L. BRUCKMAN ae DUTCH, CONTEMPORARY AMSTERDAM Height, 19 inches; length, 31 inches. (20% We see in an irregular line extending across the canvas in the rear of a jumble of dwellings and business buildings the tumbledown bulkhead of a> partly neglected portion of a seaport town. The houses have the Old World colors, and varied roofs which rise against a gray sky. Some figures are seen near the stringpiece at the left. In the foreground, below, a boy is poling a heavy row- boat, and a man in another rowboat has gone alongside a laden, single-masted freighter, with lateen sail, which has just gone to dock and is lowering canvas. Signed at the lower right, W. L. Bruckman, GEORGES MICHEL 1152 FRENCH, 1763-1843 OVER THE GREAT MOORS v y 3 Height, 2034 inches ; length, 32 ead ry, cart OS a A velvet landscape in a symphony of golden browns relieved by green, under a gray sky, with a moist and misty distance. The canvas deploys a far range of the English moorlands, the hills and valleys plentifully wooded, but with cleared and cultivated fields to be seen also. In the middle distance at the foot of a foreground hill a con- cealed village nestles, betokened by a church steeple rising among the boughs. No. 69 JULIEN LE BLANT ee é FRENCH, 1851- THE POT HUNTER Height, 28°34 inches; width, 2234 inches. (Hance AS oe ry L Varrdirl f, In the heart of a wood Wi second growth, a rugged man of strong face and large features has paused where he has overtaken his quarry—some small game, which he is thrusting into his game pouch. He wears a gray slouch hat, stout leather- colored jacket, baggy breeches, and leggings, and holds his gun under his arm. Signed at the lower right, T. (or J.) Le Blant. / ( po? aay s ; ) Laity o. 70 y, pln ( A EMIL CARLSEN AMERICAN, CONTEMPORARY THE BIG BLACK KETTLE eT ; Height, 27 inches; length, 29 inches, C/o = ore V Quality, quality, nothing but quality —a painter’s picture—which they, always, must be only thankful to enjoy who have learned how to let the subtle appeal of such still life surface stir their emotions into placid pleasure. In the title is the whole picture, yet who but a painter and those the painters have taught—or those, more fortunate, born with the feeling for these natural effects, of which art is the hand-maiden and inter- preter to the general—sees unaided the soft charm and allure of this dull lustre of metal? For em- phasis, contrast and relief, there is depicted near by, on the same table, a blue-and-white pitcher and other occasional objects, the pitcher rendered with the same sympathetic and appreciative sense of quality and form. Signed at the lower right, Emil Carlsen, 1902. No. 71 W. L. BRUCKMAN DUTCH, CONTEMPORARY 34 Q A VILLAGE ON THE CLIFFS Height, 24 inches; length, 33 inches. Tae 7 fe (2 (2 | L tctenks A group of houses with Caste tir roof lines crown the high, grass- -covered cliff of a European coast, their roofs brown and blue and yellow under a sky wholly overspread by light gray clouds. Against the steep face of the cliff is to be seen the beginning of a ship, and workmen busily engaged setting her ribs, while others are at work upon a ways alongside. ‘These lead down to the fore- ground, where the marsh grass of the water’s edge is seen, with pools setting in amongst it. Over a grassy mound of the cliff at the left of the houses a flock of birds in flight appear against the sky. A pastel with the qualities of an oil painting. Signed at the lower right, W. L. Bruckman. No. 72 H. VON LE SUIRE AS ‘ SPRING LANDSCAPE —“VORFRUHLING” Height, 291%, inches; fangth, 371, inches. “ oa, fresh and fetching vias landscape, with the joy of the season in its vernal atmosphere and deli- cate yet abounding color. A broad stream winds between lush green banks, its waters a brilliant mirror for the blue skies, the white cloud billows, the grasses of the shores and the blossoms and tender foliage of the fledgling trees. In the fore- ground ducks are at home in their element, and the distance is misty with the lure of the early year. ; Signed at the lower right, H. von Le Suire, 1899. Vorfrihling. a ff y te & test"; iw, U C Pye j No. 73 LOUIS METTLING eae FRENCH, 1847- STILL LIFE—FRUIT S Height, 2534 ee f (Petr be An excellent still life of very positive quality, not assertive, but so secure, serene and established in its dignity, substance and wealth of color, that — it carries the air of authority. ‘The fruit—apples, handsome and ruddy, grapes, a melon and other— whether in basket, dish, or lying loose on the table, is presented with a truth that has sacrificed nothing of the beautiful in color or composition ; and the texture, notably that of the chipped blue- and-white porcelain bowl, which holds some of the apples, and the glow of a green hock glass back of it, are remarkably rendered. ‘The background is laid in a dull, rich, neutral tone of brown, into which the distant objects melt or merge, while the light falls full upon the blue and white dish and the fruits nearest it. Signed at the lower left, L. Mettling. MYRON BARLOW 24 22 | f , AMERICAN, 1873- CONFIDENCES Height, 321%, inches; length, 27 pias ash : Hg cderlad Three peasant girls have Biles eens a table in a cottage room to exchange confidences and the gossip of the hour. Their costume is uniform— dark waist, white cap and rich, dull red and very full skirt—but the facial type varies. The girl at the right has risen from her chair and leans across the table, on which half her length is extended as she rests on her elbows to get her head closer to a companion. All are very serious over the import of the bit of gossip. A genre com- position of a quiet, restful and attractive quality, interestingly worked out. No. 75 J. FRANK CURRIER AMERICAN (DECEASED ) TUMULTUOUS CLOUDS Height, 24 inches; 3 361% 4 [apse bal etre ho has not been wn J the majesty of tumultuous clouds, as shown in this picture, when aerial forces appear to be in powerful play, under sharp contrasts of light and shadow, with winds aloft and alow? ‘The blue of the heavens is all but hidden by the rushing clouds, which are black and ominous far at the right, and whitened by the sun toward the left, where their motion is still more impressively evident. The landscape of the distance is in dark silhouette against the sky, which near the horizon has a yellow glow, and the foreground is one broad, rolling expanse of lush green meadow. No. 76 JAMES WILSON MORRICE FRENCH LA COMMUNIANTE ik 30 co Height, 32 inches; ae 46 aa A typical broad street or place of a French city is presented, the smooth roadway at the left and broad sidewalk at the right both spotted with sunlight amid the partial shadows of the trees and buildings. In the central foreground the little communicant, a small girl in her white dress and veil, whose round face is a juvenile repetition of her fat mother’s, comes toward the spectator a step in advance of the mother, who has paused for a word with a red-haired maid carrying a market basket. In the background at both sides of the street are suggested the red-awninged terraces of cafés. . Signed at the lower right, J. W. Morrice. No. 77 HENRY S. HUBBELL AMERICAN, CONTEMPORARY A POET (MONTMARTRE TYPE) 2568 hes, Height, 511% inches; width, 381, inches ve& One of the low-toned portraits which Mr. Chase and many others like above those brilliant and colorful ones that show sometimes more dash than painting. A man in the prime of life and of a type to be found perennially in Paris, of clean-cut features, but rather dreamy expression, bearded and wearing a soft, wide-brimmed hat, is seated ata white-topped café table. His partly emptied absinthe glass is before him and he is leaning dreamily on one elbow, hand at mouth, the other hand holding a cigarette carelessly at his side. He wears a rolling collar and flowing cravat. The writing materials of the café lie in front of him on the table, and he has allowed his newspaper to fall across his knee. There is a good deal of mod- elling and warm color in the features and the hands; the rest is kept simple, tending (as ever in the canvases appealing to Mr. Chase, however catholic his appreciation) toward quality in the painting. Signed at the lower right, Henry S. Hubbell. ger Al Gun f yreh eg oh cl _/No. m3 | \| J. FORAIN 8) FRENCH ons eo A PATIENT FISHERMAN ; Height, 57 inches; length, 57 inches. 3 hh—= Ve : At the far end of a heavy plank projecting well out over over a river—doubtless the Seine—from the stone bulkhead of the quay, a short, stocky Frenchman sits, high above the water, his feet dangling, steadying himself with one hand and with the other holding in sensitive grasp his fish- ing-rod and line. His patient, alert dog, almost as amusing as his master, squats near by. The fisherman is silk-hatted and wears a purple tie, yellow waistcoat and gray trousers. ‘The sun has gone below the horizon, and the warm sunset colors of the clouds are reflected in the smooth cur- rent, with shadows of the farther green bank of the stream, whose buildings are becoming obscured in the deepening dusk. Still the fisher sits and fishes, oblivious—a typical French habit; one can see it day in and day out in Paris itself. ‘To a painter, Forain has here attained a lovely quality in the gray water, and the distance suggested between it and the Gallic Walton. Signed at the lower left, Forain, (with a date). — af — a ee ee SECOND EVENING’S SALE FRIDAY, MARCH 8, 1912 IN THE GRAND BALLROOM OF THE PLAZA FirtH AVENUE, 58TH TO 59TH STREETS © BEGINNING AT 8 O’ CLOCK No. 79 MARTIN RICO 22.0 ee cer ere SPANISH, 1850-1908 — ITALIAN CYPRESS TREES Height, 8 inches; length, 51% le gu J} pean ee OY p). A small but picturesque landscape, deftly painted, with a quality often absent from Rico’s work, and little resembling his store pictures. The cypress trees, tall green cones, rise near the spectator against a hill that in the distance, be- yond some houses, has taken a violet tone, the apexes of the cones mounting like spires toward a sky of the faintest blue, and the foliage having a velvety aspect. Se 6 a ee va” “—_—— sy pe es No. 80 W. GEDNEY BUNCE AMERICAN, 1840- 4, 0 e (2 ~-— VENETIAN BOATS Height, 7 inches; width, 10 inches. 266 = A colorful, impressionistic sketch of rich, | cious tone, picturing imaginatively a neighborhood of Venice. Lights and colors are confused in water and sky, blending in many gradations of red, blue and brown. In the left foreground tall- masted boats raise their colored sails toward the sky, which seems in patches to be rosy in sympa- thetic hue. Beyond, in the distance, other sailing boats are indicated in vaporous mists. 5 +t No. 81 - J. H. TWACHTMAN - AMERICAN, 1853-1902 \ (dg BOATS Height, 414 inches; length, 8 inches. nop oe (Panel) : es A small sketch, on a panel, of boats and water and a lane with growing things on it, and some- thing like dock or pier construction work, but which resolves itself not into any material ele- ments, but into an ensemble of color—a chromatic titbit for the sensitive eye; a painter’s flight, in which he was prodigal of quality for his own amusement or professional satisfaction, _ No. 82 GEORGE INNESS AMERICAN, 1825-1894 a yp 5 LANDSCAPE Height, 8% inches; length, 734 inches. Cee An Inness that woul have met the demands of the tonalists; but it is better—it is an Inness. A vivid impression of a windy day, when the sky was boisterous with swirling cloud masses of grayish-white—some near the horizon just tinged with a faint rose. Against the sky a leaning tree on the border of a copse; a calf sheltered there, and for the rest, merely the browns and greens of a moorland, a half-wild acre, but with — an indefinable quality running through it all that sounds Nature’s notes of music in the fields. Signed at the lower right, G. Inness. 7 From the sale of J. Scott Hartley, Mr. Inness’s son-in-law. EUGENE FROMENTIN ae 1820-1876 MOONLIGHT— ARAB ENCAMPMENT Height, 534, inches; length, 4 inches. , i a oe A’ painting with the ever-en cing VE) of moonlight, with dim suggestions of mysterious Arabs in the shadow of their tent. The moon is full and the white orb is seen half way up the blue sky, having risen above the grayish horizon clouds. No tree nor permanent habitation is visible in the flat, deserted country, but in the foreground the Arab has pitched his tent and built a campfire, and the forms of men and ani- mals on the ground are rather hinted at than perceptible. . : ; Signed at the lower right, Hug. Fromentin. No. 84 ALFONS SPRING GERMAN ] | 9 _ GIRL WITH JUG Height, 10 inches; length, 6 ele, lg A sturdy peasant girl ee heavy ace an chin, with color in her cheeks, is shown a full length, standing, and seen in profile. She wears a black bodice with white sleeves rolled up to the elbow, and a pink skirt of peculiar color | quality, against which she is holding a gray stone jug. In the effect of the lights in the colors of 4 the skirt and jug and on the girl’s heavy, bare arm, one may see the attraction to the painter in this sketchy yet solid professional note. Ly) No. 85 ALFRED STEVENS BELGIAN, 1828-1906 5 Q HEAD OF A YOUNG WOMAN Height, 83% inches; width, 6%, inches. pies (On Maia — Spd mas ie Qb % A sketchy portrait of a young woman Aé¢at | in a high, round-backed armchair upholstered in red. She faces the right, turned three-quarters © toward the spectator, at whom she looks directly and smiles. Her hair, partly fallen loose over _— gy her high forehead, is for the rest dressed in an elaborate mound high on top of her head. She appears in a low corsage with a light, filmy shoulder-covering of white with some black and red embroidery. Signed half way up at the right with monogram, A. 8. L5t No. 86 WILLEM MARIS DUTCH, 1844-1910 IN HOLLAND - Height, 5%/, inches; length, 12% inches. * Lig * Ye. Mo. BS. In a broad, level field, rich with moist, luscious grass, a herd of cows are grazing. The field extends across the canvas, interrupted in the left foreground by a bunch of tall weeds, which seem to mark the boundary of a pond. The cows, near — by, black and white and red and white, are feed- ing in various attitudes. Beyond the field are seen the buildings of the neighboring hamlet, and the whole is bounded by a slightly higher, tree- covered stretch of land under a low horizon of even, gray clouds. Signed at the lower right, W. Maris. No. 87 STANISLAS LEPINE FRENCH, 1836-1892 ; 42_' | LANDSCAPE oo — Height, 5 inches; length, 121% inches. (Panel AIO — w, This sketch on a panel, ft ee iemall and comprehensive, has the attraction W and suggestion, with little of detail. The fore- ground is taken up with a bight of water, whose simplicity surface is gray and white with the reflections of the billowy clouds which are seen in the distance, beyond the lowland that borders the small bay. Houses and factories are built on this low strip of the middle distance, and beyond them afar off is a line of blue hills. Signed at the lower right, S. Lépine. 9 ae ; SE No. 88 ANTOINE VOLLON FRENCH, 1833-1900 4 + inet el nee oy fee Height, 81, inches; length, 101% inches. if’ séems, ye charged A lovely sky, whose abundant white curtain cannot sup- Little more than a sketch with the essentials of a complete pictur press the clear blue beyond, looks down upon a waterside town, whose buildings are silhouetted against it. They are full of color, and their irregular mass has strong and suggestive attrac- tion. In the foreground an arm of the sea shows subdued reflections of the buildings and sky, with peasant women on the nearer bank and at the right sailboats hauled out on the sands, awaiting the next high tide. Small in dimensions, the painting is big in all else; a picture of rare quality. Signed at the lower right, A. Vollon. ito No. 89 ANTONIO MANCINI <2 ITALIAN, CONTEMPORARY ime BOY eee | 7 Height, 1134 inches; length, 71% inches. Q ot Oman ae A panel sketch of attractive quality and low tones. A small Italian boy of agreeable face is seated on the ground, facing the right, his legs bent at the knees, bringing his feet in their clumsy shoes into the foreground. His face is seen in profile under his dark, tousled hair. He wears a loose white shirt, open at the neck, and black trousers. It is such a long way from some small Italian boys we have seen painted, here—fre- quently painted, here—that it makes one forget them and restores confidence in the race. A stun- ning bit of painting. Bae a A3s8 No. 90 FRANS COURTENS BELGIAN, 1853- < Bi LANDSCAPE — TREES AND YELLOW LEAVES Height, 7 inches; length, 12 fine — A painting of sunshine falling upon yello leaves and green grass and pink and yello flowers. The scene is in a landscape wooded, but with open spaces where the grass is green, and | others where flowers spring up. In the fore- ground trunks of trees are seen against the light, which beyond them brightens a sloping bank and nearer by casts shadows over and around the waters of a pool amid the flowers. Signed at the lower left, Frans Courtens. IS f ec’ © j No. 91 EMILE LAMBINET FRENCH, 1815-1878 LANDSCAPE a : Ze le or el. oe ‘Under a fair sky of light blue, and plentiful | white clouds, appears a heavily wooded French Height, 73% inches; length, 13 inches. (Panel) landscape, with a clearing in the foreground which separates a buff-gray cottage with red thatched roof from a stream that borders the woodland. All is in the full, abundant growth of Summer, the grass a lush green, the foliage of the rounded tree tops rising in varied tones against the bright and cheerful sky. In the prodigality of the well-watered soil the brook itself is overgrown with tall rushes, save for an open, partly cleared pool, where a_ peasant squatted on the bank in the left foreground is fishing. | : Signed at the lower left, Lambinet. Let No. 92 ANTOINE VOLLON = oS | | FRENCH, 1833-1900 a“ FISH Height, 9 inches; HA 127% inches. TET te Gee. It would be difficult to believe without seeing it © that so much of attraction, of charm, could be put into so simple a painting of two fish. They lie on a table as though fresh from the water, one with its back to the spectator, the other reversed and posed partly over the first one, its silver underbody yielding the high light and being partly reflected along the first one’s glistening brown back. Realism is carried into the poetical, but above all here is painting, the simple, allining brush-work of a master. Signed at the lower left, A, Vollon, Fae ae No. 93 ADOLPHE MONTICELLI FRENCH, 1824-1886 THREE GIRLS Height, 121%, inches; length, 8 inches. foo * In this picture botl{/the figures and faces are developed a little farther than is customary with the artist, and each and all are made highly ex- pressive. And with this clearer definition of per- sonal expression and emotion the painter has given a wonderfully rich and colorful picture. The three girls are seen against a wood back- ground of blue depths, the overhanging leaves above their heads being yellow and green and sharing in the light which falls full upon the girls themselves. ‘The costumes are rich in golden yellow and many colors. One girl, seated, is ad- miring a bracelet, while the others, looking on, share her interest in the jewelry. Signed at the lower right, Monticelli. From the William Burrall Collection, Glasgow. No. 94 ALBERT MOORE ENGLISH, 1840-1892 [oe A a COURTSHIP Berets 12 inches; width, 10. inches. asa = A young woman with reddish es hich falls down her back, and wearing a white gown with sloping shoulders and bell skirt, stands at the border of a wood, placing a newly plucked flower within her belt. She looks down at a brown-haired man in careless attire, who is lying at her feet in the grass, his back toward the spectator, among white and red flowers which are growing there in profusion. Taller flowers are blossoming in the sun in front of the line of the wood. A- pre- Raphaelite canvas. Signed at the lower right, Albert Moore. No. 95 2 ae AUGUSTIN THEODULE RIBOT FRENCH, 1823-1891 at HEAD OF A WOMAN Height, 118, inches; width, 8 (pA ae Os A portrait of heavy features, but very A inches. ing—physically expressive—in free b and of a quality which captured the artist in Mr. Chase; the whole boldly and directly brushed in. The subject is a peasant woman, neither young nor old, shown head and shoulders, her face in- — 4 flamed, turned three-quarters to the spectator and | looking downward. Her black headdress is fastened with a white knot. rs a Signed at the lower left, A. Ribot. 7: ak No. 96 J. H. TWACHTMAN AMERICAN, 1853-1902 — é O [ ae A VENETIAN CANAL a Height, 13 inches; width, 9 inches. oe : anel)> | : | [60 oa : 2 AG y AhAAL With the utmost simplicity and the minimum of color the artist has pictured a canal leading away from the spectator, with a bridge crossing it in the middle distance, between tall buildings, and a tower beyond it rising toward a pale blue sky. Near a stairs at the right a gondola is | moored against the wall. Signed at the lower left, J. H. Twachtman. a f bee? U | No. 97 { , A ae EMILE VAN MARCKE 4 ; FRENCH, 1827-1890 CATTLE GRAZING G tC Height, 134, inches; length, 104 inches. Fou Ve b. 2: Beyond a pond through whose gray watér the rushes push up here and there, a number of cows are feeding from the grass along the border of a grove and in a field at the right. The field, away from the shadow of the trees, becomes yellow In the sunlight, and the sky above it has mounds of white and gray clouds. Below and between them thin veils of the cloud vapor make the rest of the sky a very pale blue. Near the cows a peasant woman is standing. Signed at the lower left, Em. van Marcke. fe ° No. 98 ANTOINE VOLLON dg FRENCH, 1833-1900 4 as STILL LIFE Height, 91%, inches; length, 12 inches. ar i A golden canvas with a dark backgrounc 0 of which seem to come from mysterious: obset the brass dish and its neighboring pitcher. Th color is stunning in its quality and brilliance, and the light from the glowing surface 1S reflected | upon the table, making the dish appear almost : as a source of light, or self- luminous. . Signed at the lower left, A. es No. 99 _ JULES DUPRE a pe FRENCH, 1812-1889 MOONLIGHT LANDSCAPE Height, 91% inches; length, 121% inches. Age Oa The artist has chosen a group of characteristic — French cottages and barns in the country as they appear in a brilliant moonlight, with none of the — blue-green hue which moonlight canvases so often exhibit. Here the thatched roofs are mellowed and the trees blend their foliage with the tones of the roofs, bushes and grasses around them, but each is pictured as retaining some of its familiar aspect, in hue as in form. The sky is peculiar in its contrasts of luminosity and somberness. Signed at the lower right, J. D. Ryo? fi ee No. 100 A. L. BARYE FRENCH, 1795-1878 | LANDSCAPE he ae ae 9 inches; length, 121% inche ae (2 rare ee by the master oy animal sculp- ture. Here is just a rugged, rocky hillside, slop- ing forward and to the right, but charged with atmosphere and the feeling of the sterner pic- turesque. The rocks, gray, brown or red, and purple and green, are scattered in tumbled and broken masses over the face of the hillside. Among them, in the foreground, ferns are growing, it and at the crest of the hill low bushes, touched {| with Autumn color, raise their modest branches I before a dull, gray sky. On a sunlit path up the slope, among the rocks, a stag lies, resting but alert, clear of the boulders. Is it fancy that with half-closed eyes sees amid the rocky outlines suggestions of animal forms, or was Barye possibly unconsciously guided in that direction in his painting? Signed at the lower left, Barye. pies VE No. 101 ANTON MAUVE putTcH, 1838-1888 2 4 uf GIRL KNITTING ye oo re tne 15, es idth, a ae A Dutch peasant girl *e hone stolid features and type, stands before a mass of green vines and bushes, knitting or mending a long, reddish-brown stocking. She is in the sunlight, facing the spec- tator, her bare feet thrust into clumsy sabots. There are many variations in the green tones of — the leafage, in the sunlight and the shaded inter- stices of the leaves, and the artist has been at- tracted by the problem they presented against a deep blue sky, with the figure, though promi- nent, yet a foil for the color study. The figure nevertheless is easily done, comfortably posed, and solidly rendered in quiet tones. Signed at the lower left, A. M. pe No. 102 LOUIS, METTLING / > dio Tad FRENCH, 1847- THE POTTERY MERCHANT Height, 121, inches; length, 16 inches. / eek es UW. Wwe VATE E ne A rapid, colorful fahd effective sketch of a crude, open-air market place, with various figures, buildings and features of the landscape sug- gested, but only the central figure carried far— that of a peasant woman seated in the midst of a group of pottery jars. Her smooth black hair is bound to her head with a white kerchief, and she sits facing the spectator, holding in her lap a reddish-brown earthenware jar, with other pot- teries about her feet. Signed at the lower left, L. Mettling. No. 103° “\). BERNARDUS JOHANNES - BLOMMERS puTCH, 1845- CHILDREN PLAYING ON THE SEASHORE Height, 12 inches; length, 15 inches. (Water Se 43g > teats The blue sea fills the picture from a high hori- zon, which leaves but a strip of light gray sky visible, to the middle distance, where it rises in © gentle breakers that roll toward the spectator — and dissipate themselves in rippling lines of foam on a flat, sandy beach. Here a solemn infant in a blue dress and broad-brimmed straw hat is seated, watching two older children in red, blue and gray garments, who are wading in the wave- lets that have come farther up the beach in the immediate right foreground. 3 Signed at the lower right, Blommers. Loe. Sd No. 104 LOUIS EUGENE BOUDIN d- Be | FRENCH, 1824-1898 THE BATHING HOUR Height, 9 inches; length, 15% inches, q GO = ib i. Tha A vague but effective sketch of a bathing resort 4 at the seashore, with a crowd of people at the beach and a marvelous sky. The sky’s indefinite tint, *twixt green and blue, seems to have spell- bound the artist, who has painted it faithfully and vigorously. Against it, over the green water, he has pictured various white sails in the distance, the scope of vision being interrupted by white bathing houses on the sandy shore of the foreground. ‘The figures here are merely sug- gested, but in color and attitude they reflect tellingly the Summer resort life. ; OT Re ¥" “ a 4 vo = = 7 ye pic Py 2 E y "a No. 105 Best ALFRED STEVENS BELGIAN, 1828-1906 _ A DAYLIGHT MOON Moo Height, 13% inches; width, 10% inches. (Panel) ~ : | nee Big ee FS lithic Lek - A canvas of peculiar fascination and a curious brilianey, though puzzling. It is full daylight, _ yet the crescent moon is a pale yellow and the tips of the low horizon clouds are taking on a sympathetic color tone before sunset. ‘The sky aloft is a beautiful cerulean, with the faintest of vaporous veils before it, and the water is a pale turquoise with deepening tones near the shores. ~The beholder looks upon a bay bounded in the right middle distance by a sloping point of land dotted with red-roofed cottages, its summit green. In the immediate foreground a bit of shore with weed-grown rocks appears, and in the foamy water of the gently-breaking waves, well in shore, men and women bathers, capped and hatted, in voluminous red, blue and black costumes, are seen waist high in the water. Off shore is a white sloop and in the distance are other sail and a steamer putting to sea. : Oe i No. 106 FRANCOIS SAINT BONVIN FRENCH, 1817-1888 LA BRODEUSE a : Peete. 1614 inches; width, 1234 inches. 6 e a pe a sere and bare room, with low wainscoting _ 4 and gray walls, with the light falling from over- head at the left, a young woman is working at her _ embroidery over a low stretcher. She is clad in a simple olive gown, with a broad white collar; her hair is bound in a narrow red ribbon, and she wears a black apron. She is seated facing the left, her colors at her hand, looking intently at her work, her fingers seemingly just taking the next, stitch—the embodiment of patience and industry. Signed at the upper right, F, Bonvin, 1857. No. 107 FERDINAND VICTOR LEON ROYBET FRENCH, 1840-— ies HEAD OF A YOUNG MAN Bagh, 13% inches; ee 10%, re Ee Bs eS ST A sturdy youth of oa complacent, yet de- termined features, is pictured half-length, stand- ing facing to the right, his head turned front and eyes gazing quietly at the ground. The bold forehead is strongly modeled, all the features are large and full, and the skin is of hardy color. He wears a dark, belted jacket, and a broad, square lace collar, loosely fastened at the throat. A quiet, serious painting, not at all resembling the artist’s brilliant, popular, shoppy cavaliers. >. Vaan etna lo No. 108 JOSE VILLEGAS SPANISH, 1848- THE GUARD Height, 16 inches; width, 10 inches. / Water Color psd = ey d RL Standing before a ee pillar in which ys blue tones prevail, a Spanish halberdier facing to the left turns and looks full front, as he leans against the column, one foot carelessly crossed over the other. His right hand extended from his shoulder clasps the staff of his pike, as its handle end rests on the floor. He wears a buff leathern corselet and carries much color in his apparel. Signed at the lower right, Villegas. 9 : ‘ ah oo a sesy o]g0 ee a < : — -ARK~xR _No. 109 LUCIEN ALPHONSE GROS GERMAN, 1845- (J THE SLEEPING SOLDIER ae Height, 1034 inches; length, 1414 inches. a St tf) Li? Just outside a wooden ho Y ore; a heavy /? a stone foundation wall—possibly of an inn—a big man in drab breeches and buff coat with slashed sleeves, which reveal blue silk, has thrown himself at full length on the ground, his green cloak doubled under him for mattress and pillow, to sleep off the effects of too copious potations. His broad hat has been pulled down over his face to — screen his eyes from the sun, without concealing his strong features. Arms and hands are relaxed in the heavy slumber, and a broken loaf of bread and an overturned gourd lie beside him where they fell. . Signed at the lower left, L. Gros, 1882. No. 110 FERDINAND VICTOR LEON ROYBET FRENCH, 1840- THE YOUNG MUSICIAN Height, 16 inches; width, 1234 inches. Soo = (3 Wea One of Roybet’s early works and a delightful portrait, not one of his familiar shop pictures. A serious young man of agreeable features is ‘shown in head and shoulders against a dark green background, thoughtfully studying a roll of music which he steadies with an easily drawn and mod- eled hand. He has full lips and red cheeks. His eyes are directed downward and the expression of the face is one of quiet purpose. He wears a reddish-brown cloak, a white scarf loosely tied under a white collar, and a low hat with a flat, rolling brim. The portrait, though of a boy, has an air of distinction as a painting; the pigment has aged in mellow tones, and the whole has a quality which appeals to the painter and the pic- ture-lover alike. Signed at the upper right, F. Roybet. No. 111 Se ANTOINE VOLLON Lf be re FRENCH, 1833-1900 | LANDSCAPE se Height, 13 inches; length, inche, p “so = loath 9 A green and grass- ee bank slopes dowy/ from the right, its top and slope supporting trees with massy foliage, which shelter dwellings and outbuildings, to a river. At the foot of the bank, where the brown earth is undercut below the green’ herbage, a punt is moored in the gray-white — stream, and figures in red and black costume are perceived along the shore line, which in the middle distance swings to the left. There it changes from the verdant surroundings of a residential section to a business quarter, with warehouses and distant spires, under a light blue sky, with occa- sional drifting bunches of grayish clouds. Pos- sibly the city is Antwerp. Signed at the lower right, A. Vollon. Pe ANTOINE VOLLON FRENCH, 1833-1900 ya FISH IN THE MARKET ne ag Height, 12% ay 181% inehigs. Sus £5 Own1~_ A mess of fish are lying on a bed of reeds on a table of an indistinguishable market place, just as they have been dumped out of the fisher’s basket, which stands beside them. ‘The blue and gray bodies are still supple, though inert, the white bellies, with their light reflections presenting the only bright spots in a canvas of low, rich, unc- tuous tones. One may see in this canvas some measure of the inspiration which, working through the owner of this collection, has produced what are in no sense imitations, but equally distinguished presentations of humble but fascinating piscatorial motives. Signed at the lower right, A. Vollon. No. 118 2790 ALEXANDRE CALAME ge swiss, 1810-1864 LANDSCAPE Height, 104, inches; length, 15 inches. — . TS ga 4 frst Ko. KI AA A round-topped hill rises in the center of/ the composition, a road and a wandering path wind- ing about it. It is thickly grass-grown, and cattle are pasturing on either side of it. In the fore- ground are lying some rotting trunks of pollarded trees that have been cut down, and at the left appears the corner of a building. | ) Signed at the lower left, Calame. OE Ee oa. fz to d ag ya | fl? No. 114 ANTON MAUVE Ta 6, purcu, 1838-1888 ee SHEEP eo — Height, 12 awe 15 inches. by “AE ere is a free and rapid sketch, with all the life of a sketch and the effect of a finished picture. A drove of sheep are massed together, crowding one another, but grazing in nibbles the while on a level plot in front of a sand bank which rises to a grass-crowned hill. Behind the sheep the shepherd -boy leans on his staff, and back of him on the side of the hill two figures sit, obscured in the gathering shadows. Signed at the lower Fight. A. M, as No. 115 FLORENT WILLEMS BELGIAN, 1824-1905 LADY IN WHITE SATIN = eight, 151%, inches); width, 1184 inches. HE U0 = Se PF AQIUL This painting, quite different frdm the general character of the collection, is regarded by Mr. - Chase as a particularly fine example of the painter. In fact, he has said that he knew of no - better one. A tall lady is shown standing and £ facing to the left, her head turned full to the 4 spectator and tilted over her left shoulder. Her 2 eyes are directed toward the floor, where a small pet dog, wearing a pink ribbon, is walking on its hind legs at her feet. She is clad in a smooth and shining white satin gown, with short train and loose half-sleeves, with deep, turned-back — cuffs and turned-back collar. She stands before some elaborate curtains, whose dominant color is maroon, with intricate bordering and alternating stripes, and is drawing aside one of them, where another little dog looks inquiringly through to another room. ‘The dress reflects many lights and exposes a rich sheen in its pearl-gray hue. Signed at the lower right, F. Willems. No. 116 PAUL JOSEPH CONSTANTINE GABRIEL puTcH, 1828- CHILDREN AT THE SHORE Height, 13 inches; length, 16 inches. > j—_ € G Lon ee VO BAe vk ; In a. canvas that preserves quality in a high key, the artist has depicted an Old World seashore landscape full of hfe, brightness and cheer. An arm or inlet of the green-blue sea puts in from the left, separating the low, sandy beach of the foreground from a bit of similar beach in the middle distance, back of which the land rises to a low bluff, where a group of houses cluster. On both beaches and in the inlet children in gaily colored dresses, their skirts and_ little breeches rolled up for wading, enliven the scene, the whole bathed in sunshine under a brilliant blue and white sky. Signed at the lower right, I (?) Gabriel. ie he No. 117 JAMES TISSOT FRENCH, 1828-1906 AT THE WINDOW Height, 16 inches; width, 7 inches. | (Pa A narrow bit of the coher aaa a pan a room is ae shown, with a window in each wall, their case- ments abutting at the corner. ‘They look out upon a bower of trees and flowering vines, all but the blossoms of a deep green, and rising so high that no sky is seen. One sash is raised and a light complexioned, fair-haired young matron of ample figure has seated herself on the windowsill to enjoy the scene and the air. She leans against the corner, facing the spectator, her head turned to her left as she gazes out of doors, one jeweled hand against her hip. She is clad in black, with white lace at her throat, a red bouquet at her breast, and she has pulled up an armchair on which to rest her feet, one of which discloses a robin’s-egg blue stocking. pe” : pu ABBOTT HENDERSON THAYER No. 118 AMERICAN, 1849- s _-/, HEAD OF 4 WOMAN ' Height, 1634 inches; width, 14 inches. : OU 0s VAAL Se A serious woman, with character in her feat- J ures and lineaments, is shown in head and shoul- : ders, facing to the right, her head turned three-quarters toward the spectator. The light falls full upon her face, with special strength on her high, white forehead, from which her brown hair is rather primly brushed back, though allowed to curl loosely behind the ear.- The thoughtful brown eyes are set somewhat deep in their sockets, and the thin, pale lips are rather tightly compressed, while a gentle color suffuses her cheeks. She wears a bluish-green waist and a high white collar, concealing the whole of her throat. The head is loosely and simply painted, in a manner bound to make an appeal to admirers of Thayer’s work. Signed at the lower right, Abbott H. Thayer. a —6 No. 119 VAN D. PERRINE — | ( 0) : AMERICAN, CONTEMPORARY _ eae THE FLOWER MARKET | IN WINTER, a NEW YORK | Height, 19 inches; length, 15% inches ot O %& or t , A complicated mass of buildings, bushes and trees, simply painted in the atmosphere of a Win- | q ter day. The day is dark, and the distant street 3 misty in the dull light, but the snow-covered fore- ground and market roof brighten the picture, which is further enlivened by touches of blue and red in the carts and the blankets of the horses at the curb. Elsewhere the tones are low and dull, in keeping with the sombre day. 7 Inscribed at the lower left, “To W. M. Chase, from Van D. - Perrine.” fan No. 120 ANTOINE VOLLON FRENCH, 1833-1900 FLOWERS ¢ Height, 1834 inches; width, 141% igghies. n an ovoid vase of gray tone and plain sur- - face a crowded bouquet of simple flowers from an old-fashioned garden—red and purple and white and pink, and so on—with greens inter- spersed—rises to a height greater than that of the modest vase and falls gently over the vase’s shoulder. About the foot of the vase softer and richer colors, red and golden, appear in some fruits lying on the table, among them being no- ticeable the transltcence of the white grape. Signed at the lower right, A. Vollon. No. 121 FRANK BRANGWYN ENGLISH, CONTEMPORARY A GROUP OF ARABS Height, 181, inches; width, 151%,inches. 39g = _ O- : n a busy public square of an Oriental town half a dozen turbaned Arabs have gathered in a half circle in the shade or shadow of an unseen building—or possibly an awning—all interested in what one of their number, a sidewalk merchant, has before him. ‘The painter has been interested in studying their types and varied facial expres- sion, and has given us a striking transcription of their emotions as reflected in their diverse linea- ments—from stolidity and dull smiles to an awakening, intelligent interest in the disclosures of the center of their attraction. Back of them in strong sunlight innumerable figures are sug- gested in the populous market place, and from the middle distance a dignified bearded man in a turban and cloak is observing the foreground group. Signed at the lower left, F. B., 96. ae ee No 122 W. L. BRUCKMAN DUTCH, CONTEMPORARY DUTCH LANDSCAPE Height, 13 inches; length, 17 inches. | / —— a Ww. J Oi ne Here is shown a patch of low and level country, the fields cut up into the more or less checker- board strips which are seen in some European gar- den lands, their colors varying with the growths they sustain. In the center of the middle distance is an artificial quadrilateral body of water, part of one of its banks bordered by pollard willows. Beyond lies the town, with its red roofs and square-towered church, under a sky of the palest robin’s-egg hue along the horizon, above which gray cloud masses mount toward the zenith. Signed at the lower right, W. L. Bruckman. No. 123 GEORGE H. BOUGHTON, N. A. AMERICAN, 1834-1905 MPEANOING GIRL. °° ZO Height, 22 inches; width, 13 inches. ya diya es5 delightful sylvan vision 4 sepdircce and airy ‘e grace, though with no want of substance, either. A tall, fair young woman of robust charms is clad in a flowing veil of filmy lace, which takes the color of the pink flesh before the figure, and as it flies behind her shimmers in its transparency with the green of the fresh, humid grass on which she dances. Resting firmly on one foot, she poises the toe of the other on the turf before her, as she faces the left, three-quarters front. Her arms are extended full length above her head, supporting there folds of the veil, and she has flowers in her golden hair and a single jewel in her girdle. Back of her are the deep, suggested mysteries of a wood, and above her the sky is of the rich blue of lapis-lazuli. j 7 jo No. 124 ADOLPHE MONTICELLI FRENCH, 1824-1886 - A FETE : Height, 13%, inches; length, 191% inches. | pire (Panel) : _A happy riot of color. What dreams, what : visions a man must have to see in the mind’s eye ) such a chromatic effulgence, glorious in itself, in which the essential human figures—women, always women !—seem almost incidental to the splendor of the pigmentary illusion! Here, before the sug- gested mystery of a deep wood, half a dozen of Monticelli’s swaying visions of female loveliness and sartorial brilliance are amusing themselves at the base of a huge urn of flowers, the light falling full upon them at their revels. Of the two prin- cipal figures at the center, one wears a brilliant red gown, with full train, whose folds reveal its color in a variety of tones; the other, in a reddish- brown robe with cream-white front split by a long red sash, appears to be holding what may be a gay-plumaged bird out of her friend’s reach. Signed at the lower left, Monticelli. ae From Dowdeswell & Dowdeswell, London. cs 44x oi No. 125 ~CAROLUS DURAN FRENCH, CONTEMPORARY HEAD OF WOMAN Height, 18 inches; width, 2 inches. / om a stout youngwoman 1s 6 Ym ho Fe Feag7 and shoulders, facing to the/left and seen“4in pro file. She has a heavy mass of dark brown hair, with reddish lights in it, which projects over her forehead and in its loose “do” conceals her ear. About her neck is loosely tied a pink scarf, and her brown jacket is open at the chest, revealing a white waist with greenish suggestions. Her somewhat heavy features are in a marked repose, and she gazes steadily and thoughtfully before her. : Signed at the lower right, Carolus-Duran, New York, ’98. hee No. 126 LOUIS METTLING FRENCH, 1847- COMFORT OF THE SCRIPTURES Height, 18%4 inches; width, 12%, inches. pO OE {arheasls Ve Walfeir An elderly woman, with firm, thoughtful feat- ures and expression, is seated in a carved wood chair, facing three-quarters to the left, but with head turned full toward the spectator. She is seen at full length. On her lap is a large illuminated Bible, wide open, her knotted hands affectionately caressing the leaves. She has paused in her read- ing to ponder a passage, her eyes directed toward the floor a little way off in reflective gaze. Her old reddish-brown skirt is matched in color by her cap, whose strings hang loosely over her shoul- ders. Her waist appears gray under the influence of reflected lights; she wears a white kerchief loosely knotted at the chest, and the lap of her skirt is thriftily covered with a light apron. A quiet painting of interesting quality and strong content. a al ‘ 4 ee et Ary 5-5 Se ae AE a i sa NS Se ee aS % ie No. 127 WALTER C. HARTSON AMERICAN, 1866- THE PUMP Height, 20 inches; V3. we [ae path runs ton a grass-grown Mar yard, leading past an old wooden pump to two thatched-roof brick cottages, one at the left, the other crossing the picture and bounding the courtyard and the view. On a hedge before this cottage an old woman is spreading linen to dry in the sun, and other articles are bleaching on the lawn under some tall, scrawny trees in early Autumn foliage. Signed at the lower right, Walter C. Hartson. No. 128 EUGENE PAUL ULLMAN AMERICAN,| CONTEMPORARY | ON THE BEACH AT DIEPPE “J J Height, 14 inches; length, 191% inches. ot ax — 7 (Panel) alae | he Vr F (3 | A canvas full of color and sunlight—just a | bit of the open air at the seashore. The rocks and | sands of the great beach of the foreground are luminous and almost iridescent in the multi- _ plicity of their coloring. In the middle distance irregular lines of waves roll in and break in white and green—beyond them a wide reach of the Channel, under a pale and even sky. On various parts of the beach children in bright Summer clothing are at play—notes of joyousness in the brilliant atmosphere. Signed at the lower left, Hugene Paul Ullman, ae ae /) Sg fuer ae - Ly No. 129 J. FRANK CURRIER AMERICAN (DECEASED) IN SERIOUS MOOD This is a Ad of a very old-fashioned look- ing and preternaturally solemn small boy. The gifted artist was in Munich with Mr. Chase. The boy, in a dark coat and a white, rolled-over collar, is seen in head and shoulders, facing to the right. His head is turned three-quarters to the spectator, at whom Master Solemnity looks soberly and in- tently, almost with a look as of rebuke for injury done, or at least felt, in the mysterious young mind. He has red cheeks and yellowish hair, and the head is interestingly modeled. It is a low- toned canvas, with all interest concentrated in the head, and a background which seems to be only of atmosphere. _ Height, 20 inches; width tutte puta a oo Pie. a No. 130 GEORGE INNESS _ AMERICAN, 1825-1894 Se Z 3 | SH AWANGUNK MOUNTAINS Height, 14 inches; length, 21 inches. { bk Sires Pe 1 An unusual Inness, but written all over with . his name and his feeling for Nature. At the left 7 some light trees screen the landscape, the sunlight 7 filtering among their leaves. Thence to the right sweep the far mountains, their green tops, broad and level, seen against a sky of robin’s-egg blue with gray clouds, and bounding a green, sun- lighted valley. On a nearer hillside there is an outcropping of rock in a huge boulder. It is a painting of quality and subtle tones, in the rich landscape and clear air. Signed at the lower left, G. Inness, es Ye, No. 131 4 GEORGE H. BOUGHTON, N. A. AMERICAN, 1834-1905 LOITERING Height, 12 inches; length, 2334 inches. (Panel) Ee a painting J GIG Ga its original title—which not all pictures do—and a good Boughton, too. On the back of the panel is written, in ink: “Loitering. G. H. Boughton, London, 1872.” In a grass-grown dell sheltered at either side by bushes and low trees, and at the back by a rising, irregular open country, a group of people are picnicking toward the end of an Autumn day, when the shadows are begin- ning to thicken. At the left in the foreground two small girls with a bottle and bowl, who seem to have been sent for water, are loitering in the shade of flowering bushes, whose blossoms they leisurely pluck. Signed at the lower right, G. H. Boughton, 1872. P / 9 No. 132 ANTOINE VOLLON FRENCH, 1833-1900 jag: 8, 2 _.PORTRAIT OF ROSA BONHEUR WHEN ee YOUNG 7 Height, 21 inches; ade 17 inches. O60 — COVE This portrait, which is of the same ferigd as the head of a man by Vollon which hangs in thé Luxem- bourg, shows the young Miss Bonheur with sober features, yet half-smiling, too, in a quiet, reserved and self-contained way. She is shown head and bust, and turned slightly to the left, but with her face full upon the spectator, her eyes directed slightly downward. The face is thoughtfully modeled and the features are refined; they are not the heavier ones familiar in presentments of her later years. She wears, though not unamiably, an expression of slight aloofness. The hair is simply dressed, and she appears in a dark cloak with a loose white collar, and a green tie adjusted in a plain, square-end bow, against an _ olive back- ground. An interesting contrast, this portrait, in its black directness, with the luscious still lifes which came later from Vollon’s brush. Signed at the lower left, A. Vollon. fie No. 133 LOUIS EUGENE BOUDIN FRENCH, 1824-1898 A BATHING RESORT | ee 2 y Height, 1414 inches; length, 23 inches. _ ee rrr th we In this early canvas Boudin is seen in very dif- tt ferent manner from that with which his name is associated through the freer work of his later years. In depicting an assemblage of people on the beach at a bathing resort he has been almost photographic in the placing of them. In varied costumes of the period and colors of Joseph’s coat suggestion—at any rate, they are many—men, women, and children with their bonnes, sit or stroll on the beach near lines of bathing machines. It was the day of the hoopskirt. Some of the figures and the quality of the costumes are suggestive of Alfred Stevens. A stiff breeze is blowing, and while bright sunshine falls upon beach and people, the sky to windward is overcast, and an elderly man, with whiskers, directs attention to the ap- proaching storm. Signed at the lower right, E. Boudin, 1864. / AON ae No. 134 EUGENE LOUIS GABRIEL ISABEY FRENCH, 1804-1886 - HEAD OF A WOMAN Height, 2114 inches; width, 16% inches. ot —— ke head that at first glance or suggestion mig have been by Diaz. A fair-complexioned youtg French girl, whose blond hair is warmed and lighted with red, is facing the spectator, her head turned slightly to her right so that she looks be- yond him, pensively, as into space. She is seen head and bust and wears a filmy gown of blue, which hangs loosely about her shoulders, revealing the neck. Her hair is garlanded and her head is framed in a bower of flowers and trees, befitting the eyes, which seem to see far-off visions, and the dreamy expression and pose. Purchased from the Isabey sale, and bearing at the lower right the stamp in red, ‘**Vente Isabey.” — No. 135 JULES BASTIEN-LEPAGE FRENCH, 1848-1885 COURTSHIP PG Lae of a larger picture, and therefore in the nature of a sketch, though in parts it is apparently car- ried as far as the artist had intended to carry it. ‘It is a yokel courtship, but not the less interest- ing for that. ‘The awkward young man’s sandy hair is matched and bettered in the feminine red (which is little more than blond, after all) that falls in knotted ‘“‘pigtail’’ braids between the girl’s solid yet supple shoulders, whose substantial model- oe 201% inches; width, 18 inches. is canvas presents itself as a first conception ing is not concealed beneath the light, close-fitting jersey. She leans, back to the spectator, against the fence rail, where the lovers have met at the stile. He, on this side of the fence, facing three- quarters toward the spectator, leans with his elbow next hers. Below and around them is the green and blossoming vegetation of country gar- dens, bounded in the distance by a red hillside; and signs of neighboring domesticity hang on nearby lines. Signed at the lower left, J. Bastien-Lepage. ee No. 136 GEORGE H. BOUGHTON, N. A. AMERICAN, 1834-1905 AUTUMN Height, 24 inches; width, 16 inches. Ve Bf Winn. The figure of a tall, dark woman, not in the first blush of youth, but in the experienced con- fidence of young womanhood, comes in the direc- tion of the spectator through the maze of a light wood, with Autumn leaves hanging and falling all — about her, her serious gaze directed slightly to her left. She is seen in three-quarter length, wrapped in a black gauze, which both wreathes her head as a mantilla and as a mantle veils her graceful form.