es ie i ; iS ate pa’ way Reap sa ee a; ee 4), La GN) ra" J rey t -a|so to function. | were different. “miration. Moreover, they have the virt- ue of reflecting with truth and some- ican | thing like elevation the spirit of their nt a te the | yee time. This latter point is one to be considered with some care. We know nie the schools of France and ine vents, i als of art. The gift of the painter me be light and charming, to adorn life as well as to serve as its mirror, was not simply permitted to exercise itself | in Paris and London—it was encouraged , With “us conditions: was expected to be not so much a maker of pictures as a painter of por- traits; he was a social aePeneity, rather vos eelean ae in its “His ‘pig a ig by 1¢ od. “The ‘exhibition i such a iesiianiant record. ata ee eee a source of luxury, of aniusement, ‘This fixing of his status, which ¢ i aty to have profitably iibenatheds aie | discipline. imposed. upon him, sepes ' suspect, was the wish to paint not “| only an image but an impression of his the wings of his inspiration. The American artist | 40" ‘decorative ig pictorial neaeet | ‘ing nictuves as watt as the habit of Pe portraits for exacting clients is not improbable that our develop-. aay artistically, would have been ad- vanced by several generations. As it was we have to watch out in the wt Lay Se sometimes. breaks the | bounds of habit. This dees not appear in the earliest of Mr. Clarke’s portraits, the examples of Smibert, Theuss, Pine, C. W. Peale, and so on, until we come to the two. works by Copley. The other men have their sedate merits and oceasionally disclose talent of so high an order that. we are warmed—if one may risk the figure—to their austerity. Witness the serene, winning quality of Ralph Earl’s’ “Truman Marsh, of Litchfield, Rector ‘and Scholar.” Struggling soméwhere > in the back of this artist’s mind, we. The art of painting consists, after | Sitter. Some sort’ of a pictorial inten- all, among other things, of just the art | tion dimmers up through the rather an affair of one of the most purel, | oo pia in Pies Asien ea ke af vat the outset that we | ur minds: of cant. ; The. + in our pienects ot Pion for the use of fit, Ree not mean fun. es in the appraisal of their vere is a new cult fae ve ead ise sevtue of great men. | ere in general nothing of the one or two members of the | iti to anything like extraor- But they were sin- | ir eminence. and they were: accomplished men ‘vespected their art and left upon the: stamp of dignity that would | me to command our ad- rere ee ast mean Ward worl: means. ike . wise—in- Hie right hands—nothing, The han i | of our pioneers, which s ‘| of laying ono stroke of pigment upon } | stilted composition. One thinks, mo- | the canvas after another, and that, | }2 which is an affair of. conscience, is als mentarily, of some of Zurburan’s ,im- * eaatta but strangely vitalized clerics, | What is it that keeps good master | Earl from achieving the same “magis- ¢ | adroitness—and tradition. terial” effect? A certain naivete, we | surmise, a certain want of technical See, on the. | ether hand, what Copley immediately | ap | secures with both in his odd little full | length of “James Tilley,” which is al- | tinguishes most of them ‘from: ay most a miniature, and in his pastel of | masters abroad at whom we have| “Elizabeth Byles Brown,” a portrait ousness. They yeririg Aacebicaite, pies ; the joie de vivre, which comes | artist when he is ‘pain hlonae himself. If at. he lof our school there ha | spread in America ‘the hab. i i, h ‘i , simpl: ras Kee charm as a drawing by Boucher. glanced, was a certain narrowing seri- | | that “might have come straight out of They | had plenty, Cr Seri eight eenth century France. Copley, in words, is the truly inspired ee artist who goes in not only y peas whom "opkiaviested, peri ‘Earl is! naive, we Puce hvvetrbat he catches a phen: guiling patie as pias, “of grace and The miniature aforesaid is, in the nature of things. a harder, less elastic per- | ‘formance; but this, too, has in it the | spirit of painter's painting. res oh he Bs oo ear nd, even more, erian grays. Well figire in this can- ly point out. that this . seit felt, wherever : seu in 'a word, well and = ‘Pa , that we recog- | 4 “whom portraiture not enough, w who had to pro- ng not only accurate, but They are easily to be iden- lace in a category by them- : “romantic “Lord Byron,” by ally, ‘and his Hoppner-like “Mrs. Jo- Pp 1 Hopkinson,” the masterly “Joseph de” of Vanderlyn, and the fine eorge W. King” of Samuel. F, B. Morse. : Detached from the rest, they ‘ their isolation for obvious yeasons—they contain so much good painting. The Vanderlyn; by the way, ‘is a little jewel-which we long to see established in the Metropolitan Mu- | Though the sitter was an American, this portrait is unmis- ably influenced by the painter’s so- in Paris and particularly by his ‘contact with the works of David. And ‘David, we may add, could hardly have bettered in drawing this strong, sim- ‘ple canvas. Beauty, then, was a rare visitant in ‘the studios of the forerunners. We have cited very few instances of it rosa the present exhibition, nor do ‘these point in every case to a sustained Cofreggio. It is not, any more than his famous es onaet a truly beautiful |thing. Beauty,\as he created it, was not so much an element consciously | sought as it was the outcome of tech- ‘nical exaltation, so to say, of method | raised to a higher power, as in the in this we draw near to the secret of | the school as a whole, We have spoken : (ite. marks the whole conception of the faculty. Vanderlyn, for. example, is, li also represented by an “Antiope,” after | splendidly drawn “Joseph Reade.” And | | of s ter. noni wel Henry Inman and their fellows, we are struck by the persist- “ence of their high ideal. of workman- ‘ship. Because it was, as we have indi- ‘eated, only in the case of a Copley or a Stuart that individual genius broke | _ |through the bounds of habit, these men ‘communicate no thrill, their technique has nothing of virtuosity about it. But bia is at least a sound technique, and, ‘indeed, ita Jraits are very good to live | with. A refined calm’ dwells. in all ‘these portraits, The sitters are real- ized as with a sense of measure, of “repose. Character is studied with a quiet care. Nothing is” scamped. ‘Neither are there any teasing -acces- sories. ‘The simplicity of good breed- artist, flowering sometimes, as in the ‘Stuart “Washington,” and the “Charles | Sprague” of Chester Harding, in a dis- tinguished elegance. Almost never is there any hint of the colorist in the strict sense. staat: with the grays in. his “Lawrence Reid Yates,” invites the designation, but only casually. - The prevailing mood of the school is for a Fichaowsiy ha key, almost a monotone. But. | so well is the simple scale handled that it is never monotonous. The truth is ‘that American ‘portraiture has never been more suavely gracious in style, “nor more capable, within clearly de- ‘fined limits, than in the epoch illus- \trated by Mr. Clarke’s collection. | It is, as we have said, a collection of ‘portraiture, the pietures in it being practically negligible. The two Biblical ‘subjects by Washington Allston have a ‘certain mild interest, but that is all; ‘The scenes from Washington Irving by John Ouidor have little to commend them beyond an echo of Teniers in the humorous member of the pair. The bit of genre by William S. Mount is of ‘value only as a souvenir of this un- familiar artist. The only canvas not a portrait which provides anything like ‘an artistie sensatior is Trumbull’s sketch for his “Battle of Lake Erie,” a delightfully spirited little fragment. | , But this is only a fragment, and it is | to the portraits that we are bound to. ireturn. In doing so we may observe | ‘that they make an appeal quite apart) ‘from any question as to their artistic | ‘merits. There is, to begin with, the | light they throw on the personalities | of historic Americans. There are at) ‘least five portraits of Washington, be- | ) ginning with the half length painted ati | Princeton in 1779 by C. W. Peale. The | examples of Stuart and of Rembrandt | Peale are of the highest interest as! | portraits. The other American leaders } here commemorated are Jackson, Henry | Clay, Daniel Webster and General Lgayonias m Howard portraits iy Tama one is of Major Whistler, the father of the artist. We do not doubt that the personal side of the collection will play its part in the sale. But the chief fac- tor will be the artistic excellence of the portraits. That is what gives the exhibition its living interest, er it with a vitality such as an exhib of latter day portrats often lacks. lot of water has gone under the since the day of these modest erates men. We know much more about tech-| nique and make far livelier play with _it.. But rarely do we draw as well a the pioneers drew, rarely do we have _their goud taste, or their unobtrusive sureness in apprehending ter and. setting it upon canvas with “ee distinction. Be Ber i i ccsheibaeneemaaimenrated diss BA eware yy aS Yeadon George “Jimmie”; Tom Paine, who ye wrote “The Age of Teason" Gen. Grant TAndrew Jackson, Webster, Clay and | given the position of honor on the walls. 4Y j Bdwin M. Stanton—fifty canvases in all. First Hand Impressions. rests upon the fact that the if esthetic consideration is not paramount, a Sy remark is frequently heard from the ‘Se ass of Pirig or and Andrew lark and now on view ee a Art Association, form Ogee is exceedingly timely on: it when ‘there is serious talk 3. “It ig most uanfor-' } to be sold at public sibly dispersed to the f the nation before the ieee peen placed upon a : of it—five portraits ; i paintee by men who i fy alco and painted him Mfetime. One of these is by : oes Lewonganer Gilbert Stuart. It its of oil Allan Poe, : ~ Se tetiredin bbtiectoa: for the institu- : n that no gallery there is so rewarding | styles, but the OE. wholly easy one of obtaining first hand «und gincere impressions of eminent per-. sonages. Carlyle, for whom eminent personages had peculiar fascination, said, “Often I have found a portrait superior in real instruction to half a dozen biographies,” and the fact hag often been proved by galleries of histori- cal portraits that sometimes the best eyes for facts have lodged in the heads of the lesser artists. Naturally when great artist and great nerson ge meet, as in the case of Velas- quez and Pope Innocent X. a very great pertrait from any point of view results, but such encounters are rare; and in the meantime it is so obvious that all Lilies jon Whistler, father of the im- ‘prandt Peale portraits very pani lips of Americans who have visited Lon-. {2S the National Portrait Gallery, for the) /pleasure is not the arduous one of learn- On nei famous painters’ one of Peale’s, in which Washington is seen in his vigorous prime, has been | This canvas, prior to 1876, was in the’ possession of the ‘Shippen family of. | Philadelphia, Rembrandt Peale having mn delight and a relief in’ studying such | been a connection of the Shippens. Ld Poe Portrait Is Striking, i The portrait of Edgar Allan Poe by Boyle has all of the suffering of the un- happy poet written into it, and for that reason {it makes an effect of greater age than most people associate with the writer, who died at forty. The artist: has managed to give a peculiarly haunt- ing expressign to the eyes. | Cephas G. Thompson, who was a fash- ionable artist in his day, is the painter who recorded the handsome features of John Howard Payne, author. of “Home, ‘Sweet Home.” ‘The Tom Paine portrait, ‘impressive technically, is a copy by Bass. Otis, who was born in 1784 and died 1861. The lineaments of Mrs. Peggy O’Neil, who was a storm centre of gossip in. Washington back in the days of Andrew: Jackson’s administration, have been pre-' served by Henry Inman. Mrs. O'Neil, the widow of a tavern keeper, married Senator Eaton, and when Eaton was ap- . pictorial records of great men have his- pointed Secretary of War the wives of ivorical value that it is curious more iof our collectors have not embarked + upon this perfectly safe quest. The pres- | ent auction of such pictures is the first to take place here. The Stuart portrait of George Wash- ington is the so-called “Athanzwum Head” of the father of our country. It. once belonged to the late Mrs. Eliza- | ; beth U. Coles, and was exhibited with her collection in the Metropolitan Mu- seum. The Stuart portraits of Washing- ton are the most celebrated of all. They | present him in his benign old age and so closely is the ideal patriot realized that the modern American would be daring indeed who could imagine the first Pres-. jident as..being otherwise. Historians, ‘the other members of the Cabinet refused ‘to know her socially... Martin Van Buren ‘was. one of the lady’s champions, and although bachelors are powerless to aid the fair when they tumble into such dis~’ tress, his chivalrous efforts did have an effect, it is said, in afterward procuring the Presidency for himself. It was ‘Henry Inman. who also painted Major Whistler's portrait,’ a portrait that will _be affectionately studied by artists. The list of painters includes other | celebrities, such as Samuel Waldo, whose | “Samuel Smith” is an excellent portrait of timorous old age; Thomas Sully,. | Washington Alston, John Singleton Cop- Hey, Eastman Johnson, S. F. B Morse, |'Asher Durand, Robert. Edge Pine, John Quidor, John Trumbull, Charles L, Hi- liott and John Paradise. | The sale will take place January 7 in ithe Plaza Hotel. { a _ Ss De en a ar ke His ound “hee Peale when years old, went to io! age Duveen sale, and many follows: | Dunlap, “Robert. A eae, and ad eee canaae aie cru einott, “pleazer fe Lost Dauphin,’ Gg, 8. Parker. ary Inman, “Margaret. O’Neill mn’; Otto "Bernet, agent...... “6-—Sarmuet" Lovett Waldo, “Samuel Soldier and Statesman”; Sa Seaman... ..... PEA brandt ioe “Mrs. ‘“Sten- nett’; R. C. & N. M. Vose....... ain Quitman” ; 8. J. Bloom- le 9—John resley, Jarvis, Feocteit of ba oy ; &. T. Hecksher.....+. 10—James H. Wright, “Daniel Web- ster’; sa ta a) a rik “ ut 11—George mbdin, ‘ My Fig a Secretary of War’; W. WAN). ABOMP seed ds + clio lel’ bf artists, with title, puyers “cine Reid Lambdin, ‘Gen. John W. Seaman, agent....ce.seeneeee Tlvases ee rate Ww. an ae eee dnd art en- wn seemed to be in at- well | were in the au-! d j 350 son’; L eerae a ek 23-—Bara: Ames, | siaieaise es ies ei e e a pene: Melville’ m Heel Hees ges Seer Allston, “Moses and present that the success of the it” a Me Oa Genny we ee a 100. itton, “David — of Baus vi oe ee Me ahs: 100 (525 . 2,300 a irae a . 275. ount, tan pe 5 Waid come Task: 6,0). Werner ).c.06% (110° 81—John Vanderlyn, Chace Reade”; ; O. Bernet,: bedi A ise ~ $00. 32—William . ap, " Wadraham be Hooghkirie*: Oo. Se linet agent... 400 33—William Dunlap, “Antje Filton. 3 Hooghkirk’”’; O. Bernet, agent... 400. $4—John Singleton Copley, ‘Blizabeth | Byles Brown”: Thompson. 700. 35—John Trumbull, “Battle of Lake fe Brie’; oO. Bernet, agent, see eee ene 2,800 36—James Peale, “Miss Maynard”; Beis ; Knoedler & Co, ce eon Pier tae eater 3159 § 87—Gilbert Stuart, ‘* iGaerKe: Washing- ton’’;, Duveen Bros... ...... 0.4 .4421,000 -88—Gilbert | Stuart, ‘Lawrence Reid _ Yates’ ;; Duveen Bros........0s5 8,100. -39—John Paradise, ‘James _ Luce Kingsley, Educator’; Ryda, renZ, “agent. .... ue pe eae 1 BGOS 40—Thomas Sully, “Mrs. Joseph Hops - kinson, nee mily Mifflin’; Knoed-. » POY se COGawit ee aq son oak cee 2,400 41—Rembrandt Peale, “George Wash- ington’; Knoedler & Co.......,. 9,000 go yoremidh Theus, “Alexander | Broughton’: Knoedler & Co..... 750 48—John Smibert, ‘Joseph Craw- |. ; ford’; Knoedler & Co.........- 1,550 44——Rembrandt Peale, “George Wash- . Ington’; Duveen tees cies: 1,450 45—Ferdinand Thomas Lee Boyle, ) “Edgar Allan Poe’; Duveen Bros. 600 ge ae “Thompson, ‘John Howard Payne’; Duveen Bros. 650 47—Charles Willson Peale, “General %, Washington at Princeton, 1779’’; THVEGH SPAPOR ail. ca sibinletiia ke suee wns 6,200 48—-Samuel a B, Morse, “George W King’; W. Seaman, agent... 1,800 49—Railph wert, “Truman Marsh of Litchfield, Conn... Rector and Scholar’: W. W. Seaman, agent. 700 50—John Vanderlyn, itcucite Au- PUM PALE el os wi sical cue le Ue 850 The total for the fifty pictures was the Reeth $78,035. It was the verdict of most students of the picture market who were sale might be considered a good ausury for —s iL es (eet Ez 1 mm mapas. > ENB lds pi ay Lhe Ee | | : ae of Clarke Collection of Early Americans. - its Vg . PvE WASHINGTONS $38,750 ns Portrait rtralt of Edgar Allan srs ak Sold for $15, Brings” $600— ; beads for the 50° Pictures. " a pte am, : ha of [ott ; : f was sold last evening for 21,000, going to ‘the Duveen irethers, “country.” ‘of early ‘American par wastn, “when the collection of Thomas B. Clarke went under the hammer at the ‘Hotel Plaza under the auspices of the ‘American Art. Association. ‘The sale. was one of record breakers, and none’ arkable than that of the big Washington, which ‘of the prices was more re | three years ago was sold at the An- derson Galleries to’ Charles H. “Harris for $3,500. Sully, which have been sell- ing for $300 and $400, brought $1,500 and $2,000, and buyers who have never been known to consider American por- traits made large purchases... The fifty pictures of the auction brought $78,035. ‘There was applause at the opening of the sale when Thomas E. Kirby, the auctioneer, said that. there should be a great national portrait gallery. “JY wish that. this entire collection could be bought for such a purpose by seme public-spirited individual or by a syndicate, but tke time is not ripe for jt. I have tried before in vain.” Mr. Kirby said that twenty years ago he had: sold American portraits belong- ing to Mr. Clarke, and since that time had resold them in notable collections at greatly advanced prices, and prophesied that the pictures of the present sale would also greatly increase in value. | In the sale were five portraits of /Washington which brought various ‘prices and a total of $38,750. Next in price to the Stuart was a portrait of ‘Washington at 63, having the appear- ‘ance of an old mam, an_ authenticated picture as painted by Rembrandt Peale ‘in his eighteenth year which brought $9,000. Another picture by the’ same ‘artist painted later brought. only $1,450, _* George Washington at Princeton,’’ by ‘Charles Willson Peale, father of Rem- ‘brandt, sold for $6,200, and one by “Charles Peale Polk, $1,100. Another Gilbert Stuart, portrait of Lawrence Reid Yates, went. to Duveen Brothers | for $8,100. The portrait of Washington, which ‘started at $2,500, ran. up by thousand- ‘dollar bids, and continued in five-hun- dred-dollar bias until it was knocked | down to the Duveens, the audience ap-_ oe REESE Portrait. big. Soetnaton ‘8 portrait by Gil. Bice painting of the | ! g. There spe many pictures | el erest: in. é collection—'‘ or of. Lake Erie.”” a small painting, John Trumbull, marked “ peli * | sketch, " which brought $2,300; Copley’s portrait of James Tilley, with a charm- ing little picture of the rope walk left PF sao is uncle in his will, which. brought » and Washington Allston’s lit- family of Gilbert Stuart in the latter's painting room, which sold for $525. Bross csi. hens ese ee ve 426 22-—Andrew Jackson, (1767- 1845)—Jacob Hichholtz; Duveen Bros........s00.0. 1,300 23—Allan Melville, (1782-1832) —Kara ARIES S: DUVEEN “BOB G- iii sis wis 9 er ieieeca 4 | 24—Maria Gansevoort Melville, (1791- | 1872)—Ezra Ames; BK, T. Heckscher., 700 25—Moses and the Serpent—Washington ALStOtee. hs Ges PRBUIN o's 94 ols 8 ocak 100 26—-David Playing. Before Saul—Wash- ington Allston; T. G. Austin....,.., 100 27—Gilbert Stuart’s Painting Room— the Artist and Members of His Fam- ily—Washintgon Allston; Bernet, RU EPROEM Toe adn nh acti Minin ea eee a NI Gomrele @yhied Bi 525 28—James Tilley, (1707- 1765)—John ‘Singleton Copley; Bernet, agent ......2,300 29—Major Whistler, (1800- 1849)-—Henry Inman, N..A.; Botnet. agents. .eiuas 275 80—An Unwelcome Task—William 68. Moan tt Cy ods LO WVOTNOES iss dai cee be ary 110 8i—Joseph Reade —John Vanderlyn; BeCOet AMONG ig} sly bas wie eis ole yd ab itnie Ss 800 382—Abraham Hooehkirk, (1744-1807) — William Dunlap; Bernet, agent, 400 33—Antje Hilton Hooghkirk, 1744- 1810) —William Dunlap; Bernet, agent..... 400 384—Elizabeth Byles Brown, (1737-1763,) i tC hae Singleton yon Ww. TES ABI TAINED 3b staid she Lb pie whale sale ilo 700 ab Hattie of Lake Hrie—John “Trum- pull: Bernet, agent... 0.0 ces cave eae +. 2,300 36—Miss Maynard—James * Peale; M. Knoedler: Co. es ak iiesc cet aeusae 850 87—George Washington, (1732-1799) — Gilbert Stuart; Duveen Brethers....21,000 3s—Lawrence Reid Yates, (died 1796)— Gilbert Stuart; Duveen’ Brothers.... 8,100 /and agents.) B. CLARKE CONDITIONS OF SALE 1. Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 8. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the purchasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon payment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on presenting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service 6. Storage of any purchase shall be at the sole risk of the purchaser. Title passes upon the fall of the auctioneer’s ham- mer, and thereafter, while the Association will exercise duce caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 7. Guarantee is not made either by the owner or the Associa- tion of the correctness of the description, genuineness or authen- ticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold “‘as is” and without recourse. The Association excercises great care to catalogue every lot correctly, and will give consideration to the opinion of any trust- worthy expert to the effect that any lot has been incorrectly cata- logued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City, SALE TUESDAY EVENING JANUARY 7, 1919 IN THE GRAND BALLROOM OF THE PLAZA Firrn AvENvugs, 58TH To 59TH STREET BEGINNING AT 8.45 O'CLOCK ORDER OF SALE / hs I—Wiui1am Dountap, N.A. / / 4) Robert Snow, Educator and Humani- tarian (1760-1833) Height, 84 inches; width, 27 inches POS 5. - 2—Asuer Brown Duranp, P.N.A. / OY Mary Durand Height, 26 inches; width, 20 inches / pe O 3—EAsTMAN JOHNSON, N.A. vse Sanford R. Gifford, N.A. (1828- 1880) Height, 2% inches; width, 22 inches 4—CHARLES Lorine Euiort, N.A. Eleazer Williams, the “Lost Dau- phin” Louis XVII? (1787-1858) Height, 30 inches; width, 2514 inches 0 nt oy is LA ( Margaret O'Neill Hate (1796- 1879) i ae whe ‘. wi sé + Height, 30 inches; width, 25 inches ee ' fw Sp qd. ) 6—SAMUEL Lovett Watxpo, A.N.A. / 05 a Samuel Smith, Soldier and Statesman (1752-1839) Height, 30 inches; width, 25 inches 7—Rempranvt Prats, N.A. 5 +n 4 S Mrs. Stennett Height, 30 inches; width, 25 inches é eR, 8—JamES Rein LAMBDIN / S me General John Anthony Quitman (1799-1858) Height, 29 inches; width, 24 inches er SOF ait / er 6 9—JoHN WESLEY JARVIS Portrait of a Lady Height, 23 inches; width, 19 inches 10—Jamrs H. Wricut Low J Daniel Webster (1782-1852) Height, 24 inches; width, 18 inches we / S 11—Gxorcre C. Lamppin, N.A. Edwin M. Stanton, Secretary of War — (1814-1869) Height, 25 inches; width, 20 inches 2 3 2 9 12—Enocu Woop Perry, N.A. General Ulysses S. Gran 1885) 3 Height, 30 inches; width, 25 inches Y a Le _ s > f - ya ‘ f pie? af AY y al aa ie y yas ’ 183—Jamers Retp Lamppin Aegean Henry Clay (1777-1852) Height, 30 inches; width, 25 inches 14—CnHester Harpine (1822-_ Charles Sprague, Poet and Banker (1791-1875) Height, 30 inches; width, 24 inches 15—Tuomas SULLY Lord Byron (1788-1824) Height, 29 inches; width, 24 inches 16—Rosert Encore PINE ae i David Garrick (1717-1779) ~~ Height, 27 inches; width, 22 inches 220 eee | ' 17—JoHN QUIDOR en?” Ichabod Crane at a Ball at Van Tas- sel’s Mansion Height, 24 inches; length, 34 inches 18—JoHN QvUIDOR Ichabod Crane Pursued by the Head- less Horseman of Sleepy Hollow Height, 22% inches; length, 30 inches ihe oe / | 0b) O 19—CHARLES PEALE POLK } George Washington (1732-1799) Height, 2914 inches; width, 23 inches te YW. 20—RatepH Haru / / 60 Samuel Stanhope Smith, Scholar (1750-1819) _ Height, 30 inches; width, 24 inches . f\ ae ll ok. E oon fe Stitscamasaet Ly Kubo 4 \y 5 21—Bass Ot!s Thomas Paine (1737-1809) Height, 30 inches; width, 25 inches i Dat Ts ene ; ; ii & i hi f : * £ J f : : E % sil RWS sie gs “iS =. 3 i a % : e'* se k 1 * a : at H FY ~e, \w 22--Jacos ErcuHoitz £ Sse Andrew Jackson (1767-1845) Height, 30 inches; width, 25 inches | x Nom Ld 23—Ezra AMES | ) ce Allan Melville (1782-1832) Height, 30 inches; width, 24 inches 3 VFM 24—Ezra AMES yA O d f Maria Gansevoort Melville (1791- 1872) Height, 30 inches; width, 24 inches / oy 25—W ASHINGTON ALLSTON Moses and the Serpent Height, 15 inches; length, 18 inches 26—W ASHINGTON ALLSTON David Playing Before Saul Height, 15 inches; length, 18 inches or? | 27—W ASHINGTON ALLSTON Gilbert Stuart’s Painting-Room—the Artist and Members of His Family Height, 14 inches; length, 17 inches 260 28—JoHN SINGLETON COPLEY James Tilley (1707-1765) Height, 14%, inches; width, 104% inches i NY & a ee? é 4 ) 7 Ee Major Whistler (1800-1849) seis 29—Henry Inman, N.A. Height, 1114 inches; width, 9 inches j j< * 30—Winuiam S. Mount, N.A. An Unwelcome Task Height, 5 inches; length, 714, inches (Kor Wr . “Weer Yrrd oy 31—JoHN VANDERLYN ye 0 a, Joseph Reade Height, 8%, inches; width, 634 inches af’ Lh O © 382—WiLuiAM Dun.uap, N.A. Abraham Hooghkirk (1744-1807) Height, 121% inches; width, 101% inches i 0? 38—WiLtiaAM Dun ap, N.A. Antje Hilton MHooghkirk (1744- 1810) Height, 121, inches; width, 104% inches 384—JoHN SINGLETON COPLEY Elizabeth Byles Brown (1737-1763) (Pastel) Height, 17% inches; width, 144 inches 2,00 35—JouHn TRUMBULL Battle of Lake Erie pee 10 inches; length, 20 inches htt, CY. fle AAD ne A , 0) 36—JAMES PEALE “ ™ Miss Maynard Age aen ight, 24 inches; width, 20 inches. G 0 PY ee re he “Da Am AM ég ’ 2 -€) © 37—Guperr Sruart / i George Washington (1732-1799) $ ss Height, 27 inches; width, 22 inches } sb ALAS ba. ees Ys i ; ig of Gg O ’ 88—GILBERT STUART est Lawrence Reid Yates (died, 1796) Height, 30 inches; width, 2414, inches - vs ‘; “ 39—Joun Parapisz, N.A. James Luce Kingsley, Educator (1778-1852) Height, 30 inches; width, 25 inches oO 40—THomas SULLY Mrs. Joseph Hopkinson, née Emily Mifflin Height, 30 inches; width, 25 inches 41—ReEmMpBranpt Prax, N.A. . O George Washington (1732-1799) Height, 29 inches; width, 2434 inches : ge C. mM .! pe 4 3 7 42—- JEREMIAH THEUS y 2? O Alexander Broughton (1721-1764) Height, 30 inches; width, 24 inches 43—JOHN SMIBERT / & Joseph Crawford (1705-1770) Height, 30 inches; width, 25 inches qe: 44—ReEMBRANDT Prats, N.A. | . i BE. 40 George Washington (1732- 1799) Height, 30 inches; width, 25 inches ¢ & 6, 45—FERDINAND THomAS LEE Boytez, 2. A.N.A. Edgar Allan Poe ( 1809- 1849) Height, 80 inches; width, 25 inches 4 Pe ~, & % nile ) 46—Crpnas G. Tonesond A.N.A. le % John Howard Payne (1792-1852) Height, 80 inches; width, 25 inches a : Pe % PA i / 2 fi O 47—Cuarizs Wiison Prats C0 gi General Washington at Princeton, 1779 Height, 34 inches; width, 25 inches 2, QO 48—SamvueL F. B. Morsr, P.N.A. } all C George W. King (1813-1893) Height, 84 inches; width, 27 inches 700 ‘49—RaLpH Ear Truman Marsh, of Litchfield, Con- necticut, Rector and Scholar (1768- 1851). 7 Height, 88 inches; width, 34 inches 50—JoHN VANDERLYN 2 fy & : Antiope Height, 70 inches; width, 51 inches AMERICAN ART ASSOCIATION, Managers. Tuomas E. Kirsy, Auctioneer. - BSS Rr re - - eS ao at ee an + Stn hes { t ! 4 ¥ hn ; “ - ; : ° t-— SR IE a ESS VU PS EE EP oe DA eer Se Se nr OU oe CEU Oi Sa OR 2 ae ee a i Nos. 0 @ I OU FP NM et Early American Portraits Collected by Mr. Thomas B. Clarke Sold at the American Art Association, Jamary 7-th, 1919. Prices. Buyerse Nos. Prices. _ Buyers. $ 110. Geo.H. Ainslie sa 32 86 «400. Otto Bernet, Agt.for 160. Bhrich Gallerées Arthur Meeker 160. Gilbert S. Parker 33 400. Otto Bernet,Agt.for | 250-6 . Ls us Arthur Meekér 340. Otto Bernet, Agt. : 34 700. WeC. Thompson 1050. W.W. Seaman, Agte, for 35 25006 Otto Bernet ,Agt.for Herbert Le Pratt. Arthur Meeker 575.6 R.C. & Nell. Vose 36 850. M.Knoedler & Co. 1356 Sed. Bloomingdale 37 21,000. ~— Duveen Bros., for — 130. E.T. Heckscher HeE. Huntington — 250% W.W. Seaman, Agt., for 38 8100. Duveen Bros., for : Senator F.B.Brandegee. H.E, Huntington } . L756 W.W. Seaman, Agt. 39 550. ReAe Lorenz, Agte j 350. WeWe Seaman, Agt. ° for 40 2400, M..Knoedler & Co. | Senator F.B. Brandegee “igy i} 9000. " m # 500. Duveen Brose, for 42 750. Ls = “3 . H.E. Hintington 43 1550. i" ue ; 240. Ke Richards 44 1450. Duveen Bros., for 1550. Otto Bernet, Agt. H.E. Huntington 2225.6 Duveen Bros., for 45 600. Duveen Bros., for H.E. Huntington H.E. Huntington 325.6 W.W. Seaman, Agt. 46 650. Duveen Bros., for 3256 he ” 5s Hook. Huntington 1100. M.Knoedler & Co. 47 6200.._~—=s- Duveen Bros., for | 1100. a s H.E. Huntington 4256 Duveen Bros., for 48 1500. W.W. Seaman,Agt.for . - H.E. Huntingtone Walter Jennings , 1300. Duveen Bros., for 49 700. WeW. Seaman,Agt.for H.E. Huntington Brooklyn Museum 1100. Duveen Bros., for 50 3506 A. Franzen H.E. Huntington 700. E.T. Heckscher 100. 7.G. Austin 100. 7 4 5256 Otto Bernet, Agt. 23500. Otto Bernet, Agt., for Arthur Meeker 2756 Otto Bernet, Agt. 110. Charles Je Wermer 800. Otto Bernet, Agt., for Arthur Meeker 2 ye eh eer ae weer ito ‘edt aca i bl “gated 2 oted ito ¢ , eee 3,2 ‘4 tae ot tka Pe cope TD os WwW & g > = e. FAs west 6s Tie ; is Few be oye Serene st La Be te fuio L £ stp pergs ee oo aD THe HF. {te ee ae ie wy - a ae 5 oe cree Se OT RE me pn Pee oe yi oy Ae RR REE. tog a AAS a S553 a Sing a S : i, ee ee if aM Se. GTM Ge eh) & bh iprey re ged glee ee opt «g ft Mae gx a ee x re ae hres per cay? < sasebr arg etie'S LOT EIISG SOF . ears reevint aes ase Pare er! * ° ar i otiaas rs +h FS Pa a MS Gar Ban tut a yee cepties Fey Gad & Sts wc 3 ezi Ge Ca i aes as te a ps he Bore “a bod, ee RTO OFTFO , stort spews 00a > rer “2 TOL. 4 ROLE Moers ee 2 ee be Saas, eo sract. ‘ ioe Yas 2 a eres + t a: > i b ¥ a ON FREE PUBLIC VIEW FROM 9 A.M. UNTIL 6 P.M. AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM SATURDAY, DECEMBER 28th, 1918 UNTIL THE DATE OF SALE, INCLUSIVE EARLY AMERICAN PORTRAITS COLLECTED BY MR. THOMAS B. CLARKE TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF THE OWNER ON TUESDAY EVENING, JANUARY 7TH, 1919 IN THE GRAND BALLROOM OF THE PLAZA HOTEL FIFTH AVENUE, 58th TO 59th STREET BEGINNING AT 8.30 O’CLOCK DE LUXE ILLUSTRATED CATALOGUE OF EARLY AMERICAN PORTRAITS COLLECTED BY MR. THOMAS B. CLARKE NEW YORK CITY TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF THE OWNER IN THE GRAND BALLROOM OF _ THE PLAZA HOTEL FIFTH AVENUE, 58th TO 59th STREET ON THE EVENING HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, Manacers NEW YORK 1919 DESIGNS ITS CATALOGUES AND. DIRECTS ae THE AMERICAN ART r ASSOCIATION — ALL DETAILS OF ILLUSTRATION _ Bia a, tie. Tee Ae, ae ht ? ; ” af “ é . ny Se te ‘@ = 4 i “sf — Lod af ry 1 | = ~ + oe ' Se “2 - - = | ax * i oe * ra shinny sae a De Sheil Ls % >a ‘ ay é = Aisne i t _ ’ ‘= | 1 ? a ¥ is S Ld 1 ASA x Ms eet de yee b we ~< as ‘ — { ; . t bs * Pa < é « PORTRAITS OF AMERICANS BY AMERICAN PAINTERS A collection of canvases of this character has not before _been offered to the public. The growth of interest in America in American paintings is not a new thing; but the development of interest in the earlier period of the art of the nation is a recent manifestation in national life that amounts to a renais- sance. With the study of the art, there goes a revived interest in the personalities of the day. Early American portraits are now sought with an avidity which though it may be a tardy compliment to native achievement is none the less a real one, and pregnant too with present purpose and opportunity in art. The present collection, with the notes accompanying it, shows that in the earlier days there was a realization of the value of contemporary portraiture by resident men which carries a lesson that the neglect of intervening years has until lately obscured. In acquiring the present collection, or perhaps it might better be said in bringing it together, for it has been a labor of active inquiry and research, Mr. Clarke has pursued his own logical development. Thirty-five years ago he exhibited at the American Art Galleries what was declared to be the first collection, privately owned, of contemporary paintings ex- clusively American of such scale—there were 140 of them. Fifteen years later, the sale of his collection of 372 of them, at Chickering Hall, in 1899, marked an era in the appreciation of American artists—and incidentally realized an unprece- dented monetary figure, whose individual items have since been many times surpassed. It was somewhat before the dispersal of that collection that Mr. Clarke’s interest in early American portraitists began —there are found in the catalogue of that day the names of West, Stuart, Sully, Rembrandt Peale and Waldo—-; it is since then that his interest has expanded to the degree making the present collection possible. In making that earlier collec- tion he had lived largely among the studios of the artists about — him. The death in 1894 of his friend Inness (thirty-nine of whose paintings were in his collection) brought the first great shock in that life, and after a short period of visiting exhibi- tions instead of studios, Mr. Clarke sold the collection, and following the Chickering Hall sale gave up the general pur- suit of paintings. Later, as one of the founders of a private association in New York, he sought for the decoration of its walls portraits of prominent Americans of the eighteenth and nineteenth centuries, painted by American artists. In securing these paint- ings of notable American statesmen and scholars Mr. Clarke had a considerable part; and “Following this effort,” to use his own words, “and with the continued co-operation of Mr. Charles X. Harris, Mr. Clarence J. Dearden and the late Charles Henry Hart, the acquisition of the group of portraits of Americans now in Manor Hall, Yonkers, was commenced, and completed.” Opportunities accompanied the wide-reaching work of assembling the Manor Hall collection which made possible the discovery and acquisition of the forty portraits of the present collection—a task at best difficult of achievement. Men appear here whose names were known but whose authentic works had been lost to sight until search and study of the records revealed them, and men among the better known are represented by works whose identity has been painstakingly sought out. It may be said here that original letters of owners in many in- stances are at the disposition of those interested; not by way of inducement, but as a matter of information. ‘The interest of nearly every art museum in the country has gone forth during the past few years toward acquiring early American portraits —and private collectors have ranged the same wide, reluctant fields—and the difficulty of finding approved works has conse- quently been on the increase. That Mr. Clarke has surmounted it is demonstrated; words are not needed, nor is this an appeal to buyers. Notable in itself is the fact that here are five portraits of Washington, all painted by men who saw him, knew him, and painted him during his life-time: one by the ‘““Master Painter of America” Gilbert Stuart, one by Charles Willson Peale, one by Charles Peale Polk, and two by Rembrandt Peale, in- cluding the portrait painted in 1795 for Gen. Gadsden of South Carolina; its complete history is known. The presence of these portraits makes interesting at the moment a rarely quoted letter of Washington’s, recorded by Dunlap (vol. 1, p- 319), written to Mr. Hopkinson of Philadelphia who had addressed the President in behalf of Robert Edge Pine (who is also represented in this collection). Dunlap says: “The Hon. Francis Hopkinson, whose portrait Pine had painted with perfect success (the first portrait Pine painted in America) wrote to Gen. Washington, explaining the design Pine had in view, of collecting portraits for historical pictures of the events of the Revolution, and requesting the General to forward the wishes of the artist by sitting to him. Washing- ton wrote the following letter to Hopkinson in reply: Movnt Vernon, 16th. May, 1785. Dear Sir—‘In for a penny in for a pound’ is an old adage. I am so hackneyed to the touches of the painters’ pencil, that I am now altogether at their beck, and sit like Patience on a monument, whilst they delineate the features of my face. It is a proof, among many others, of what habit and custom may effect. At first I was impatient at the request, and as restive under the operation as a colt is of the saddle. The next time I submitted very reluctantly, but with fewer flounces: now, no dray moves more readily to the drill than I to the painter’s chair. It may easily be conceived, therefore, that I yielded a ready acquiescence to your re- quest and to the views of Mr. Pine. Letters from England recommendatory of this gentleman came to my hands previous to his arrival in America—not only as an artist of acknowledged eminence, but as one who had discovered a friendly disposition toward this country—for which it seems he had been marked. It gave me pleasure to hear from you—I shall always feel an interest in your happiness—and with Mrs. Washington’s compliments and best wishes joined to my own, for Mrs. Hopkinson and yourself, I am, dear sir, Your obedient and affectionate humble servant, GEORGE WASHINGTON. Thirty-five painters figure in the collection, the earliest of them born in 1688; the latest (born 1831) died in 1915. So that, in the span of their lives, two centuries of American life are represented—to be exact, 227 years. The first to die died in 1751, and of the rest all but one lived through the Revolu- tion, and all but two lived well into the nineteenth century. The persons they portrayed were of importance. Besides Washington, other Revolutionary figures appear, and war heroes of the 1812, the Mexican and the Civil wars. Jackson and Grant are here—soldiers and Presidents of the United States—and among statesmen Webster and Clay and Edwin M. Stanton, Lincoln’s great War Secretary. Lesser known figures, but men whose lives bespeak the char- acter of their day, include one of the founders (and the presi- dent) of the first public library in Brooklyn, books for which were collected from house to house by wheelbarrow, and the corner stone for which was laid by America’s great friend La- fayette on the anniversary of the nation’s birth, Independence Day of 1825. The founder of Hampden-Sidney College, Vir- ginia, who as President of Princeton, and honored of Harvard and Yale, delivered an oration on the death of Washington, at ‘Trenton in 1800, is also here, as are Edgar Allan Poe, John Howard Payne, Whistler’s father—Major George Washing- ton Whistler, U. S. A., who died of cholera in St. Petersburg and “Peggy” O’Neill (Mrs. Eaton) who through President Jackson’s championship upset a Continent. And intimately representing Knickerbocker New York, Ichabod Crane is here, both dancing at Van ‘Tassel’s mansion and pursued in moonlight by the most distinguished acephalous citizen that Sleepy Hollow ever had. The list of artists includes, besides the well-known names of Stuart, Sully, the Peales, Copley, Vanderlyn of great abil- ities and unfortunate despondency; Jarvis of gay career; In- man, Elliott and Morse; numerous less known names, whose owners nevertheless speak on these canvases with authority and interest. Among them are Ralph Earl, Jacob Eichholtz who inherited some old brushes from Sully and became the historian in portraiture of Lancaster county, Pennsylvania; Chester Harding who floated down-river on a raft, migrated to Kentucky, and became later in the East the successful artist of whom it was said on his death, in 1866, that he “linked the early and present generations of American portrait painters” ; and John Paradise, Ezra Ames, Jeremiah Theus whose por- traits long were sought in vain; and the pioneer John Smibert; besides Allston and Trumbull, John Quidor and Cephas Thompson. Dana H. Carro.t. New York, November, 1918. CONDITIONS OF SALE 1. Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the marhare money as may be required, and the names and addresses of the pur- chasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon payment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on pre- senting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. a 6. Storage of any purchase shall be at the sole risk of the pur- _ chaser. Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 7. Guarantee is not made either by the owner or the Association of the correctness of the description, genuineness or authenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold “as is” and without recourse. The Association exercises great care to catalogue every lot cor- rectly, and will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. SALE TUESDAY EVENING JANUARY 7, 1919 IN THE GRAND BALLROOM OF THE PLAZA FirFTH AVENUE, FIFTY-EIGHTH TO FIFTY-NINTH STREET BEGINNING AT 8.45 O’CLOCK ge tee I. A ushiv WILLIAM DUNLAP, N.A. 1766—1839 1—ROBERT SNOW, EDUCATOR | AND HUMANITARIAN (1760-1833) Height, 34 inches; width, 27 inches Rozert Snow resided for the last thirty years of his life in Brooklyn, where he died. He was the President and one of — the founders of the Apprentices’ Library, the first public h- brary in Brooklyn, for which books were collected by wheel- barrow from house to house, and the cornerstone of which was laid by the Marquis de Lafayette, at Cranberry and Henry streets, on July 4, 1825. Mr. Snow was one of the organizers of a savings bank in Brooklyn in 1827. Childless, his home was always the abode of children, whom he adopted, and he became known personally to a large number of children in the City of Churches. He was popular among his fellow citizens, whom he continually urged to labor for the welfare and ad- vancement of society. William Dunlap was an author, actor and manager as well as a painter. Born at Perth Amboy, New Jersey, February 19, 1766, he began painting portraits at the age of seventeen. At that age, in 1783, he was accorded an opportunity to make a portrait in pastel of General Washington at Rocky Point, near Princeton. He wrote, and published in New York in 1834, a “History of the Rise and Progress of the Arts of Design in the United States,” the earliest book on the subject. He died in New York City, September 28, 1839. ROBERT SNOW, EDUCATOR AND HUMANITARIAN (1760-1833) BY WILLIAM DUNLAP, N.A. 1766—1839 /6). - thre dh Murs ASHER BROWN DURAND, P.N.A. 1796—1886 2—-MARY DURAND Height, 26 inches; width, 20 mches Mrs. Mary Duranp, the second wife of Asher B. Durand, was the daughter of Jacob Frank, Esq. She was married to the artist in 1834, four years after the death of his first wife, who was a daughter of Isaac Baldwin. Her husband painted this portrait of her in 1837. a Signed at lower left, A. B. D., 1887, The painter, Asher B. Durand, was born and died in New Jersey. He was born at Jefferson, in that State, on August 21, 1796, and died at South Orange, September 17, 1886. His first work in art was in the shop of his father, a jeweler, where he was an engraver. As he approached forty he turned to painting, and did both portraits and landscapes. Within ten years he was chosen President of the National Academy of Design, holding the office from 1845 to 1861. He had been one of the founders of the Academy in 1826. In 1840 he made a trip to Europe to study in the great galleries. ARY DURAND BY ASHER BROWN DURAND, P.N.A. 1796—1886 /60. - till 5 fk EASTMAN JOHNSON, N.A. 1824—1906 3—SANFORD R. GIFFORD, N.A. (1823-1880) Height, 27 inches; width, 22 inches One of the first of the American landscape painters to seek in Europe influences to heighten the practice of his own art, Mr. Gifford made a tour of Europe 1850-1854, and went over again in 1860 to sketch in Switzerland and Italy and along the Rhine and the Nile. Ten years later he went to the Rocky Mountains on a sketching tour of the Great West, and had his reward in commendation and popularity following the Cen- tennial Exposition at Philadelphia in 1876. He was born at Greenfield, Saratoga County, N. Y., July 10, 1828, and died in New York City on August 29, 1880. Eastman Johnson, a native of Maine, where he was born in 1824, began doing portraits in crayon when quite young, and at twenty-one he was in Washington pro- ducing portraits of national celebrities. He went to Europe and painted for several years and returning was elected to the National Academy in 1860. Among the por- traits he painted were those of John Quincy Adams, Daniel Webster, Longfellow, Emerson, Presidents Arthur, Cleveland and Harrison, and William H. Vanderbilt, and the noted canvas in the Metropolitan Museum of Art, entitled “Two Men.” SANFORD R. GIFFORD, N.A. (1823-1880) BY EASTMAN JOHNSON, N.A. 1824—1906 4 §p.- tilpuk 6 lak CHARLES LORING ELLIOTT, N.A. 1812—1868 4—ELEAZER WILLIAMS, THE “LOST | DAUPHIN” LOUIS XVII? (1787-1858) Height, 30 inches; width, 251 wmches Exeazer WitiiaMs was brought up in northern New York as the son of a half-breed Indian who had eleven other chil- dren, none of whom bore resemblance to Eleazer. Eleazer received a good education at Westhampton, Massachusetts, was United States agent among the Indians during the War of 1812, published an Iroquois spelling-book and became an Episcopal clergyman. The story of him was that the Prince de Joinville came to him on a steamboat in 1841 and informed him of his identity with the vanished son of Louis XVI. The story was published by a clergyman in “Putnam’s Magazine” in 1853 and was largely credited. The historian Benjamin J. Lossing took it up again in 1887. : Charles L. Elliott, who was born at Scipio, New York, in December, 1812, worked in New York City and died in Albany, his death occurring on September 25, 1868. He became after the death of Henry Inman the leading portrait painter of America. Inman had foreseen that he would, for after a visit from Elliott shortly before Inman’s death, the elder painter remarked: “When I am gone that young man will take my place. He has the true idea of portrait painting.” ELEAZER WILLIAMS, THE “LOST DAUPHIN” LOUIS XVII? (1787-1858) BY CHARLES LORING ELLIOTT, N.A. 1812—1868 ~W $H.- | Me Porat baat, HENRY INMAN, N.A. 1801—1846 5—MARGARET ONEILL EATON (1796-1879) Height, 30 inches; width, 25 inches “Prcaey”’ O’ NEILL, in whose behalf began “the social war which completely changed the course of political events in the United States during the next half century,” was the daughter of William O’Neill, who kept an old Southern tavern in Wash- ington where General Jackson and other prominent men always stopped. After the suicide of her first husband, a purser in the Navy, in the Mediterranean, scandal-mongers coupled her name with that of Senator Eaton of ‘Tennessee, a lodger at her father’s tavern; later they were married, and on Jackson’s election to the Presidency he made the Senator Secretary of War. The Cabinet ladies would not accept Mrs. Eaton, despite the President’s backing and the aid of Martin Van Buren, Secretary of War, and some bachelor members of the Diplomatic Corps whom Van Buren induced to call on her. The President finally gave it up, dissolved his Cabinet, sent Van Buren as Minister to England and later brought about his succession to the Presidency. Henry Inman was born in Utica, October 20, 1801, and opened a studio in Vesey Street, New York City, in 1823. In 1826 he was elected vice-president of the just established National Academy of Design. He was sent to England in 1844, com- missioned to paint portraits of Wordsworth, Lord Macaulay and Chalmers the preacher. He was so successful there that he was invited to remain, but he came home the following year to New York, and died here J anuary 17, 1846. MARGARET O'NEILL EATON (1796-1879) BY HENRY INMAN, N.A. 1801—1846 /p¢p.- I, Sa taman, dawns, pote 4. Caefft. i SAMUEL LOVETT WALDO, A.N.A. 1788—1861 6—SAMUEL SMITH, SOLDIER AND | STATESMAN (1752-1889) Height, 380 inches; width, 25 inches JOINED the Revolutionary army in 1776 as captain, at Balti- more, where he was a resident; born at Lancaster, Pennsyl- vania. Lieutenant-colonel at the battle of Brandywine; served at Monmouth. Representative in Congress sixteen years and Senator twenty-three years. Major-general in command when the British attacked Baltimore in 1812. Mayor of Baltimore in 1887. | The painter, Samuel Waldo, was a native of Connecticut, where he was born April 6, 1783, in the town of Windham. He went to London in 1806, joining John Singleton Copley and Benjamin West, and worked at the Royal Academy, and re- turning to America in 1809 spent the remainder of his life in New York, where he died February 16, 1861. SAMUEL SMITH, SOLDIER AND STATESMAN (1752-1839) BY SAMUEL LOVETT WALDO, A.N.A. 1783—1861 G7 §- A4 xt. Mae REMBRANDT PEALE, N.A. 1778—1860 7—MRS. STENNETT Height, 30 inches; width, 25 inches Mrs. STENNETT, of whom Peale painted this portrait in 1835, was a well-known teacher of music in the ’30’s, teaching in the family of General Scott and in the aristocratic old Dutch families of New York. Two of her daughters, Mrs. Mary P. Lewis and Miss Stennett, later lived in Brooklyn. Signed on back of canvas: REMBRANDT PEALE, PINXIT, NEw York, 18385. Rembrandt Peale, the son of Charles Willson Peale, was born in Bucks county, Pennsylvania, February 22, 1778. At the age of seventeen he painted what he called his original portrait of Washington, who gave him three sittings. Later he went to England and studied under Benjamin West, and after his return he painted portraits in New York, Philadelphia and the South. He made various subsequent trips to Europe, was president of the American Academy .in succession to Trumbull, and was one of the charter members of the National Academy of Design. He died in Philadelphia, October 3, 1860. MRS. STENNETT BY REMBRANDT PEALE, N.A. 1778-—1860 JAMES REID LAMBDIN Honorary Member, National Academy of Design, elected in 1839 1807—1889 /bF.- 8_GENERAL JOHN ANTHONY QUITMAN (1799-1858) Piteel f ij Gia bi: Height, 29 inches; width, 24 inches Born in New York State, at Rhinebeck, September 1, 1799, the son of a Lutheran clergyman, the subject of this can- vas moved early to Mississippi, and, transposing himself into an extreme Southerner, was elected to the Legislature and the Superior Court. Under a commission as brigadier-general of volunteers from President Polk, he fought in the Mexican war, was named civil and military governor by Gen. Scott after receiving the surrender of the citadel of Mexico City, and became “‘the only American who ever ruled in the halls of the Montezumas.” Governor of Mississippi 1850-51, he resigned to avert conflict between federal and State authority, owing to his advocacy of annexationist ideas and to his promoting of Gen. Lopez’s designs on Cuba, for which he was indicted. As- serted right of secession and advocated confederacy of the slave- holding States ten years before the Civil War. Congressman in 1856, serving as chairman of the Military Committee. Died at Natchez, Miss., July 15, 1858. Signed on the back of the canvas: Gen. Quitman, of Miss.; Natchez, 1845; J. R. L. Lambdin, the painter, born May 10, 1807, at Pittsburgh, was a student of Sully in Philadelphia at the age of sixteen, and was established as an artist in his home city at eighteen. He worked toward the Southwest, however, with success, re- turning to Philadlphia in 1887 and settling there. He painted many portraits in Washington, including many of the Presidents and one of Daniel Webster. Many years an active officer of the Pennsylvania Academy of the Fine Arts. President of the Artists’ Fund Society. Died near Philadelphia, January 31, 1889. GENERAL JOHN A THONY QUITMAN (1799-1858) BY JAMES REID LAMBDIN 1807—1889 JOHN WESLEY JARVIS 1780—1839 / hp 9—PORTRAIT OF A LADY ” ie Wt ff, AV Height, 23 inches; width, 19 inches A porTraAiIr painted by Jarvis when he visited New Orleans about 1820; a family portrait retained in private possession in the Crescent City until recently. The painter, John Wesley Jarvis, was born in England, at South Shields, on the Tyne, in 1780, He was a nephew of the great Methodist after whom he was named, and as an infant was left with his uncle by his father when the father emigrated to America, but the boy was brought here at the age of five years, the family making Philadelphia their home. Jarvis studied some with Malbone but was largely self- taught, and in instructing himself read and studied anatomy assiduously. Later, Inman was his pupil, and he took Inman with him to New Orleans. He painted many portraits, which Tuckerman observed may be found in manor houses of the South and municipal halls of the East. He died in New York City, in 1887, PORTRAIT OF A LADY BY JOHN WESLEY JARVIS 1780—1839 ey: so 450.- UT. Ge AW in , Agent JAMES H. WRIGHT 1813—1883 10—DANIEL WEBSTER (1782-1852) Height, 24 inches; width, 18 inches Tur Expounder of the Constitution, the “God-lke Daniel,” born in what is now Franklin, New Hampshire, January 18, 1782, was the son of a Revolutionary soldier; he taught school, studied law in Boston, became a Member of Congress from Massachusetts and United States Senator, and was Secretary of State under Presidents William Henry Harrison and Muil- lard Fillmore. His last words were “I still live.’ He died at Marshfield, Mass., on October 24, 1852. Signed at the lower right, J. H. Wricut. James H. Wright, born in 1813, was a painter of portraits, and exhibited at the National Academy of Design down to the year 1871. He had a studio at 835 Broadway, New York, and died in Brooklyn, in the month of May, 1883. DANIEL WEBSTER (1782-1852) BY JAMES H. WRIGHT 1818—1888 I96.- M, 7. Ne AW 7 Height, 25 inches; width, 20 inches Agewh. GEORGE C. LAMBDIN, N.A. 1830—1896 1I—EDWIN M. STANTON, SECRETARY OF WAR (1814-1869) Lincoin’s famous War Secretary was the son of a physician, =— came of Quaker ancestry, and became “one of the most im- posing figures of the nineteenth century,” his history too well = known to be recounted. | 7 =e On back: Edwin M. Stanton, Secr’y of War, by Geo. C. Lambdin. George C. Lambdin, the artist, was the son of the painter James R. Lambdin, with whom he studied at home, afterward going to Paris, and returning to make his home in Philadelphia. He was born at Pittsburgh in 1880, and died in Philadel- phia, January 31, 1896. RETARY OF WAR (1814-1869) SEC BY GEORGE C. LAMBDIN, N.A. + i 3 STANTON EDWIN M. 1830—1896 ENOCH WOOD PERRY, N.A. 18311915 es 12—GENERAL ULYSSES S. GRANT (1822-1885) Height, 80 inches; width, 25 inches ag Tur eighteenth President of the United States and General of the United States Army as he appeared in 1879, at the age of fifty-seven, six years before his death. Signed at the lower left: E. Woop. Perry, N.A., Gen. Grant In 1879. Ma The portraitist, E. Wood Perry as he was commonly known, was born in Boston, July 31, 1831. He went to New Orleans while in his ’teens, and at the age of twenty- one studied art in Europe, at Paris, and later in Rome and Venice. United States consul at Venice 1856-1858, and after five years’ subsequent residence in the United States visited the Sandwich Islands, returning to America in 1865 and making New York his home, where he died on December 14, 1915. GENERAL ULYSSES 8S. GRANT (1822-1885) BY ENOCH WOOD PERRY, N.A. 1831—1915 JAMES REID LAMBDIN Honorary Member, National Academy of Design, elected 1839 1807—1889 13—HENRY CLAY (1777-1852) Height, 30 inches; width, 25 inches Henry Cray, born in Virginia in a neighborhood called “The Slashes,” came early to be known as “The Mill Boy of The Slashes,” as he rode horseback to a neighboring mill, with a bag of wheat for saddle and a rope bridle. He was a retail clerk in Richmond, a copyist in the Court of Chancery, and became a lawyer, after which he moved to Kentucky; it was said that no murderer defended by him was ever sentenced to be hanged, such was his eloquence. He was appointed United States Senator though under age; was Speaker of the House of Representatives, called “the greatest of Speakers’; was a member of the Peace Commission closing the War of 1812- 1814; was Secretary of State under John Quincy Adams, when it was said that “more treaties with foreign nations were signed than in all the preceding years of the existence of the Constitution.” He advocated the emancipation of slaves from the year 1799. From the estate of James Reid Lambdin. Lambdin, a native of Pittsburgh, was born on May 10, 1807. He studied under Sully in Philadelphia at sixteen, and two years later was established as an artist in his home city. He worked later with success in the Southwest, and at the age of thirty settled in Philadelphia. He painted many portraits in Washington, in- cluding several of the Presidents and one of Webster. He was an active officer of the Pennsylvania Academy of the Fine Arts and President of the Artists’ Fund Society there. He died in Philadelphia, January 31, 1889. ee a oe ecient ies ica SCE SR TEE SERS a ‘ fi age é yy on int ¥ v ‘y o t iy J ya A aig | | wr Re ens REMARKS WRITTEN on BYIVELOPE et COPPER PLATE OF THE PAINTING Br EARLE THAT WAS SENT TO CHARIES MARCH 5th LOLo AND RE Bri att £47 Plate of President Smith of -Brineeton by Ralph | Berl pin pir pom 4 iS 4 cy 8 yoeteaxs of President smith Ke Com RALPH EARL 1751—1801 Ay ta ith te ‘ * ry At oe + Mike eck a fh ‘ Wei SAMUEL STANHOPE SMITH, SCHOLAR (1750-1819) BY RALPH EARL 1751—1801 en) > eH © M MN Pied { q ' td * ss b aA . Fa J r i? * ." rt pe > ¢ a a > ] J ~\ hee i ~~ oD Ge \ , AY - » sy ‘ : ? ‘ a a ; ’ ‘ D 1 - eels b a a he | ° 4 ra + — wih, ‘, v bg, m ‘ ' \ 715—1852 sl soeteedinmeeepmenmnesiotriemdpetier ene demertae se ae JOHN VANDERLYN 1775— 1852 31—_JOSEPH READE Height, 834, inches; width, 634 inches Tue Hon. Joseph Reade, the subject of this excellent Vander-— lyn, belonged to a well-known family of New York. The por- trait was painted early in the nineteenth century, the family tradition says “about 1800,” and has remained in branches of the family until very recently. A notation on the back says: “Received by Helen Reade Hamers from Grandma Hawkes, October 17, 1875.” On back of canvas, in the artist’s hand: Paintep By JoHN VANDERLYN. John Vanderlyn was born and died at Kingston, N. Y. His birthday was October 15, 1775, and his death occurred on September 24, 1852. Aaron Burr patron- ized him in his youth, helped him to secure instruction and to go to Europe, and when Gilbert Stuart returned from England to this country in 1793 and painted Burr’s portrait, Vanderlyn had a coveted opportunity to see the great American master at work. In 1796 Vanderlyn went to Paris, and he first exhibited at the Salon in 1800. He returned to America for two years, but in 1803 again went to Europe and did not come home until after the War of 1812. He then brought with him, among other works, his now famous “Ariadne,” the “finest-nude figure yet painted by an American,” and the excellent nude in this collection (No. 50), the “Antiope” after Correggio. JOSEPH READE BY JOHN VANDERLYN N 185 1775 WILLIAM DUNLAP, N.A. 1766—18389 32—ABRAHAM HOOGHKIRK (1744-1807) Height, 1244 inches; width, 101 inches ABRAHAM HooGHxirk was a resident of Rhinebeck, New York, where he was born in 1744, and appears in histories of Albany. He married Antje Hilton, daughter of Jacobus Hil- ton of Albany, and died on May 12, 1807. William Dunlap was an author, actor and manager as well as a painter. He was born at Perth Amboy, New Jersey, February 19, 1776, and he began painting portraits at the age of seventeen. At that age, in 1783, he was accorded an opportunity to make a portrait in pastel of General Washington at Rocky Point, near Princeton. He wrote, and published in New York in 1834, a “History of the Rise and Progress of the Arts of Design in the United States,” the earliest book on the subject. He died in New York City, September 28, 1839. —— WILLIAM DUNLAP, N.A. 1766—1839 4 4 1. 38—ANTJE HILTON HOOGHKIRK (1744-1810) ) : te er: ’ Height, 121% inches; width, 101% inches Mat. | ® ANTJE Hinton was a daughter of Jacobus Hilton of Albany, where Antje was born in 1744, became the wife of Abraham Hooghkirk of Rhinebeck in 1767, and survived her husband by three years. Their birth year was the same. She died in 1810. JOHN SINGLETON COPLEY 1/37—1815 7 00.- 34 ELIZABETH BYLES BROWN (1731-1768) (Pastel) Al. Gy Beer Height, 171% inches; width, 141 inches EvizAsetH Bytes Brown was the daughter of the Rev. Mather Byles (1706-1788), and wife of Gawen Brown (1719- 1801), of Boston. She was born in 1737 and was the mother of the noted American portrait painter Mather Brown (1761- 1831). The portrait was painted in the year in which she died, 1763, when both sitter and artist were twenty-six years old. Signed midway on the right, J. 5. C., 17638. Formerly the property of Charles Henry Hart, lately deceased, the well-known critic and historian of early American portrattists. The artist, John S. Copley, born in Boston, July 3, 1787, studied art first from his step-father, Peter Pelham, an engraver, and at the age of fifteen painted a portrait of his step-brother Charles Pelham. A year later he painted a portrait of a clergyman which now belongs to the Massachusetts Historical Society, and when he was twenty-nine he was for the first time an exhibitor at London, through a portrait sent over to Benjamin West. The same year Copley was elected a member of the Society of Artists of Great Britain. Charles Willson Peale sought instruction from him in 1768, so rapid had been Copley’s rise in America, and later Trumbull wanted to study under him. In 1774 Copley went to England and Italy, settling in London in 1775 and remaining there until his death, September 9, 1815. . . PR. wa toa eye 1 BY JOHN SINGLETON COPLEY 1737—1815 JOHN TRUMBULL | 1756—1843 35—BATTLE OF LAKE ERIE Height, 10 inches; length, 20 mches VessExs of the American and British squadrons are shown amid the smoke of cannon in a choppy sea, at the moment when Perry transferred his flag from the battered Lawrence to the timid Niagara and brought her up to close action, winning the battle of Put In Bay. Inscribed at lower left, “Battle of Lake Erie,” and at lower right, “Original Sketch.” Colonel John Trumbull—he attained the rank in service under Washington, whose forces he joined before he was twenty, and he wore the title to the last— was born in Lebanon, Connecticut, June 6, 1756. He was a son of the Governor of that State, “Brother Jonathan” Trumbull. Washington utilized Trumbull’s ability in draughtsmanship in the making of topographical drawings of the British works about Boston. Trumbull was educated at Harvard. After the Revolution he went to London to study art under West, was arrested and jailed in retaliation for the execution of Major André, and was released only upon the surety of West and Copley. He came home but returned to West’s studio in 1784, coming back in 1789 to New York, but spending the years from 1794 to 1804 and from 1808 to 1816 abroad. He preceded Rembrandt Peale in the presidency of the American Academy. He died in New York, November 10, 1843. . ee ey “i x = z te — JAMES PEALE Be 1749-1881 MISS MAYNARD > . - t ‘ 7 — is © ’ s : * a w , ~. Lal i co — - = eae ky ai ma Lees pes i" oa ‘Se ae a. a, teal pk nat _ 7 a= NhKxG JAMES PEALE 1749—1831 36—MISS MAYNARD Height, 24 inches; width, 20 mches Tue interesting American young lady here portrayed was born in the City of Brotherly Love and received her education there, where the limner of her features also resided for the major period of his life. Miss Maynard, becoming Mrs. Denny, moved with her husband to West River, in Anne Arundel county, Maryland. There a daughter was born to them, Anna Maria Denny, who married, on August 1, 1816, Colonel Walter Millar, who was born on January 20, 1791, a son of Horatio Millar who had been secretary to Lord Cornwallis. Colonel Walter Millar and his wife lived later in Charles county, Mary- land, and there their daughter Mary Alfonsa Millar married William Fergusson, of the same county. Mr. and Mrs. Fer- gusson’s daughter, Emily Fergusson, married Joseph’ Harris Stonestreet. The portrait of Miss Maynard (Mrs. Denny) descended to her daughter Anna Maria (Mrs. Walter Millar), and from her to her daughter Mary Alfonsa (Mrs. Fergusson) , and from Mrs. Fergusson to her daughter Mrs. J. H. Stone- street, from whom it was inherited by Mrs. Stonestreet’s son Guy Stonestreet, passing from his possession to the owner of the present collection. Signed at bottom, to right of center, J. PEALE. James Peale was the youngest brother of Charles Willson Peale and was born at Annapolis, in 1749. He lived for the most part of his life in Philadelphia, where he died on May 24, 1831. His art instruction he received from his brother, and he painted portraits in oil as late as 1812. He became most distinguished as a miniature painter, and he painted a miniature portrait on ivory of President Washington in 1788. He painted another miniature portrait of Washington, on paper, in 1795. eh come MISS MAYNARD BY JAMES PEALE 1749—1831 \- 4/, tO. - Dapeew Mbps. GILBERT STUART Honorary Member, National Academy of Design, elected in 1827 1755—1828 | 37—-GEHEORGE WASHINGTON (17382-1799) Height, 27 inches; width, 22 inches Tuer ‘Atheneum head” of the father of the country, by the “master painter of America” of his time, whose likenesses of General Washington have always been not only the most popular but the most highly acclaimed of the elect. This por- trait belonged to the late Mrs. Elizabeth U. Coles, and was exhibited with her collection at the Metropolitan Museum of Art from 1897 to 1904. At that time spandrels in the fram- ‘Ing gave the impression of an oval, but the panel is rectilinear. Gilbert Stuart was a Rhode Islander, born December 3, 1755, at Hammond’s Mills; he died in Boston, on July 27, 1828, and was buried in an unmarked grave. At sixteen he was sent to Scotland to study, but his instructor Cosmo Alexander died and Stuart had to work his way back to America. He went back to London before he was twenty to study with Benjamin West, and lived there for thirteen years, and afterward in Dublin for five years, after which he made New York his home for a couple of years (1793-1794), going then to Philadelphia to remain until 1808, For three years following he was in Washington, and from 1806 until his death he lived in Boston. Soon after Stuart’s death, his friend Washington Allston wrote in an article speaking of the Atheneum Washington: ‘Well is his ambition jusified in the sublime head he has left us; a nobler personification of wisdom and goodness, reposing in the majesty of a serene countenance, is not to be found on canvas.” — oS NE a agen GEORGE WASHINGTON (1782-1799) BY GILBERT STUART 1755—1828 | DO ee 17551828 Geeta r, National Academy of Design, elected in 1827 ICE REID YATES (died, 1796) ra GILBERT STUART 1k: 1755—1828 i Honorary Member, National Academy of Design, elected in 1827 b/M.- 388—LAWRENCE REID YATES (died, 1796) 7 MW tw Vb, : Height, 30 inches; width, 2414 inches Mr. Yarss is recorded as a member of the St. George’s Society, in New York, in 1786. He was in business here with his brother Richard in Duke street from 1792 to 1796, and in 1795 he was married in Trinity Church to Mathilda Caroline Cruger. He is buried in Trinity churchyard. His only daughter married James Taylor of Albany, a widower, who died before her, and his widow left this portrait of her father to her step-daughter, Mrs. Ward Hunt, wife of United States Supreme Court Jus- tice Ward Hunt, of Utica, for life. On Mrs. Hunt’s death the portrait went to Mrs. Taylor’s step-grandchildren, from whom it was purchased. ‘The portrait was painted in 1794, and is recorded in Mason’s “Life and Works of Gilbert Stuart.” Purchased through Charles Henry Hart, the lately deceased art critic and historian. Stuart, a Rhode Islander, born in 1755, on December 3, at Hammond’s Mills, went to Scotland at sixteen, but his instructor, Cosmo Hamilton, dying, the budding American artist had to work his way home. He went back to London before he was twenty, however, and studied under West, living at the English capital for thirteen, years, and then for five years in Dublin. In 1793-1794 he lived in New York, then in Philadelphia for nearly ten years, and in Washington for three years. From 1806 until his death Boston was his home. He died there on July 27, 1828. He was buried in an unmarked grave. He has been pronounced by the painstaking and critical Hart “the peer of any portrait painter who ever lived.” LAWRENCE REID YATES (died, 1796) BY GILBERT STUART 1755—1828 JV0.- Kd. dL wti Dhynf . JOHN PARADISE, N.A. 1788-18338 39—JAMES LUCE KINGSLEY, EDUCATOR (1778-1852) Height, 30 inches; width, 25 imches Born in Connecticut, on August 28, 1778, at Windham, son of a descendant of one of the original Puritan settlers of Dor- chester, Massachusetts. ‘Tutor at Yale in 1801; appointed pro- fessor of Hebrew, Greek and Latin in 1805, the first professor of any language in the college. Librarian of Yale for nineteen years. He died at New Haven, August 31, 1852. John Paradise, the painter, was born in Hunterdon County, New Jersey, October 24, 1783, and in youth was apprenticed to a saddler, but gave up the work and went to Philadelphia to study painting, and began professional work as an artist at the age of twenty. He moved to New York in 1810 and became a member of the National Academy of Design at its formation in 1826. Known especially as the portraitist of clergymen of the Methodist Church, of which he was a member. These portraits were engraved by his son, John Wesley Paradise (1809- ee John Paradise died near Springfield, N. J., November 26, 1833. 33 1783—18 ay 22 Nes gb E td = 5 Ae ee. 2 Siena Slee Bese 5 py. 2s Sp " x a ea) “a 5 nea teat = = Q Ss ' mS No. 40 eos _. THOMAS SULLY ; oe = 6—SCté«L'78B—189'722 (= 2 2 MRS. JOSEPH HOPKINSON, née EMILY MIFFLIN J - ia 44. WK" THOMAS SULLY 1783—1872 40—MRS. JOSEPH HOPKINSON, ’ née HMILY MIFFLIN — - Height, 30 mches; width, 25 mches Mrs. Horxrnson was the wife of Judge Joseph Hopkinson (1770-1842), the author of “Hail, Columbia,” which he wrote in 1798. In 1814 he was elected to Congress; and he was United States Judge for the Eastern District of Pennsylvania from 1828. By reason of his interest in art, Judge Hopkin- son was also President of the Pennsylvania Academy of the Fine Arts, an office he held for nearly thirty years, from 1813 until his death in 1842. His wife, the subject of this portrait, was a daughter of Gen. Thomas Mifflin, who was Governor of Pennsylvania from 1790 to 1799. She married Mr. Hop- | kinson on February 27, 1794. She died eight years after her husband, on December 11, 1850. A portrait of her by Gilbert Stuart is in the possession of the Pennsylvania Historical So- ciety. The portrait of her here presented, by Sully, was painted in 1808, and is recorded in Sully’s Register of Por- traits (No. 788). Signed midway at the right, T. S. Thomas Sully, the painter, born in Horncastle, Lincolnshire, England, June 19, 1783, came to this country with his parents, at the age of nine years, the family settling at Charleston, S. C. Thomas established himself in Philadelphia as an artist at the age of twenty-five, after a short residence in New York and in Boston, and after having received while in Boston some instruction from Gilbert Stuart. Within a year he went to London and studied for two years under Benjamin West, returning to New York but making Philadelphia the home of his last years. He died there November 5, 1872. JOSEPH HOPKI SON, née EMILY MIFFLIN BY THOMAS SULLY 1783—1872 REMBRANDT PEALE, N.A. 1778—1860 41—GEORGE WASHINGTON (1782-1799) Height, 29 inches; width, 2434 inches Tue Father of His Country at the age of sixty-three years, four years before his death. The portrait was last publicly shown in the Exhibition of Early American Paintings at the Brooklyn Institute of Arts and Sciences (No. 71), in 1917, when it was lent by Mr. Charles Henry Hart, attorney for the then owner Mrs. Lewis S. Jervey. Mr. Hart wrote in a letter in that year: “You ask me for some particulars about the bust portrait of Washington to left in black velvet coat, painted by Rembrandt Peale in 1795 when he was in his eighteenth year. It is a very remarkable portrait to have been painted by a mere youth, and were it not for the perfect history the painter has left of the painting of the portrait, one might easily be a doubting Thomas in regard to its authorship. “He tells us that for this portrait Washington gave him three sittings of three hours each, and when finished, the canvas, fresh from the easel, was packed up and taken to Charleston, 8S. C., where he painted ten replicas of it, ‘which were valued as the most recent like- ness.’ “The present canvas was painted for the distinguished soldier General Christopher Gadsden of Charleston, from whom it descended to his grandson Christopher Gadsden Morris and from him to his niece Miss Hume, who married Frederick Wentworth Ford—the parents of the present owner Mrs. Lewis S. Jervey. | ‘The family mansion in Charleston, where it hung, was destroyed by fire in 1861, and this portrait of Washington, with one of General Gadsden that hung opposite to it, were the only items of importance that were saved. It is a work of high artistic merit, being well drawn, and painted with a virile but discriminating palette, showing much more of the influence of Stuart than of his (the painter’s) father, under whom he studied. That the young painter succeeded in making a truthful portrait of Washington seems assured, for it tallies well [ Continued GEORGE WASHINGTON (1782-1799) BY REMBRANDT PEALE, N.A. 1778—1860 [No. 41—Continued] — with Stuart’s first portrait of Washington, painted contemporaneously with it, and in construction measures up with Houdon’s life mask. “This Rembrandt Peale portrait of Washington must not be confused with the commonly called ‘Rembrandt Peale Washington,’ which is not a life portrait but a composite head made in 1823.” This portrait was purchased from Mrs. Jervey by Mr. Hart, from whom it was acquired by the present owner. Rembrandt Peale, son of Charles Willson Peale, was born in Bucks county, Pennsylvania, February 22, 1778. As already noted above, he painted this his first portrait of Washington at the age of seventeen. Later he went to England, studying there under Benjamin West, and after his return to America he painted portraits in Philadelphia and the South, as well as in New York. He succeeded Trumbull as president of the American Academy, and was a charter member of the National Academy of Design. He died in Philadelphia, October 3, 1860. Viel JEREMIAH THEUS 1719-1774. 42 ALEXANDER BROUGHTON (1721-1764) Height, 30 imches ; width, 24 inches ALEXANDER BroucutTon was a South Carolina planter whose family were among the first in the Revolutionary movement in that State. He was a descendant of the Hon. Thomas Brough- : se ton of Mulberry Plantation, and the third son of Captain Nathaniel B. Broughton. Formerly in the possession of Charles Henry Hart, lately deceased, | the well-known historian of early American portrattists. Jeremiah Theus, although well known in his day and likened to Copley, owing to the manner of his painting in some of his portraits, has since then been little known or heard of until very recent years, when his works have been coming to light again and only too often have been attributed to Copley. He was born in Switzerland, and came to this country in 1739. In the following year he was es- tablished in a studio and painting portraits at Charleston, South Carolina, and he remained in America until his death, on May 18, 1774. de ae Ee ad ome 2 TS eee a RS Py eee ALEXANDER BROUGHTON (1721-1764) ‘BY JEREMIAH THEUS 1719—1774 JOHN SMIBERT > 1688—1751 /§ §0.- 43—JOSEPH CRAWFORD (1705-1770) Mr. K ~ Xx t Height, 30 inches; width, 25 inches — JosrpH Crawrorp belonged to a family of early prominence in Rhode Island. He was descended from Gideon Crawford, who | : came to Providence from Lanark, Scotland. The story had ~ it that Gideon Crawford came over through his friendship for i and relationship with Governor John Cranston, both being ie x said to be descendants of James Lindsay, Earl of Craneo Gideon married Freelove Fenner, in 1687. Smibert was a Scotch painter, born in Edinburgh in 1688, who joined Bishop | Berkeley in the dream of founding a universal college in the Bermudas, and he arrived at Newport, Rhode Island, in 1729. The dream collapsing, he settled in Boston, taking there with him many copies he had made of European old masters, which with his other works had an influence on Allston, which Allston acknowledged, : and probably also had an influence on Copley, who was fourteen when Smibert died. It has been said of Smibert, “The best portraits we have of eminent magistrates and divines of New England and New York who lived between 1725 and 1751 are from his pencil.” Smibert died in Boston in 1751. JOSEPH CRAWFORD (1705-1770) BY JOHN SMIBERT 1688—1751 a [# §O.- REMBRANDT PEALE, N.A. 1778—1860 44—GEORGE WASHINGTON (1782-1799) fay" Ulw Hh YW. Height, 30 inches; width, 25 mches Tis portrait of the Father of His Country represents him in his prime, with full color and brilliant eyes. Prior to 1876 it was in the family of Dr. Joseph Shippen and his brother Edward Shippen, a lawyer, of Philadelphia, nephews of Rem- brandt Peale. They sold it to their friend Dr. Joseph Weath- erby Van Leer, with whose family it remained until recently. Rembrandt Peale, son of Charles Willson Peale, was born on February 22, 1778, in Bucks county, Pennsylvania. At the age of seventeen he painted his first portrait of Washington, for which General Washington gave him three sittings. Later he went to England, studying there under West, and after his return to America painted portraits in Philadelphia and the South, as well as in New York. He succeeded Trumbull as president of the American Academy, and was a charter member of the National Academy of Design. He died in Philadelphia, October 3, 1860. GEORGE WASHINGTON (1782-1799) BY REMBRANDT PEALE, N.A. 1778—1860 ) THOMAS LEE BOYLE, A.N.A. ~ 1820—1906 =) | of ALLAN POE (1809-1849) ye CN. - Vureew brea, FERDINAND THOMAS LEE BOYLE, A.N.A. 1820—1906 45—EDGAR ALLAN POE (1809-1849) Height, 30 inches; width, 25 inches Tue immortal genius whom Paris discovered in “The Murder in the Rue Morgue” (1841), and the cis-Atlantic world four years later in “The Raven,” portrayed at half-length, eyes the observer keenly from a red-upholstered armchair, the back of which barely makes an appearance above his shoulder. Signed at the lower left, F. Boye. The portraitist, F. T. L. Boyle, born in Ringwood, England, in “1820, and brought to this country asa child, studied art under the American painter Henry Inman, settled in St. Louis in 1855 and organized there the Western Academy of Art, and served throughout the Civil War, being mustered out in 1865. The fol- lowing year he came to New York, where he painted portraits of Charles Dickens, Archbishop Hughes and other celebrities, including a portrait of General U. S. Grant which hangs in the Union League Club, Brooklyn. He had, however, exhibited portraits at the National Academy of Design much earlier, beginning in 1837, his record there comprising more than sixty exhibits, almost exclusively portraits, between that date and 1886. Many years professor of art in the Brooklyn Institute. | He died in Brooklyn, December 2, 1906. a oo oS EDGAR ALLAN POE (1809-1849) BY FERDINAND THOMAS LEE BOYLE, A.N.A. 1820—1906 CEPHAS G. THOMPSON, A.N.A. 1809-—1888 46—JOHN HOWARD PAYNE (1792-1852) © Mipee’ lho, Height, 80 inches; width, 25 mches g Tue author of “Home, Sweet Home” is pictured with par- ticularly agreeable expression, and in warm coloring and softened lights. Payne was born in New York, lived in Bos- ton as a child, but returned to New York and was clerk in a counting room and a student at Union College until sixteen, and in the following year he appeared as an actor at the Old Park theater. He quickly became the favorite of the hour, went upon the road, was greeted as the juvenile wonder and at one of his benefits $50 was paid for a single ticket. He went to London in 1813, and lived there and in Paris as actor, manager and playwright for nearly twenty years. He sold “Clari” for $30 as a play, turned it into an opera by request, and it made an enormous success, the elder sister of Ellen Tree taking the title part and singing for the first time “Home, Sweet Home.” “Everyone realized a fortune except Payne,” who returned to America almost penniless. He was named Consul at Tunis, and died there. Signed on back of canvas, C. E. THompson. Cephas Thompson was a fashionable portrait painter in the late ’30’s and early *40’s, and was elected Associate of the National Academy in 1861. He was born in Middleborough, Massachusetts, on August 3, 1809, studied under his father and in Europe, and after establishing himself here was highly esteemed by his contem- poraries as a portrait painter. From 1830 until 1845 he maintained a studio in the Arcade, at Providence, Rhode Island. He died in New York, January 5, 1888. He painted many of the prominent persons of the day, and a collection of portraits of American authors which he undertook as a labor of love is now owned by the New York Historical Society. Hawthorne and others of the authors were among his personal friends. This portrait of Payne was painted when Payne was about 40 years old. JOHN HOWARD PAYNE (1792-1852) BY CEPHAS G. THOMPSON, A.N.A. 1809—1888 -1741—1827 NGTON AT PRINCETON, 1779 k CHARLES WILLSON PEALE 1 A1-— 827 b, “ff .- 47—GENERAL WASHINGTON ee E g Boa AT PRINCETON, 1779 : | ae 4 a My thy/ ° Height, 34 inches; width, 25 inches Tux Commander-in-Chief of the American forces appears with a Nassau Hall, “Old Nassau,” where the Continental Congress sat, in the background, and in the middle distance are standing some Continental soldiers, before a line of tents. This portrait was formerly the property of the late Moses Kimball of Bos- ton, proprietor of the old Boston Museum, who acquired it | when the Peale museum in Philadelphia was given up, many years ago. Prior to that it had been one of those portraits 2 retained by the Peale family, and by them used for exhibition purposes. , Te Charles Willson Peale, a Marylander, born in Queen Anne’s County on April 15, 1741, consulted Copley in his early studies of art, went to London in 1768 and spent two years in West’s home, and returning established himself in Philadelphia. He joined the Continental Army and was present as an officer at the battles of — Trenton and Germantown. Two years after his return from England he painted his first portrait of Washington. It was painted at Mount Vernon in 1772 and is the earliest portrait of Washington in existence. He painted fourteen portraits of Washington from life, according to his son Rembrandt. Charles Willson Peale died in Philadelphia, February 22, 1827. GENERAL WASHINGTON AT PRINCETON, BY CHARLES WILLSON PEALE 1741—1827 EL F. B. MORSE, P.N.A. E W. KING (1813-1893) , Se ae 1 2 ee SAMUEL F. B. MORSE, P.N.A. 1791—1872 48—GEORGE W. KING (1818-1893) Height, 34 inches; width, 27 winches I, If, Ve Cwwly , GrorcE W. Kine was born at Newton, New Jersey, and was a watchmaker and jeweler at Morristown, where he had a store on the east side of the square between the Methodist church and South street. He lived over his store until he had acquired a goodly estate, when he established his family resi- dence at 125 Washington Street. This portrait of him was painted about 1838, shortly before Morse gave up painting. The subject of it stands near a window which looks out upon Speedwell Lake (now filled in), so bringing into relationship with sitter and artist one of Morse’s chief aids and associates, Alfred Vail, son of Judge Stephen Vail, proprietor of the Speedwell Iron Works at Morristown. It was largely Vail’s assistance that enabled Morse to perfect his invention of the telegraph. The sitter holds a letter with seal broken, at top of which are his initials, G. W. K. Samuel Finley Breeze Morse, born in Charlestown, Massachusetts. April 27, 1791, was both sculptor and painter, as well as inventor of the telegraph. He lived for many years in New York and died there. In art he was a pupil of Washington Allston, with whom he went to London and studied under West. He was one of the founders of the National Academy of Design and its first President. He won honors in art also in London. “The rest of his life career is part of the history of the world.” His death occurred in New York City on April 2, 1872. GEORGE W. KING (1813-1893) BY SAMUEL F. B. MORSE, P.N.A. 1791—1872 ae 1751—1801 SH, OF LITCHFIELD, CONNECTICUT, [TOR AND SCHOLAR (1768-1851) ) ye. ¥ ee RALPH EARL 1751—1801 00 _- 49—TRUMAN MARSH, OF LITCHFIELD, CON- NECTICUT, RECTOR AND SCHOLAR - UM. Ne ewan (1768-1851) th f Ses ; Height, 38 inches; width, 34 inches Son of Ebenezer Marsh and grandson of Captain John Marsh, ~ fe Ma refllyw pioneer of Litchfield, who was the first white man sent by the Ms , Legislature to report upon that part of the State, which was then a wilderness. Truman Marsh was born February 23, 1768. He was for twenty-three years rector of St. Michael’s, _ Litchfield, and he also had a school there at the time when | Judges Reeves and Gould established there the first law school in America. He died at Litchfield in 1851. Signed at the lower left, R. Harty, prnxt., 1791. The artist Ralph Earl was a native of Massachusetts, and was painting minia- tures and life-size portraits in 1771. He was born at Leicester, May 11, 1751. He studied in London under West, who obtained for him a commission to paint King George ITI, and later he was admitted to the Royal Academy. Returning to America he painted four pictures of Revolutionary scenes, which were engraved by Amos Doolittle. He died at Bolton, Conn., in 1801. = > Ve _—~ % ”* ie : FAL », ES TA AED, en PE a ye lp > vee of @ a d 7 ~ EEG 1 We ae eg, Pt Se thi, son ee: eee TRUMAN MARSH, OF LITCHFIELD, CONNECTICUT RECTOR AND SCHOLAR (1768-1851) BY RALPH EARL 1751—1801 1775—1852 ANTIOPE } J69.- JOHN VANDERLYN 1775—1852 50—ANTIOPE Height, 70 inches; width, 51 inches Tuer sleeping Antiope with Cupid asleep beside her, in a wood, — and Jupiter in guise of a satyr approaching. A copy of Cor- reggio’s canvas in the Louvre. The genesis of this painting is found in a letter from Vanderlyn to the well-known New York merchant John R. Murray (whose portrait Gilbert Stuart painted). ‘The letter is dated Paris, July 3, 1809, and among other things says: “T have a little project on my return to America to make a small exhibition of my own pictures, and with that view I wish to remain here to provide myself with a couple more pictures. . . . I am now. engaged with copying a picture in the gallery here, intended for that purpose. The one I have chosen is Antiope asleep with Cupid, and Jupiter in the form of a satyr. In my opinion it is the best picture of Correggio’s in the collection here—possessing in a greater degree the excellencies which distinguish him than any I have ever yet seen. I hope in the course of two months to be able to complete it. However, I will spare no time nor pains about it, for I aim at making a good copy, not a tolerable one.” Vanderlyn was born at Kingston, New York, October 15, 1775, and died there, September 24, 1852. In his youth Aaron Burr became his patron, helping him in getting instruction and in going to Europe, and when Stuart returned to this coun- try in 1793 and painted Burr’s portrait, Vanderlyn had the pleasure of seeing the master at work. Three years later Vanderlyn went to Paris, and first exhibited in the Salon of 1800. He came back for two years but returned to Europe in 1803 and remained till after the War of 1812, bringing home with him then his “Ariadne,” the “finest nude figure yet painted by an American,” Charles Henry Hart said of it. Al TIOPE LIST OF ARTISTS REPRESENTED AND THEIR WORKS eee ALLSTON, WasuHincTon Moses and the Serpent 25 David Playing before Saul 26 Gilbert Stuart’s Painting-room—the Artist and Members of his Family 27 AMES, Ezra | Allan Melville (1782-1832) if Maria Gansevoort Melville (1791-1872) 24 BOYLE, Fererpinanp THomas Ler, 4.N.A. Edgar Allan Poe (1809-1849) 45 COPLEY, JouHn SINGLETON James Tilley (1707-1765) 28 Elizabeth Byles Brown (1737-1763) 34. DUNLAP, Wit, N.A. Robert Snow, Educator and Humanitarian (1760-1833) 1 Abraham Hooghkirk (1744-1807) 32 Antje Hilton Hooghkirk (1744-1810) 33 DURAND, Asuer Brown, P.N.A. Mary Durand bo EARL, Ratru Samuel Stanhope Smith, Scholar (1750-1819) 20 Truman Marsh, of Litchfield, Connecticut, Rector and Scholar (1768-1851) 49 CATALOGUE NUMBER EICHHOLTZ, Jacozs Andrew Jackson (1767-1845) 22 ELLIOTT, Cuartes Lorine, N.A. Eleazer Williams, The “Lost Dauphin” Louis. XVII ? (1787-1858) + HARDING, CHESTER Charles Sprague, Poet and Banker (1791-1875) 14 INMAN, Henry, N.A. Margaret O'Neill Eaton (1796-1879) 5 Major Whistler (1800-1849) 29° JARVIS, Joon WESLEY . Portrait of a Lady 9 JOHNSON, Eastman, N.A. Sanford R. Gifford, N.A. (1823-1880) 3 LAMBDIN, Gerorce C., N.A. Edwin M. Stanton, Secretary of War (1814-1869) 11 LAMBDIN, James Rep General John Anthony Quitman (1799-1858) 8 Henry Clay (1777-1852) 13 MORSE, Samuet F. B., P.N.A. George W. King (1813-1893) 48 MOUNT, Wituum S., N.A. An Unwelcome Task 30 CATALOGUE NUMBER OTIS, Bass Thomas Paine (1737-1809) 21 QUIDOR, Jon Ichabod Crane at a Ball at Van Tassel’s Mansion —_17 Ichabod Crane Pursued by the Headless Horse- man of Sleepy Hollow 18 PARADISE, Joun, N.A. James Luce Kingsley, Educator (1778-1852) 39 PEALE, Crartes Wittson General Washington at Princeton, 1779 47 PEALE, Jamus Miss Maynard 36 PEALE, Rempranprt, N.A. Mrs. Stennett 7 George Washington (1732-1799) 4) George Washington (1732-1799) 44 PERRY, Enocu Woop, N.A. General Ulysses S. Grant (1822-1885) 12 PINE, Rosert Epcr David Garrick (1717-1779) 16 POLK, CuHarirs PEALE George Washington (1732-1799) 19 SMIBERT, Joun Joseph Crawford (1705-1770) 433 STUART, GtBEert George Washington (1732-1799) Lawrence Reid Yates (died, 1796) SULLY, Tuomas Lord Byron (1788-1824) Mrs. Joseph Hopkinson, née Emily Mifflin THEUS, JEREMIAH Alexander Broughton (1721-1764) THOMPSON, Crrpwas G., A.N.A. ‘John Howard Payne (1792-1852) TRUMBULL, JoHn Battle of Lake Erie VANDERLYN, Joun Joseph Reade Antiope WALDO, Samuet Lovert, A.N.A. CATALOGUE NUMBER 37 38 15 40 A2 46 3] 50 Samuel Smith, Soldier and Statesman (1752-1839) 6 WRIGHT, James H. Daniel Webster (1782-1852) 10 INTELLIGENT APPRAISALS FOR UNITED STATES AND STATE TAX INSURANCE AND OTHER PURPOSES “THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH APPRAISEMENTS AND INVENTORIES OF ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS AND PERSONAL EFFECTS OF EVERY DESCRIPTION AT CHARGES COMMENSURATE WITH THE DUTIES INVOLVED THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY AND. BINDING BY <~ A eL : er a A S E L Fe OS ef sacl —< St < “ a , Puy , KS ye ty ; is eS ) AaB ; +t ; fi #* | / we oth es Dave SS a C= = i] lé ) { > 5 M ta) us , i nS o ~ j ‘Xz, ie Vr f i ; i \ J fe 7 “a ) \/ / \ Lee bet 4 ne — Sa, 9 j era fous hn. At ae ee ae j vy 1 =< ne eo a “ Bai NSS y X ~~ fis} ede p pia \ oS ne ay ~ Pom | Sef Se | eee y : » ut oe Maree Fr \ \ ~ i} é \i \ ? } / ee =_—s i ) SEARCH INST ITUTE A . ES tear, BAS . Vue A a tans 4 z L } A oe a , ’ \ | xt tno on hoi Re i A aby Pat aa . | none 2 mk? 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